CAT 2019 Question Paper with Answer Key Slot 1

Registration No: 9239657
Participant Name: AARUSHI MISHRA
Test Center Name: iON Digital Zone iDZ Prabandh Nagar
Test Date: 24/11/2019
Test Time: 9:00 AM - 12:00 PM
Subject: CAT 2019

Section : VARC

As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and
place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the
material environment vary greatly from person to person and in intensity, subtlety, and mode
of expression. Factors influencing one’s depth of response to the environment include cultural
background, gender, race, and historical circumstance, and Tuan also argued that there is a
biological and sensory element. Topophilia might not be the strongest of human emotions—
indeed, many people feel utterly indifferent toward the environments that shape their lives—
but when activated it has the power to elevate a place to become the carrier of emotionally
charged events or to be perceived as a symbol.

Aesthetic appreciation is one way in which people respond to the environment. A brilliantly
colored rainbow after gloomy afternoon showers, a busy city street alive with human
interaction—one might experience the beauty of such landscapes that had seemed quite
ordinary only moments before or that are being newly discovered. This is quite the opposite of
a second topophilic bond, namely that of the acquired taste for certain landscapes and places
that one knows well. When a place is home, or when a space has become the locus of
memories or the means of gaining a livelihood, it frequently evokes a deeper set of
attachments than those predicated purely on the visual. A third response to the environment
also depends on the human senses but may be tactile and olfactory, namely a delight in the
feel and smell of air, water, and the earth.

Topophilia—and its very close conceptual twin, sense of place—is an experience that,
however elusive, has inspired recent architects and planners. Most notably, new urbanism
seeks to counter the perceived placelessness of modern suburbs and the decline of central
cities through neo-traditional design motifs. Although motivated by good intentions, such
attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted,
purely aesthetic responses often are suddenly revealed, but their intensity rarely is long-
lasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate
interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a
marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity
for the desert.

Topophilia connotes a positive relationship, but it often is useful to explore the darker
affiliations between people and place. Patriotism, literally meaning the love of one’s terra
patria or homeland, has long been cultivated by governing elites for a range of nationalist
projects, including war preparation and ethnic cleansing. Residents of upscale residential
developments have disclosed how important it is to maintain their community’s distinct
identity, often by casting themselves in a superior social position and by reinforcing class and
racial differences. And just as a beloved landscape is suddenly revealed, so too may
landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or
anxiety—or topophobia.

SubQuestion No : 1
Q.1 Which one of the following comes closest in meaning to the author’s understanding of
topophilia?
Ans 1. Nomadic societies are known to have the least affinity for the lands through which
they traverse because they tend to be topophobic.
2. The French are not overly patriotic, but they will refuse to use English as far as
possible, even when they know it well.
3. The tendency of many cultures to represent their land as “motherland” or
“fatherland” may be seen as an expression of their topophilia
4. Scientists have found that most creatures, including humans, are either born with or
cultivate a strong sense of topography.

Question ID : 4891688154

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As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and
place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the
material environment vary greatly from person to person and in intensity, subtlety, and mode
of expression. Factors influencing one’s depth of response to the environment include cultural
background, gender, race, and historical circumstance, and Tuan also argued that there is a
biological and sensory element. Topophilia might not be the strongest of human emotions—
indeed, many people feel utterly indifferent toward the environments that shape their lives—
but when activated it has the power to elevate a place to become the carrier of emotionally
charged events or to be perceived as a symbol.

Aesthetic appreciation is one way in which people respond to the environment. A brilliantly
colored rainbow after gloomy afternoon showers, a busy city street alive with human
interaction—one might experience the beauty of such landscapes that had seemed quite
ordinary only moments before or that are being newly discovered. This is quite the opposite of
a second topophilic bond, namely that of the acquired taste for certain landscapes and places
that one knows well. When a place is home, or when a space has become the locus of
memories or the means of gaining a livelihood, it frequently evokes a deeper set of
attachments than those predicated purely on the visual. A third response to the environment
also depends on the human senses but may be tactile and olfactory, namely a delight in the
feel and smell of air, water, and the earth.

Topophilia—and its very close conceptual twin, sense of place—is an experience that,
however elusive, has inspired recent architects and planners. Most notably, new urbanism
seeks to counter the perceived placelessness of modern suburbs and the decline of central
cities through neo-traditional design motifs. Although motivated by good intentions, such
attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted,
purely aesthetic responses often are suddenly revealed, but their intensity rarely is long-
lasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate
interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a
marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity
for the desert.

Topophilia connotes a positive relationship, but it often is useful to explore the darker
affiliations between people and place. Patriotism, literally meaning the love of one’s terra
patria or homeland, has long been cultivated by governing elites for a range of nationalist
projects, including war preparation and ethnic cleansing. Residents of upscale residential
developments have disclosed how important it is to maintain their community’s distinct
identity, often by casting themselves in a superior social position and by reinforcing class and
racial differences. And just as a beloved landscape is suddenly revealed, so too may
landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or
anxiety—or topophobia.

SubQuestion No : 2
Q.2 In the last paragraph, the author uses the example of “Residents of upscale residential
developments” to illustrate the:
Ans 1. social exclusivism practised by such residents in order to enforce a sense of racial
or class superiority.
2. manner in which environments are designed to minimise the social exclusion of their
clientele.
3. sensitive response to race and class problems in upscale residential developments.

4. introduction of nationalist projects by such elites to produce a sense of dread or
topophobia.

Question ID : 4891688153

As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and
place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the
material environment vary greatly from person to person and in intensity, subtlety, and mode
of expression. Factors influencing one’s depth of response to the environment include cultural
background, gender, race, and historical circumstance, and Tuan also argued that there is a
biological and sensory element. Topophilia might not be the strongest of human emotions—
indeed, many people feel utterly indifferent toward the environments that shape their lives—
but when activated it has the power to elevate a place to become the carrier of emotionally
charged events or to be perceived as a symbol.

Aesthetic appreciation is one way in which people respond to the environment. A brilliantly
colored rainbow after gloomy afternoon showers, a busy city street alive with human
interaction—one might experience the beauty of such landscapes that had seemed quite

https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_CA… 2/48

11/29/2019 https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/…
ordinary only moments before or that are being newly discovered. This is quite the opposite of
a second topophilic bond, namely that of the acquired taste for certain landscapes and places
that one knows well. When a place is home, or when a space has become the locus of
memories or the means of gaining a livelihood, it frequently evokes a deeper set of
attachments than those predicated purely on the visual. A third response to the environment
also depends on the human senses but may be tactile and olfactory, namely a delight in the
feel and smell of air, water, and the earth.

Topophilia—and its very close conceptual twin, sense of place—is an experience that,
however elusive, has inspired recent architects and planners. Most notably, new urbanism
seeks to counter the perceived placelessness of modern suburbs and the decline of central
cities through neo-traditional design motifs. Although motivated by good intentions, such
attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted,
purely aesthetic responses often are suddenly revealed, but their intensity rarely is long-
lasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate
interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a
marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity
for the desert.

Topophilia connotes a positive relationship, but it often is useful to explore the darker
affiliations between people and place. Patriotism, literally meaning the love of one’s terra
patria or homeland, has long been cultivated by governing elites for a range of nationalist
projects, including war preparation and ethnic cleansing. Residents of upscale residential
developments have disclosed how important it is to maintain their community’s distinct
identity, often by casting themselves in a superior social position and by reinforcing class and
racial differences. And just as a beloved landscape is suddenly revealed, so too may
landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or
anxiety—or topophobia.

SubQuestion No : 3
Q.3 Which of the following statements, if true, could be seen as not contradicting the
arguments in the passage?
Ans 1. The most important, even fundamental, response to our environment is our tactile
and olfactory response.
2. Patriotism, usually seen as a positive feeling, is presented by the author as a darker
form of topophilia.
3. New Urbanism succeeded in those designs where architects collaborated with their
clients.
4. Generally speaking, in a given culture, the ties of the people to their environment
vary little in significance or intensity.

Question ID : 4891688152

As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and
place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the
material environment vary greatly from person to person and in intensity, subtlety, and mode
of expression. Factors influencing one’s depth of response to the environment include cultural
background, gender, race, and historical circumstance, and Tuan also argued that there is a
biological and sensory element. Topophilia might not be the strongest of human emotions—
indeed, many people feel utterly indifferent toward the environments that shape their lives—
but when activated it has the power to elevate a place to become the carrier of emotionally
charged events or to be perceived as a symbol.

Aesthetic appreciation is one way in which people respond to the environment. A brilliantly
colored rainbow after gloomy afternoon showers, a busy city street alive with human
interaction—one might experience the beauty of such landscapes that had seemed quite
ordinary only moments before or that are being newly discovered. This is quite the opposite of
a second topophilic bond, namely that of the acquired taste for certain landscapes and places
that one knows well. When a place is home, or when a space has become the locus of
memories or the means of gaining a livelihood, it frequently evokes a deeper set of
attachments than those predicated purely on the visual. A third response to the environment
also depends on the human senses but may be tactile and olfactory, namely a delight in the
feel and smell of air, water, and the earth.

Topophilia—and its very close conceptual twin, sense of place—is an experience that,
however elusive, has inspired recent architects and planners. Most notably, new urbanism
seeks to counter the perceived placelessness of modern suburbs and the decline of central
cities through neo-traditional design motifs. Although motivated by good intentions, such
attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted,
purely aesthetic responses often are suddenly revealed, but their intensity rarely is long-
lasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate
interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a
marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity
for the desert.
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11/29/2019 https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/…

Topophilia connotes a positive relationship, but it often is useful to explore the darker
affiliations between people and place. Patriotism, literally meaning the love of one’s terra
patria or homeland, has long been cultivated by governing elites for a range of nationalist
projects, including war preparation and ethnic cleansing. Residents of upscale residential
developments have disclosed how important it is to maintain their community’s distinct
identity, often by casting themselves in a superior social position and by reinforcing class and
racial differences. And just as a beloved landscape is suddenly revealed, so too may
landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or
anxiety—or topophobia.

SubQuestion No : 4
Q.4 The word “topophobia” in the passage is used:
Ans 1. to signify the fear of studying the complex discipline of topography.

2.
to represent a feeling of dread towards particular spaces and places.
3.
as a metaphor expressing the failure of the homeland to accommodate non-citizens.
4.
to signify feelings of fear or anxiety towards topophilic people.

Question ID : 4891688150

As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and
place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the
material environment vary greatly from person to person and in intensity, subtlety, and mode
of expression. Factors influencing one’s depth of response to the environment include cultural
background, gender, race, and historical circumstance, and Tuan also argued that there is a
biological and sensory element. Topophilia might not be the strongest of human emotions—
indeed, many people feel utterly indifferent toward the environments that shape their lives—
but when activated it has the power to elevate a place to become the carrier of emotionally
charged events or to be perceived as a symbol.

Aesthetic appreciation is one way in which people respond to the environment. A brilliantly
colored rainbow after gloomy afternoon showers, a busy city street alive with human
interaction—one might experience the beauty of such landscapes that had seemed quite
ordinary only moments before or that are being newly discovered. This is quite the opposite of
a second topophilic bond, namely that of the acquired taste for certain landscapes and places
that one knows well. When a place is home, or when a space has become the locus of
memories or the means of gaining a livelihood, it frequently evokes a deeper set of
attachments than those predicated purely on the visual. A third response to the environment
also depends on the human senses but may be tactile and olfactory, namely a delight in the
feel and smell of air, water, and the earth.

Topophilia—and its very close conceptual twin, sense of place—is an experience that,
however elusive, has inspired recent architects and planners. Most notably, new urbanism
seeks to counter the perceived placelessness of modern suburbs and the decline of central
cities through neo-traditional design motifs. Although motivated by good intentions, such
attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted,
purely aesthetic responses often are suddenly revealed, but their intensity rarely is long-
lasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate
interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a
marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity
for the desert.

Topophilia connotes a positive relationship, but it often is useful to explore the darker
affiliations between people and place. Patriotism, literally meaning the love of one’s terra
patria or homeland, has long been cultivated by governing elites for a range of nationalist
projects, including war preparation and ethnic cleansing. Residents of upscale residential
developments have disclosed how important it is to maintain their community’s distinct
identity, often by casting themselves in a superior social position and by reinforcing class and
racial differences. And just as a beloved landscape is suddenly revealed, so too may
landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or
anxiety—or topophobia.

SubQuestion No : 5
Q.5 Which one of the following best captures the meaning of the statement, “Topophilia is
difficult to design for and impossible to quantify . . .”?
Ans 1. Architects have to objectively quantify spaces and hence cannot be topophilic.

2. The deep anomie of modern urbanisation led to new urbanism’s intricate sense of
place.

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3. Philosopher-architects are uniquely suited to develop topophilic design.

4. People’s responses to their environment are usually subjective and so cannot be
rendered in design.

Question ID : 4891688151

Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has
consistently held that people who are presented with a few options make better, easier
decisions than those presented with many. . . . Helping consumers figure out what to buy
amid an endless sea of choice online has become a cottage industry unto itself. Many brands
and retailers now wield marketing buzzwords such as curation, differentiation, and discovery
as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find
such shoppers through the data gold mine of digital advertising, which can catalog people by
gender, income level, personal interests, and more. Since Americans have lost the ability to
sort through the sheer volume of the consumer choices available to them, a ghost now has to
be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to
help a product follow you around the internet. Indeed, choice fatigue is one reason so many
people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms
and perpetually vacationing 20-somethings—who present an aspirational worldview, and then
recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely.
Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as
Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many
others have sprouted up to offer consumers freedom from choice: The companies have a few
aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those
things, and an ability to opt out of the stuff rat race. . . .

One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain
tier of consumer, but the companies that sell them, along with those that attempt to massage
the larger stuff economy into something navigable, are still just working within a consumer
market that’s broken in systemic ways. The presence of so much stuff in America might be
more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy
on those who already have plenty. As options have expanded for people with disposable
income, the opportunity to buy even basic things such as fresh food or quality diapers has
contracted for much of America’s lower classes.

For start-ups that promise accessible simplicity, their very structure still might eventually push
them toward overwhelming variety. Most of these companies are based on hundreds of
millions of dollars of venture capital, the investors of which tend to expect a steep growth rate
that can’t be achieved by selling one great mattress or one great sneaker. Casper has
expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as
no-makeup makeup that requires little skill to apply, recently launched a full line of glittering
color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

SubQuestion No : 6
Q.6 Which of the following hypothetical statements would add the least depth to the
author’s prediction of the fate of start-ups offering few product options?
Ans 1. An exponential surge in their sales enables start-ups to meet their desired profit
goals without expanding their product catalogue.
2. Start-ups with few product options are no exception to the American consumer
market that is deeply divided along class lines.
3. With the motive of promoting certain rival companies, the government decides to
double the tax-rates for these start-ups.
4. With Casper and Glossier venturing into new product ranges, their regular
customers start losing trust in the companies and their products.

Question ID : 4891687989

Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has
consistently held that people who are presented with a few options make better, easier
decisions than those presented with many. . . . Helping consumers figure out what to buy
amid an endless sea of choice online has become a cottage industry unto itself. Many brands
and retailers now wield marketing buzzwords such as curation, differentiation, and discovery
as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find
such shoppers through the data gold mine of digital advertising, which can catalog people by
https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_CA… 5/48

gender, income level, personal interests, and more. Since Americans have lost the ability to
sort through the sheer volume of the consumer choices available to them, a ghost now has to
be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to
help a product follow you around the internet. Indeed, choice fatigue is one reason so many
people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms
and perpetually vacationing 20-somethings—who present an aspirational worldview, and then
recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely.
Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as
Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many
others have sprouted up to offer consumers freedom from choice: The companies have a few
aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those
things, and an ability to opt out of the stuff rat race. . . .

One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain
tier of consumer, but the companies that sell them, along with those that attempt to massage
the larger stuff economy into something navigable, are still just working within a consumer
market that’s broken in systemic ways. The presence of so much stuff in America might be
more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy
on those who already have plenty. As options have expanded for people with disposable
income, the opportunity to buy even basic things such as fresh food or quality diapers has
contracted for much of America’s lower classes.

For start-ups that promise accessible simplicity, their very structure still might eventually push
them toward overwhelming variety. Most of these companies are based on hundreds of
millions of dollars of venture capital, the investors of which tend to expect a steep growth rate
that can’t be achieved by selling one great mattress or one great sneaker. Casper has
expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as
no-makeup makeup that requires little skill to apply, recently launched a full line of glittering
color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

SubQuestion No : 7
Q.7 A new food brand plans to launch a series of products in the American market. Which
of the following product plans is most likely to be supported by the author of the
passage?
Ans 1. A range of 10 products priced between $5 and $10.

2. A range of 25 products priced between $10 and $25.

3. A range of 10 products priced between $10 and $25.

4. A range of 25 products priced between $5 and $10.

Question ID : 4891687986
Status : Answered
Chosen Option : 4

Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has
consistently held that people who are presented with a few options make better, easier
decisions than those presented with many. . . . Helping consumers figure out what to buy
amid an endless sea of choice online has become a cottage industry unto itself. Many brands
and retailers now wield marketing buzzwords such as curation, differentiation, and discovery
as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find
such shoppers through the data gold mine of digital advertising, which can catalog people by
gender, income level, personal interests, and more. Since Americans have lost the ability to
sort through the sheer volume of the consumer choices available to them, a ghost now has to
be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to
help a product follow you around the internet. Indeed, choice fatigue is one reason so many
people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms
and perpetually vacationing 20-somethings—who present an aspirational worldview, and then
recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely.
Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as
Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many
others have sprouted up to offer consumers freedom from choice: The companies have a few
aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those
things, and an ability to opt out of the stuff rat race. . . .

One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain
tier of consumer, but the companies that sell them, along with those that attempt to massage
the larger stuff economy into something navigable, are still just working within a consumer
market that’s broken in systemic ways. The presence of so much stuff in America might be
more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy
on those who already have plenty. As options have expanded for people with disposable
income, the opportunity to buy even basic things such as fresh food or quality diapers has
contracted for much of America’s lower classes.

https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_CA… 6/48

For start-ups that promise accessible simplicity, their very structure still might eventually push
them toward overwhelming variety. Most of these companies are based on hundreds of
millions of dollars of venture capital, the investors of which tend to expect a steep growth rate
that can’t be achieved by selling one great mattress or one great sneaker. Casper has
expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as
no-makeup makeup that requires little skill to apply, recently launched a full line of glittering
color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

SubQuestion No : 8
Q.8 Which one of the following best sums up the overall purpose of the examples of
Casper and Glossier in the passage?
Ans 1. They are increasing the purchasing power of poor Americans.

2. They are facilitating a uniform distribution of commodities in the market.

3. They are exceptions to a dominant trend in consumer markets.

4. They might transform into what they were exceptions to.

Question ID : 4891687985

Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has
consistently held that people who are presented with a few options make better, easier
decisions than those presented with many. . . . Helping consumers figure out what to buy
amid an endless sea of choice online has become a cottage industry unto itself. Many brands
and retailers now wield marketing buzzwords such as curation, differentiation, and discovery
as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find
such shoppers through the data gold mine of digital advertising, which can catalog people by
gender, income level, personal interests, and more. Since Americans have lost the ability to
sort through the sheer volume of the consumer choices available to them, a ghost now has to
be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to
help a product follow you around the internet. Indeed, choice fatigue is one reason so many
people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms
and perpetually vacationing 20-somethings—who present an aspirational worldview, and then
recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely.
Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as
Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many
others have sprouted up to offer consumers freedom from choice: The companies have a few
aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those
things, and an ability to opt out of the stuff rat race. . . .

One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain
tier of consumer, but the companies that sell them, along with those that attempt to massage
the larger stuff economy into something navigable, are still just working within a consumer
market that’s broken in systemic ways. The presence of so much stuff in America might be
more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy
on those who already have plenty. As options have expanded for people with disposable
income, the opportunity to buy even basic things such as fresh food or quality diapers has
contracted for much of America’s lower classes.

For start-ups that promise accessible simplicity, their very structure still might eventually push
them toward overwhelming variety. Most of these companies are based on hundreds of
millions of dollars of venture capital, the investors of which tend to expect a steep growth rate
that can’t be achieved by selling one great mattress or one great sneaker. Casper has
expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as
no-makeup makeup that requires little skill to apply, recently launched a full line of glittering
color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

SubQuestion No : 9
Q.9 All of the following, IF TRUE, would weaken the author’s claims EXCEPT:
Ans 1. the annual sale of companies that hired lifestyle influencers on Instagram for
marketing their products were 40% less than those that did not.
2. the empowerment felt by purchasers in buying a commodity were directly
proportional to the number of options they could choose from.
3. product options increased market competition, bringing down the prices of
commodities, which, in turn, increased purchasing power of the poor.
4. the annual sales growth of companies with fewer product options were higher than
that of companies which curated their products for target consumers.

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Question ID : 4891687988
Status : Answered
Chosen Option : 4

Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has
consistently held that people who are presented with a few options make better, easier
decisions than those presented with many. . . . Helping consumers figure out what to buy
amid an endless sea of choice online has become a cottage industry unto itself. Many brands
and retailers now wield marketing buzzwords such as curation, differentiation, and discovery
as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find
such shoppers through the data gold mine of digital advertising, which can catalog people by
gender, income level, personal interests, and more. Since Americans have lost the ability to
sort through the sheer volume of the consumer choices available to them, a ghost now has to
be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to
help a product follow you around the internet. Indeed, choice fatigue is one reason so many
people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms
and perpetually vacationing 20-somethings—who present an aspirational worldview, and then
recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely.
Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as
Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many
others have sprouted up to offer consumers freedom from choice: The companies have a few
aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those
things, and an ability to opt out of the stuff rat race. . . .

One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain
tier of consumer, but the companies that sell them, along with those that attempt to massage
the larger stuff economy into something navigable, are still just working within a consumer
market that’s broken in systemic ways. The presence of so much stuff in America might be
more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy
on those who already have plenty. As options have expanded for people with disposable
income, the opportunity to buy even basic things such as fresh food or quality diapers has
contracted for much of America’s lower classes.

For start-ups that promise accessible simplicity, their very structure still might eventually push
them toward overwhelming variety. Most of these companies are based on hundreds of
millions of dollars of venture capital, the investors of which tend to expect a steep growth rate
that can’t be achieved by selling one great mattress or one great sneaker. Casper has
expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as
no-makeup makeup that requires little skill to apply, recently launched a full line of glittering
color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

SubQuestion No : 10
Q.10 Based on the passage, all of the following can be inferred about consumer behaviour
EXCEPT that:
Ans 1. having too many product options can be overwhelming for consumers.

2. consumers are susceptible to marketing images that they see on social media.

3. consumers tend to prefer products by start-ups over those by established
companies.
4. too many options have made it difficult for consumers to trust products.

Question ID : 4891687987
Status : Answered
Chosen Option : 4

In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were
of medieval origin, Aladdin may be a more recent invention. Scholars have not found a
manuscript of the story that predates the version published in 1712 by Galland, who wrote in
his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab
...

Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited
Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his
own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of
Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the
extravagance of Versailles. The descriptions he uses were very similar to the descriptions of
the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author
Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo,
marveling at the jewels and riches of Versailles.” . . .

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For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the
story was invented in that 18th century period as a byproduct of French Orientalism, a
fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea
that Diyab might have based it on his own life — the experiences of a Middle Eastern man
encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was
ideally placed to embody the overlapping world of East and West, blending the storytelling
traditions of his homeland with his youthful observations of the wonder of 18th-century
France.” . . .

To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive
to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland
that would suggest that he was capable of developing a character like Aladdin with sympathy,
but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young
protagonist, as well as recognizing the kinds of injustices and opportunities that can transform
the path of any youthful adventurer.”

SubQuestion No : 11
Q.11 Which of the following does not contribute to the passage’s claim about the authorship
of Aladdin?
Ans 1. The story-line of many French fairy tales of the 18th century.

2. The depiction of the affluence of Versailles in Diyab’s travelogue.

3. The narrative sensibility of Diyab’s travelogue.

4. Galland’s acknowledgment of Diyab in his diary.

Question ID : 4891688006

In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were
of medieval origin, Aladdin may be a more recent invention. Scholars have not found a
manuscript of the story that predates the version published in 1712 by Galland, who wrote in
his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab
...

Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited
Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his
own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of
Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the
extravagance of Versailles. The descriptions he uses were very similar to the descriptions of
the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author
Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo,
marveling at the jewels and riches of Versailles.” . . .

For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the
story was invented in that 18th century period as a byproduct of French Orientalism, a
fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea
that Diyab might have based it on his own life — the experiences of a Middle Eastern man
encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was
ideally placed to embody the overlapping world of East and West, blending the storytelling
traditions of his homeland with his youthful observations of the wonder of 18th-century
France.” . . .

To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive
to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland
that would suggest that he was capable of developing a character like Aladdin with sympathy,
but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young
protagonist, as well as recognizing the kinds of injustices and opportunities that can transform
the path of any youthful adventurer.”

SubQuestion No : 12

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Q.12 The author of the passage is most likely to agree with which of the following
explanations for the origins of the story of Aladdin?
Ans 1. Galland derived the story of Aladdin from Diyab’s travelogue in which he recounts
his fascination with the wealth of Versailles.
2. Galland received the story of Aladdin from Diyab who, in turn, found it in an
incomplete medieval manuscript.
3. Basing it on his own life experiences, Diyab transmitted the story of Aladdin to
Galland who included it in Arabian Nights.
4. The story of Aladdin has its origins in an undiscovered, incomplete manuscript of a
medieval Arabic collection of stories.

Question ID : 4891688007

In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were
of medieval origin, Aladdin may be a more recent invention. Scholars have not found a
manuscript of the story that predates the version published in 1712 by Galland, who wrote in
his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab
...

Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited
Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his
own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of
Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the
extravagance of Versailles. The descriptions he uses were very similar to the descriptions of
the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author
Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo,
marveling at the jewels and riches of Versailles.” . . .

For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the
story was invented in that 18th century period as a byproduct of French Orientalism, a
fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea
that Diyab might have based it on his own life — the experiences of a Middle Eastern man
encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was
ideally placed to embody the overlapping world of East and West, blending the storytelling
traditions of his homeland with his youthful observations of the wonder of 18th-century
France.” . . .

To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive
to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland
that would suggest that he was capable of developing a character like Aladdin with sympathy,
but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young
protagonist, as well as recognizing the kinds of injustices and opportunities that can transform
the path of any youthful adventurer.”

SubQuestion No : 13
Q.13 Which of the following is the primary reason for why storytellers are still fascinated by
the story of Aladdin?
Ans 1. The traveller's experience that inspired the tale of Aladdin resonates even today.

2. The archetype of the rags-to-riches story of Aladdin makes it popular even today.

3. The tale of Aladdin documents the history of Europe and Middle East.

4. The story of Aladdin is evidence of the eighteenth century French Orientalist
attitude.

Question ID : 4891688005
Status : Answered
Chosen Option : 1

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In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were
of medieval origin, Aladdin may be a more recent invention. Scholars have not found a
manuscript of the story that predates the version published in 1712 by Galland, who wrote in
his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab
...

Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited
Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his
own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of
Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the
extravagance of Versailles. The descriptions he uses were very similar to the descriptions of
the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author
Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo,
marveling at the jewels and riches of Versailles.” . . .

For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been
inspired by the plots of French fairy tales that came out around the same time, or that the
story was invented in that 18th century period as a byproduct of French Orientalism, a
fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea
that Diyab might have based it on his own life — the experiences of a Middle Eastern man
encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was
ideally placed to embody the overlapping world of East and West, blending the storytelling
traditions of his homeland with his youthful observations of the wonder of 18th-century
France.” . . .

To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive
to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland
that would suggest that he was capable of developing a character like Aladdin with sympathy,
but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young
protagonist, as well as recognizing the kinds of injustices and opportunities that can transform
the path of any youthful adventurer.”

SubQuestion No : 14
Q.14 Which of the following, if true, would invalidate the inversion that the phrase “flips the
script” refers to?
Ans 1. The French fairy tales of the eighteenth century did not have rags-to-riches plot lines
like that of the tale of Aladdin.
2. Diyab’s travelogue described the affluence of the French city of Bordeaux, instead of
Versailles.
3. The description of opulence in Hanna Diyab’s and Antoine Galland’s narratives bore
no resemblance to each other.
4. Galland acknowledged in the published translations of Arabian Nights that he heard
the story of Aladdin from Diyab.

Question ID : 4891688004

In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first
European translator of . . . Arabian Nights [which] started as a series of translations of an
incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were
of medieval origin, Aladdin may be a more recent invention. Scholars have not found a
manuscript of the story that predates the version published in 1712 by Galland, who wrote in
his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab
...

Despite the fantastical elements of the story, scholars now think the main character may
actually be based on a real person’s real experiences. . . . Though Galland never credited
Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his
own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of
Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the
extravagance of Versailles. The descriptions he uses were very similar to the descriptions of
the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author
Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo,
marveling at the jewels and riches of Versailles.” . . .

For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been

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inspired by the plots of French fairy tales that came out around the same time, or that the
story was invented in that 18th century period as a byproduct of French Orientalism, a
fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea
that Diyab might have based it on his own life — the experiences of a Middle Eastern man
encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was
ideally placed to embody the overlapping world of East and West, blending the storytelling
traditions of his homeland with his youthful observations of the wonder of 18th-century
France.” . . .

To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep
finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world
today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots
due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive
to those people in a way that Galland is not. When you read this diary, you see this solidarity
among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland
that would suggest that he was capable of developing a character like Aladdin with sympathy,
but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young
protagonist, as well as recognizing the kinds of injustices and opportunities that can transform
the path of any youthful adventurer.”

SubQuestion No : 15
Q.15 All of the following serve as evidence for the character of Aladdin being based on
Hanna Diyab EXCEPT:
Ans 1. Diyab’s humble origins and class struggles, as recounted in his travelogue.

2. Diyab’s description of the wealth of Versailles in his travelogue.

3. Diyab’s cosmopolitanism and cross-cultural experience.

4. Diyab’s narration of the original story to Galland.

Question ID : 4891688003
Status : Answered
Chosen Option : 4

"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anti-
capitalist conservationism (not conservatism) that solaced itself with the vision of a pre-
industrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you
look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it,
belong to it or appropriate it for political or cultural ends – has always been contested territory.
...

In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of
Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up
space for rampant imaginative fancies. . . .

[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man
sings a song, and then others sing it after him, changing what they do not like" is the most
concise summary of his conclusions on its origins. He compared each rendition of a ballad to
an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is
tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock
idioms. Electrification, however, comes in many forms. For the early-20th-century composers
such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental
mysticism, angular modernism and the body blow of the first world war, as well as input from
the rediscovered folk tradition itself.

For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the
40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for folk-
rock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four
decades on, even that progressive period has become just one more era ripe for fashionable
emulation and pastiche. The idea of a folk tradition being exclusively confined to oral
transmission has become a much looser, less severely guarded concept. Recorded music
and television, for today's metropolitan generation, are where the equivalent of folk memories
are seeded. . . .

SubQuestion No : 16

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Q.16 At a conference on folk forms, the author of the passage is least likely to agree with
which one of the following views?
Ans 1. Folk forms, in their ability to constantly adapt to the changing world, exhibit an
unusual poise and homogeneity with each change.
2. Folk forms, despite their archaic origins, remain intellectually relevant in
contemporary times.
3. The plurality and democratising impulse of folk forms emanate from the
improvisation that its practitioners bring to it.
4. The power of folk resides in its contradictory ability to influence and be influenced by
the present while remaining rooted in the past.

Question ID : 4891687994

"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anti-
capitalist conservationism (not conservatism) that solaced itself with the vision of a pre-
industrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you
look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it,
belong to it or appropriate it for political or cultural ends – has always been contested territory.
...

In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of
Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up
space for rampant imaginative fancies. . . .

[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man
sings a song, and then others sing it after him, changing what they do not like" is the most
concise summary of his conclusions on its origins. He compared each rendition of a ballad to
an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is
tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock
idioms. Electrification, however, comes in many forms. For the early-20th-century composers
such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental
mysticism, angular modernism and the body blow of the first world war, as well as input from
the rediscovered folk tradition itself.

For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the
40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for folk-
rock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four
decades on, even that progressive period has become just one more era ripe for fashionable
emulation and pastiche. The idea of a folk tradition being exclusively confined to oral
transmission has become a much looser, less severely guarded concept. Recorded music
and television, for today's metropolitan generation, are where the equivalent of folk memories
are seeded. . . .

SubQuestion No : 17
Q.17 The primary purpose of the reference to William Morris and his floral prints is to show:
Ans 1. the pervasive influence of folk on contemporary art, culture, and fashion.

2. that what is once regarded as radical in folk, can later be seen as conformist.

3. that despite its archaic origins, folk continues to remain a popular tradition.

4. that what was once derided as genteel is now considered revolutionary.

Question ID : 4891687992

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11/29/2019 https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/…
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anti-
capitalist conservationism (not conservatism) that solaced itself with the vision of a pre-
industrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you
look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it,
belong to it or appropriate it for political or cultural ends – has always been contested territory.
...

In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of
Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up
space for rampant imaginative fancies. . . .

[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man
sings a song, and then others sing it after him, changing what they do not like" is the most
concise summary of his conclusions on its origins. He compared each rendition of a ballad to
an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is
tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock
idioms. Electrification, however, comes in many forms. For the early-20th-century composers
such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental
mysticism, angular modernism and the body blow of the first world war, as well as input from
the rediscovered folk tradition itself.

For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the
40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for folk-
rock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four
decades on, even that progressive period has become just one more era ripe for fashionable
emulation and pastiche. The idea of a folk tradition being exclusively confined to oral
transmission has become a much looser, less severely guarded concept. Recorded music
and television, for today's metropolitan generation, are where the equivalent of folk memories
are seeded. . . .

SubQuestion No : 18
Q.18 Which of the following statements about folk revivalism of the 1940s and 1960s cannot
be inferred from the passage?
Ans 1. It reinforced Cecil Sharp’s observation about folk’s constant transformation.

2. Freedom and rebellion were popular themes during the second wave of folk
revivalism.
3. Electrification of music would not have happened without the influence of rock
music.
4. Even though it led to folk-rock’s golden age, it wasn’t entirely free from critique.

Question ID : 4891687993

"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anti-
capitalist conservationism (not conservatism) that solaced itself with the vision of a pre-
industrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you
look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it,
belong to it or appropriate it for political or cultural ends – has always been contested territory.
...

In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of
Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up
space for rampant imaginative fancies. . . .

[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man
https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_C… 14/48

sings a song, and then others sing it after him, changing what they do not like" is the most
concise summary of his conclusions on its origins. He compared each rendition of a ballad to
an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is
tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock
idioms. Electrification, however, comes in many forms. For the early-20th-century composers
such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental
mysticism, angular modernism and the body blow of the first world war, as well as input from
the rediscovered folk tradition itself.

For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the
40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for folk-
rock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four
decades on, even that progressive period has become just one more era ripe for fashionable
emulation and pastiche. The idea of a folk tradition being exclusively confined to oral
transmission has become a much looser, less severely guarded concept. Recorded music
and television, for today's metropolitan generation, are where the equivalent of folk memories
are seeded. . . .

SubQuestion No : 19
Q.19 The author says that folk “may often appear a cosy, fossilised form” because:
Ans 1. the notion of folk has led to several debates and disagreements.

2. it has been arrogated for various political and cultural purposes.

3. of its nostalgic association with a pre-industrial past.

4. folk is a sonic “shabby chic” with an antique veneer.

Question ID : 4891687995

"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the
ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anti-
capitalist conservationism (not conservatism) that solaced itself with the vision of a pre-
industrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you
look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it,
belong to it or appropriate it for political or cultural ends – has always been contested territory.
...

In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying
fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the
radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk
historians and revivalists have led to music that is commonly regarded as parochial and
conservative. And yet – as newspaper columns periodically rejoice – folk is hip again,
influencing artists, clothing and furniture designers, celebrated at music festivals, awards
ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic",
containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of
Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up
space for rampant imaginative fancies. . . .

[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant
transformation, a living example of an art form in a perpetual state of renewal. "One man
sings a song, and then others sing it after him, changing what they do not like" is the most
concise summary of his conclusions on its origins. He compared each rendition of a ballad to
an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is
tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock
idioms. Electrification, however, comes in many forms. For the early-20th-century composers
such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental
mysticism, angular modernism and the body blow of the first world war, as well as input from
the rediscovered folk tradition itself.

For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the
40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their
younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical
freedom of Dylan and the unchained melodies of psychedelia created the conditions for folk-
rock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four
decades on, even that progressive period has become just one more era ripe for fashionable
emulation and pastiche. The idea of a folk tradition being exclusively confined to oral
transmission has become a much looser, less severely guarded concept. Recorded music
and television, for today's metropolitan generation, are where the equivalent of folk memories
are seeded. . . .

SubQuestion No : 20
Q.20 All of the following are causes for plurality and diversity within the British folk tradition
EXCEPT:

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Ans 1. the fluidity of folk forms owing to their history of oral mode of transmission.

2. that British folk continues to have traces of pagan influence from the dark ages.

3. that British folk forms can be traced to the remote past of the country.

4. paradoxically, folk forms are both popular and unpopular.

Question ID : 4891687991

Scientists recently discovered that Emperor Penguins—one of Antarctica’s most celebrated
species—employ a particularly unusual technique for surviving the daily chill. As detailed in an
article published today in the journal Biology Letters, the birds minimize heat loss by keeping
the outer surface of their plumage below the temperature of the surrounding air. At the same
time, the penguins’ thick plumage insulates their body and keeps it toasty. . . .

The researchers analyzed thermographic images . . . taken over roughly a month during June
2008. During that period, the average air temperature was 0.32 degrees Fahrenheit. At the
same time, the majority of the plumage covering the penguins’ bodies was even colder: the
surface of their warmest body part, their feet, was an average 1.76 degrees Fahrenheit, but
the plumage on their heads, chests and backs were -1.84, -7.24 and -9.76 degrees
Fahrenheit respectively. Overall, nearly the entire outer surface of the penguins’ bodies was
below freezing at all times, except for their eyes and beaks. The scientists also used a
computer simulation to determine how much heat was lost or gained from each part of the
body—and discovered that by keeping their outer surface below air temperature, the birds
might paradoxically be able to draw very slight amounts of heat from the air around them. The
key to their trick is the difference between two different types of heat transfer: radiation and
convection.

The penguins do lose internal body heat to the surrounding air through thermal radiation, just
as our bodies do on a cold day. Because their bodies (but not surface plumage) are warmer
than the surrounding air, heat gradually radiates outward over time, moving from a warmer
material to a colder one. To maintain body temperature while losing heat, penguins, like all
warm-blooded animals, rely on the metabolism of food. The penguins, though, have an
additional strategy. Since their outer plumage is even colder than the air, the simulation
showed that they might gain back a little of this heat through thermal convection—the transfer
of heat via the movement of a fluid (in this case, the air). As the cold Antarctic air cycles
around their bodies, slightly warmer air comes into contact with the plumage and donates
minute amounts of heat back to the penguins, then cycles away at a slightly colder
temperature.

Most of this heat, the researchers note, probably doesn’t make it all the way through the
plumage and back to the penguins’ bodies, but it could make a slight difference. At the very
least, the method by which a penguin’s plumage wicks heat from the bitterly cold air that
surrounds it helps to cancel out some of the heat that’s radiating from its interior. And given
the Emperors’ unusually demanding breeding cycle, every bit of warmth counts. . . . Since
[penguins trek as far as 75 miles to the coast to breed and male penguins] don’t eat anything
during [the incubation period of 64 days], conserving calories by giving up as little heat as
possible is absolutely crucial.

SubQuestion No : 21
Q.21 Which of the following best explains the purpose of the word “paradoxically” as used
by the author?
Ans 1. Keeping their body colder helps penguins keep their plumage warmer.

2. Heat loss through radiation happens despite the heat gain through convection.

3. Keeping a part of their body colder helps penguins keep their bodies warmer.

4. Heat gain through radiation happens despite the heat loss through convection.

Question ID : 4891688068

Scientists recently discovered that Emperor Penguins—one of Antarctica’s most celebrated
species—employ a particularly unusual technique for surviving the daily chill. As detailed in an
article published today in the journal Biology Letters, the birds minimize heat loss by keeping
the outer surface of their plumage below the temperature of the surrounding air. At the same
time, the penguins’ thick plumage insulates their body and keeps it toasty. . . .

The researchers analyzed thermographic images . . . taken over roughly a month during June
https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_C… 16/48

2008. During that period, the average air temperature was 0.32 degrees Fahrenheit. At the
same time, the majority of the plumage covering the penguins’ bodies was even colder: the
surface of their warmest body part, their feet, was an average 1.76 degrees Fahrenheit, but
the plumage on their heads, chests and backs were -1.84, -7.24 and -9.76 degrees
Fahrenheit respectively. Overall, nearly the entire outer surface of the penguins’ bodies was
below freezing at all times, except for their eyes and beaks. The scientists also used a
computer simulation to determine how much heat was lost or gained from each part of the
body—and discovered that by keeping their outer surface below air temperature, the birds
might paradoxically be able to draw very slight amounts of heat from the air around them. The
key to their trick is the difference between two different types of heat transfer: radiation and
convection.

The penguins do lose internal body heat to the surrounding air through thermal radiation, just
as our bodies do on a cold day. Because their bodies (but not surface plumage) are warmer
than the surrounding air, heat gradually radiates outward over time, moving from a warmer
material to a colder one. To maintain body temperature while losing heat, penguins, like all
warm-blooded animals, rely on the metabolism of food. The penguins, though, have an
additional strategy. Since their outer plumage is even colder than the air, the simulation
showed that they might gain back a little of this heat through thermal convection—the transfer
of heat via the movement of a fluid (in this case, the air). As the cold Antarctic air cycles
around their bodies, slightly warmer air comes into contact with the plumage and donates
minute amounts of heat back to the penguins, then cycles away at a slightly colder
temperature.

Most of this heat, the researchers note, probably doesn’t make it all the way through the
plumage and back to the penguins’ bodies, but it could make a slight difference. At the very
least, the method by which a penguin’s plumage wicks heat from the bitterly cold air that
surrounds it helps to cancel out some of the heat that’s radiating from its interior. And given
the Emperors’ unusually demanding breeding cycle, every bit of warmth counts. . . . Since
[penguins trek as far as 75 miles to the coast to breed and male penguins] don’t eat anything
during [the incubation period of 64 days], conserving calories by giving up as little heat as
possible is absolutely crucial.

SubQuestion No : 22
Q.22 Which of the following can be responsible for Emperor Penguins losing body heat?
Ans 1. Thermal convection.

2. Plumage.

3. Reproduction process.

4. Food metabolism.

Question ID : 4891688069
Status : Answered
Chosen Option : 2

Scientists recently discovered that Emperor Penguins—one of Antarctica’s most celebrated
species—employ a particularly unusual technique for surviving the daily chill. As detailed in an
article published today in the journal Biology Letters, the birds minimize heat loss by keeping
the outer surface of their plumage below the temperature of the surrounding air. At the same
time, the penguins’ thick plumage insulates their body and keeps it toasty. . . .

The researchers analyzed thermographic images . . . taken over roughly a month during June
2008. During that period, the average air temperature was 0.32 degrees Fahrenheit. At the
same time, the majority of the plumage covering the penguins’ bodies was even colder: the
surface of their warmest body part, their feet, was an average 1.76 degrees Fahrenheit, but
the plumage on their heads, chests and backs were -1.84, -7.24 and -9.76 degrees
Fahrenheit respectively. Overall, nearly the entire outer surface of the penguins’ bodies was
below freezing at all times, except for their eyes and beaks. The scientists also used a
computer simulation to determine how much heat was lost or gained from each part of the
body—and discovered that by keeping their outer surface below air temperature, the birds
might paradoxically be able to draw very slight amounts of heat from the air around them. The
key to their trick is the difference between two different types of heat transfer: radiation and
convection.

The penguins do lose internal body heat to the surrounding air through thermal radiation, just
as our bodies do on a cold day. Because their bodies (but not surface plumage) are warmer
than the surrounding air, heat gradually radiates outward over time, moving from a warmer
material to a colder one. To maintain body temperature while losing heat, penguins, like all
warm-blooded animals, rely on the metabolism of food. The penguins, though, have an
additional strategy. Since their outer plumage is even colder than the air, the simulation
showed that they might gain back a little of this heat through thermal convection—the transfer
of heat via the movement of a fluid (in this case, the air). As the cold Antarctic air cycles
around their bodies, slightly warmer air comes into contact with the plumage and donates
minute amounts of heat back to the penguins, then cycles away at a slightly colder
temperature.

Most of this heat, the researchers note, probably doesn’t make it all the way through the
https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/9239657_C… 17/48

plumage and back to the penguins’ bodies, but it could make a slight difference. At the very
least, the method by which a penguin’s plumage wicks heat from the bitterly cold air that
surrounds it helps to cancel out some of the heat that’s radiating from its interior. And given
the Emperors’ unusually demanding breeding cycle, every bit of warmth counts. . . . Since
[penguins trek as far as 75 miles to the coast to breed and male penguins] don’t eat anything
during [the incubation period of 64 days], conserving calories by giving up as little heat as
possible is absolutely crucial.

SubQuestion No : 23
Q.23 In the last sentence of paragraph 3, “slightly warmer air” and “at a slightly colder
temperature” refer to ______ AND ______ respectively:
Ans 1. the cold Antarctic air which becomes warmer because of the heat radiated out from
penguins’ bodies AND the fall in temperature of the surrounding air after thermal convection.
2. the cold Antarctic air whose temperature is higher than that of the plumage AND the
fall in temperature of the Antarctic air after it has transmitted some heat to the plumage.
3. the air trapped in the plumage which is warmer than the Antarctic air AND the fall in
temperature of the trapped plumage air after it radiates out some heat.
4. the air inside penguins’ bodies kept warm because of metabolism of food AND the
fall in temperature of the body air after it transfers some heat to the plumage.

Question ID : 4891688071

Scientists recently discovered that Emperor Penguins—one of Antarctica’s most celebrated
species—employ a particularly unusual technique for surviving the daily chill. As detailed in an
article published today in the journal Biology Letters, the birds minimize heat loss by keeping
the outer surface of their plumage below the temperature of the surrounding air. At the same
time, the penguins’ thick plumage insulates their body and keeps it toasty. . . .

The researchers analyzed thermographic images . . . taken over roughly a month during June
2008. During that period, the average air temperature was 0.32 degrees Fahrenheit. At the
same time, the majority of the plumage covering the penguins’ bodies was even colder: the
surface of their warmest body part, their feet, was an average 1.76 degrees Fahrenheit, but
the plumage on their heads, chests and backs were -1.84, -7.24 and -9.76 degrees
Fahrenheit respectively. Overall, nearly the entire outer surface of the penguins’ bodies was
below freezing at all times, except for their eyes and beaks. The scientists also used a
computer simulation to determine how much heat was lost or gained from each part of the
body—and discovered that by keeping their outer surface below air temperature, the birds
might paradoxically be able to draw very slight amounts of heat from the air around them. The
key to their trick is the difference between two different types of heat transfer: radiation and
convection.

The penguins do lose internal body heat to the surrounding air through thermal radiation, just
as our bodies do on a cold day. Because their bodies (but not surface plumage) are warmer
than the surrounding air, heat gradually radiates outward over time, moving from a warmer
material to a colder one. To maintain body temperature while losing heat, penguins, like all
warm-blooded animals, rely on the metabolism of food. The penguins, though, have an
additional strategy. Since their outer plumage is even colder than the air, the simulation
showed that they might gain back a little of this heat through thermal convection—the transfer
of heat via the movement of a fluid (in this case, the air). As the cold Antarctic air cycles
around their bodies, slightly warmer air comes into contact with the plumage and donates
minute amounts of heat back to the penguins, then cycles away at a slightly colder
temperature.

Most of this heat, the researchers note, probably doesn’t make it all the way through the
plumage and back to the penguins’ bodies, but it could make a slight difference. At the very
least, the method by which a penguin’s plumage wicks heat from the bitterly cold air that
surrounds it helps to cancel out some of the heat that’s radiating from its interior. And given
the Emperors’ unusually demanding breeding cycle, every bit of warmth counts. . . . Since
[penguins trek as far as 75 miles to the coast to breed and male penguins] don’t eat anything
during [the incubation period of 64 days], conserving calories by giving up as little heat as
possible is absolutely crucial.

SubQuestion No : 24
Q.24 All of the following, if true, would negate the findings of the study reported in the
passage EXCEPT:
Ans 1. the penguins’ plumage were made of a material that did not allow any heat transfer
through convection or radiation.
2. the temperature of the plumage on the penguins’ heads, chests and backs were
found to be 1.84, 7.24 and 9.76 degrees Fahrenheit respectively.
3. the average temperature of the feet of penguins in the month of June 2008 were
found to be 2.76 degrees Fahrenheit.
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4. the average air temperature recorded during the month of June 2008 in the area of
study were –10 degrees Fahrenheit.

Question ID : 4891688067
Status : Answered
Chosen Option : 3

Q.25 The passage given below is followed by four alternate summaries. Choose the option
that best captures the essence of the passage.

Vance Packard’s The Hidden Persuaders alerted the public to the psychoanalytical
techniques used by the advertising industry. Its premise was that advertising agencies
were using depth interviews to identify hidden consumer motivations, which were then
used to entice consumers to buy goods. Critics and reporters often wrongly assumed
that Packard was writing mainly about subliminal advertising. Packard never
mentioned the word subliminal, however, and devoted very little space to discussions
of “subthreshold” effects. Instead, his views largely aligned with the notion that
individuals do not always have access to their conscious thoughts and can be
persuaded by supraliminal messages without their knowledge.
Ans 1. Packard held that advertising as a ‘hidden persuasion’ builds on peoples’ conscious
thoughts and awareness, by understanding the hidden motivations of consumers and works
at the subliminal level.
2. Packard argued that advertising as a ‘hidden persuasion’ works at the supraliminal
level, wherein the people targeted are aware of being persuaded, after understanding the
hidden motivations of consumers and works.
3. Packard argued that advertising as a ‘hidden persuasion’ understands the hidden
motivations of consumers and works at the subliminal level, on the subconscious level of the
awareness of the people targeted.
4. Packard held that advertising as a ‘hidden persuasion’ understands the hidden
motivations of consumers and works at the supraliminal level, though the people targeted
have no awareness of being persuaded.

Question ID : 4891688101

Q.26 The passage given below is followed by four alternate summaries. Choose the option
that best captures the essence of the passage.

Physics is a pure science that seeks to understand the behavior of matter without
regard to whether it will afford any practical benefit. Engineering is the correlative
applied science in which physical theories are put to some specific use, such as
building a bridge or a nuclear reactor. Engineers obviously rely heavily on the
discoveries of physicists, but an engineer's knowledge of the world is not the same as
the physicist's knowledge. In fact, an engineer's know-how will often depend on
physical theories that, from the point of view of pure physics, are false. There are
some reasons for this. First, theories that are false in the purest and strictest sense
are still sometimes very good approximations to the true ones, and often have the
added virtue of being much easier to work with. Second, sometimes the true theories
apply only under highly idealized conditions which can only be created under
controlled experimental situations. The engineer finds that in the real world, theories
rejected by physicists yield more accurate predictions than the ones that they accept.
Ans 1. The relationship between pure and applied science is strictly linear, with the pure
science directing applied science, and never the other way round.
2. Though engineering draws heavily from pure science, it contributes to knowledge,
by incorporating the constraints and conditions in the real world.
3. The unique task of the engineer is to identify, understand, and interpret the design
constraints to produce a successful result.
4. Engineering and physics fundamentally differ on matters like building a bridge or a
nuclear reactor.

Question ID : 4891688144

Q.27 The four sentences (labelled 1, 2, 3, 4) given below, when properly sequenced

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11/29/2019 https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/…
would yield a coherent paragraph. Decide on the proper sequence of the order of
the sentences and key in the sequence of the four numbers as your answer.

1. People with dyslexia have difficulty with print-reading, and people with autism
spectrum disorder have difficulty with mind-reading.
2. An example of a lost cognitive instinct is mind-reading: our capacity to think of
ourselves and others as having beliefs, desires, thoughts and feelings.
3. Mind-reading looks increasingly like literacy, a skill we know for sure is not in our
genes, since scripts have been around for only 5,000-6,000 years.
4. Print-reading, like mind-reading varies across cultures, depends heavily on
certain parts of the brain, and is subject to developmental disorders.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 2341
Given 1324
Answer :

Question Type : SA
Question ID : 4891688267
Status : Answered

Q.28 Five sentences related to a topic are given below. Four of them can be put together
to form a meaningful and coherent short paragraph. Identify the odd one out.
Choose its number as your answer and key it in.
1. His idea to use sign language was not a completely new idea as Native
Americans used hand gestures to communicate with other tribes.
2. Ancient Greek philosopher Aristotle, for example, observed that men who are
deaf are incapable of speech.
3. People who were born deaf were denied the right to sign a will as they were
“presumed to understand nothing; because it is not possible that they have been
able to learn to read or write.”
4. Pushback against this prejudice began in the 16th century when Pedro Ponce de
León created a formal sign language for the hearing impaired.
5. For millennia, people with hearing impairments encountered marginalization
because it was believed that language could only be learned by hearing the spoken
word.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 2
Given 5
Answer :

Question Type : SA
Question ID : 4891688112
Status : Answered

Q.29 Five sentences related to a topic are given below in a jumbled order. Four of them
form a coherent and unified paragraph. Identify the odd sentence that does not go
with the four. Key in the number of the option that you choose.
1. ‘Stat’ signaled something measurable, while ‘matic’ advertised free labour; but
‘tron’, above all, indicated control.
2. It was a totem of high modernism, the intellectual and cultural mode that decreed
no process or phenomenon was too complex to be grasped, managed and
optimized.
3. Like the heraldic shields of ancient knights, these morphemes were painted onto
the names of scientific technologies to proclaim one’s history and achievements to
friends and enemies alike.
4. The historian Robert Proctor at Stanford University calls the suffix ‘-tron’, along
with ‘-matic’ and ‘-stat’, embodied symbols.
5. To gain the suffix was to acquire a proud and optimistic emblem of the electronic
and atomic age.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 2
Given 2
Answer :

Question Type : SA
Question ID : 4891688115
Status : Answered

Q.30 The four sentences (labelled 1, 2, 3, 4) given below, when properly sequenced
would yield a coherent paragraph. Decide on the proper sequence of the order of

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the sentences and key in the sequence of the four numbers as your answer.
1. We’ll all live under mob rule until then, which doesn’t help anyone.
2. Perhaps we need to learn to condense the feedback we receive online so that 100
replies carry the same weight as just one.
3. As we grow more comfortable with social media conversations being part of the
way we interact every day, we are going to have to learn how to deal with legitimate
criticism.
4. A new norm will arise where it is considered unacceptable to reply with the same
point that dozens of others have already.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 3241
Given 3421
Answer :

Question Type : SA
Question ID : 4891688120
Status : Answered

Q.31 Five sentences related to a topic are given below. Four of them can be put together
to form a meaningful and coherent short paragraph. Identify the odd one out.
Choose its number as your answer and key it in.

1. One argument is that actors that do not fit within a single, well-defined category
may suffer an “illegitimacy discount”.
2. Others believe that complex identities confuse audiences about an organization’s
role or purpose.
3. Some organizations have complex and multidimensional identities that span or
combine categories, while other organizations possess narrow identities.
4. Identity is one of the most important features of organizations, but there exist
opposing views among sociologists about how identity affects organizational
performance.
5. Those who think that complex identities are beneficial point to the strategic
advantages of ambiguity, and organizations’ potential to differentiate themselves
from competitors.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 1
Given 1
Answer :

Question Type : SA
Question ID : 4891688254
Status : Answered

Q.32 The four sentences (labelled 1, 2, 3, 4) given below, when properly sequenced
would yield a coherent paragraph. Decide on the proper sequence of the order of
the sentences and key in the sequence of the four numbers as your answer.
1. Metaphors may map to similar meanings across languages, but their subtle
differences can have a profound effect on our understanding of the world.
2. Latin scholars point out carpe diem is a horticultural metaphor that, particularly
seen in the context of its source, is more accurately translated as “plucking the
day,” evoking the plucking and gathering of ripening fruits or flowers, enjoying a
moment that is rooted in the sensory experience of nature, unrelated to the force
implied in seizing.
3. The phrase carpe diem, which is often translated as “seize the day and its
accompanying philosophy, has gone on to inspire countless people in how they live
their lives and motivates us to see the world a little differently from the norm
4. It’s an example of one of the more telling ways that we mistranslate metaphors
from one language to another, revealing in the process our hidden assumptions
about what we really value.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 3241
Given 2341
Answer :

Question Type : SA
Question ID : 4891688124
Status : Answered

Q.33 The four sentences (labelled 1, 2, 3, 4) given below, when properly sequenced
would yield a coherent paragraph. Decide on the proper sequence of the order of

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the sentences and key in the sequence of the four numbers as your answer.
1. If you’ve seen a little line of text on websites that says something like "customers
who bought this also enjoyed that” you have experienced this collaborative filtering
firsthand.
2. The problem with these algorithms is that they don’t take into account a host of
nuances and circumstances that might interfere with their accuracy.
3. If you just bought a gardening book for your cousin, you might get a flurry of
links to books about gardening, recommended just for you! – the algorithm has no
way of knowing you hate gardening and only bought the book as a gift.
4. Collaborative filtering is a mathematical algorithm by which correlations and co-
occurrences of behaviors are tracked and then used to make recommendations.
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 4123
Given 4132
Answer :

Question Type : SA
Question ID : 4891688133
Status : Answered

Q.34 The passage given below is followed by four alternate summaries. Choose the option
that best captures the essence of the passage.

A distinguishing feature of language is our ability to refer to absent things, known as
displaced reference. A speaker can bring distant referents to mind in the absence of
any obvious stimuli. Thoughts, not limited to the here and now, can pop into our heads
for unfathomable reasons. This ability to think about distant things necessarily
precedes the ability to talk about them. Thought precedes meaningful referential
communication. A prerequisite for the emergence of human-like meaningful symbols
is that the mental categories they relate to can be invoked even in the absence of
immediate stimuli.
Ans 1. Thoughts precede all speech acts and these thoughts pop up in our heads even in
the absence of any stimulus.
2. Displaced reference is particular to humans and thoughts pop into our heads for no
real reason.
3. Thoughts are essential to communication and only humans have the ability to think
about objects not present in their surroundings.
4. The ability to think about objects not present in our environment precedes the
development of human communication.

Question ID : 4891688146

Section : DILR

A supermarket has to place 12 items (coded A to L) in shelves numbered 1 to 16. Five of
these items are types of biscuits, three are types of candies and the rest are types of
savouries. Only one item can be kept in a shelf. Items are to be placed such that all items of
same type are clustered together with no empty shelf between items of the same type and at
least one empty shelf between two different types of items. At most two empty shelves can
have consecutive numbers.

The following additional facts are known.

1. A and B are to be placed in consecutively numbered shelves in increasing order.
2. I and J are to be placed in consecutively numbered shelves both higher numbered than the
shelves in which A and B are kept.
3. D, E and F are savouries and are to be placed in consecutively numbered shelves in
increasing order after all the biscuits and candies.
4. K is to be placed in shelf number 16.
5. L and J are items of the same type, while H is an item of a different type.
6. C is a candy and is to be placed in a shelf preceded by two empty shelves.
7. L is to be placed in a shelf preceded by exactly one empty shelf.

SubQuestion No : 1
Q.1 In how many different ways can the items be arranged on the shelves?
Ans

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1. 4

2. 2

3. 8

4. 1

Question ID : 4891688403

A supermarket has to place 12 items (coded A to L) in shelves numbered 1 to 16. Five of
these items are types of biscuits, three are types of candies and the rest are types of
savouries. Only one item can be kept in a shelf. Items are to be placed such that all items of
same type are clustered together with no empty shelf between items of the same type and at
least one empty shelf between two different types of items. At most two empty shelves can
have consecutive numbers.

The following additional facts are known.

1. A and B are to be placed in consecutively numbered shelves in increasing order.
2. I and J are to be placed in consecutively numbered shelves both higher numbered than the
shelves in which A and B are kept.
3. D, E and F are savouries and are to be placed in consecutively numbered shelves in
increasing order after all the biscuits and candies.
4. K is to be placed in shelf number 16.
5. L and J are items of the same type, while H is an item of a different type.
6. C is a candy and is to be placed in a shelf preceded by two empty shelves.
7. L is to be placed in a shelf preceded by exactly one empty shelf.

SubQuestion No : 2
Q.2 Which of the following items is not a type of biscuit?
Ans 1. A

2. L

3. B

4. G

Question ID : 4891688029

A supermarket has to place 12 items (coded A to L) in shelves numbered 1 to 16. Five of
these items are types of biscuits, three are types of candies and the rest are types of
savouries. Only one item can be kept in a shelf. Items are to be placed such that all items of
same type are clustered together with no empty shelf between items of the same type and at
least one empty shelf between two different types of items. At most two empty shelves can
have consecutive numbers.

The following additional facts are known.

1. A and B are to be placed in consecutively numbered shelves in increasing order.
2. I and J are to be placed in consecutively numbered shelves both higher numbered than the
shelves in which A and B are kept.
3. D, E and F are savouries and are to be placed in consecutively numbered shelves in
increasing order after all the biscuits and candies.
4. K is to be placed in shelf number 16.
5. L and J are items of the same type, while H is an item of a different type.
6. C is a candy and is to be placed in a shelf preceded by two empty shelves.
7. L is to be placed in a shelf preceded by exactly one empty shelf.

SubQuestion No : 3
Q.3 Which of the following can represent the numbers of the empty shelves in a possible
arrangement?
Ans 1. 1,7,11,12

2. 1,5,6,12

3. 1,2,6,12

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4. 1,2,8,12

Question ID : 4891688030

A supermarket has to place 12 items (coded A to L) in shelves numbered 1 to 16. Five of
these items are types of biscuits, three are types of candies and the rest are types of
savouries. Only one item can be kept in a shelf. Items are to be placed such that all items of
same type are clustered together with no empty shelf between items of the same type and at
least one empty shelf between two different types of items. At most two empty shelves can
have consecutive numbers.

The following additional facts are known.

1. A and B are to be placed in consecutively numbered shelves in increasing order.
2. I and J are to be placed in consecutively numbered shelves both higher numbered than the
shelves in which A and B are kept.
3. D, E and F are savouries and are to be placed in consecutively numbered shelves in
increasing order after all the biscuits and candies.
4. K is to be placed in shelf number 16.
5. L and J are items of the same type, while H is an item of a different type.
6. C is a candy and is to be placed in a shelf preceded by two empty shelves.
7. L is to be placed in a shelf preceded by exactly one empty shelf.

SubQuestion No : 4
Q.4 Which of the following statements is necessarily true?
Ans 1. There are two empty shelves between the biscuits and the candies.

2. All candies are kept before biscuits.

3. All biscuits are kept before candies.

4. There are at least four shelves between items B and C.

Question ID : 4891688031

A new game show on TV has 100 boxes numbered 1, 2, . . . , 100 in a row, each
containing a mystery prize. The prizes are items of different types, a, b, c, . . . , in
decreasing order of value. The most expensive item is of type a, a diamond ring, and there
is exactly one of these. You are told that the number of items at least doubles as you move
to the next type. For example, there would be at least twice as many items of type b as of
type a, at least twice as many items of type c as of type b and so on. There is no particular
order in which the prizes are placed in the boxes.

SubQuestion No : 5
Q.5 What is the minimum possible number of different types of prizes?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 2
Given --
Answer :

Question Type : SA
Question ID : 4891688391

A new game show on TV has 100 boxes numbered 1, 2, . . . , 100 in a row, each
containing a mystery prize. The prizes are items of different types, a, b, c, . . . , in
decreasing order of value. The most expensive item is of type a, a diamond ring, and there
is exactly one of these. You are told that the number of items at least doubles as you move
to the next type. For example, there would be at least twice as many items of type b as of
type a, at least twice as many items of type c as of type b and so on. There is no particular
order in which the prizes are placed in the boxes.

SubQuestion No : 6

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Q.6 What is the maximum possible number of different types of prizes?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 6
Given --
Answer :

Question Type : SA
Question ID : 4891688398

A new game show on TV has 100 boxes numbered 1, 2, . . . , 100 in a row, each containing a
mystery prize. The prizes are items of different types, a, b, c, . . . , in decreasing order of
value. The most expensive item is of type a, a diamond ring, and there is exactly one of these.
You are told that the number of items at least doubles as you move to the next type. For
example, there would be at least twice as many items of type b as of type a, at least twice as
many items of type c as of type b and so on. There is no particular order in which the prizes
are placed in the boxes.

SubQuestion No : 7
Q.7 Which of the following is not possible?
Ans 1. There are exactly 45 items of type c.

2. There are exactly 30 items of type b.

3. There are exactly 75 items of type e.

4. There are exactly 60 items of type d.

Question ID : 4891688243

A new game show on TV has 100 boxes numbered 1, 2, . . . , 100 in a row, each containing a
mystery prize. The prizes are items of different types, a, b, c, . . . , in decreasing order of
value. The most expensive item is of type a, a diamond ring, and there is exactly one of these.
You are told that the number of items at least doubles as you move to the next type. For
example, there would be at least twice as many items of type b as of type a, at least twice as
many items of type c as of type b and so on. There is no particular order in which the prizes
are placed in the boxes.

SubQuestion No : 8
Q.8 You ask for the type of item in box 45. Instead of being given a direct answer, you are
told that there are 31 items of the same type as box 45 in boxes 1 to 44 and 43 items of
the same type as box 45 in boxes 46 to 100.

What is the maximum possible number of different types of items?
Ans 1. 5

2. 4

3. 3

4. 6

Question ID : 4891688244

Five vendors are being considered for a service. The evaluation committee evaluated each
vendor on six aspects – Cost, Customer Service, Features, Quality, Reach, and Reliability.
Each of these evaluations are on a scale of 0 (worst) to 100 (perfect). The evaluation scores
on these aspects are shown in the radar chart. For example, Vendor 1 obtains a score of 52
on Reliability, Vendor 2 obtains a score of 45 on Features and Vendor 3 obtains a score of 90
on Cost.

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SubQuestion No : 9
Q.9 On which aspect is the median score of the five vendors the least?
Ans 1. Reliability

2. Quality

3. Customer Service

4. Cost

Question ID : 4891687945

Five vendors are being considered for a service. The evaluation committee evaluated each
vendor on six aspects – Cost, Customer Service, Features, Quality, Reach, and Reliability.
Each of these evaluations are on a scale of 0 (worst) to 100 (perfect). The evaluation scores
on these aspects are shown in the radar chart. For example, Vendor 1 obtains a score of 52
on Reliability, Vendor 2 obtains a score of 45 on Features and Vendor 3 obtains a score of 90
on Cost.

SubQuestion No : 10
Q.10 A vendor's final score is the average of their scores on all six aspects. Which vendor
has the highest final score?

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Ans 1. Vendor 3

2. Vendor 2

3. Vendor 4

4. Vendor 1

Question ID : 4891687946

Five vendors are being considered for a service. The evaluation committee evaluated each
vendor on six aspects – Cost, Customer Service, Features, Quality, Reach, and Reliability.
Each of these evaluations are on a scale of 0 (worst) to 100 (perfect). The evaluation scores
on these aspects are shown in the radar chart. For example, Vendor 1 obtains a score of 52
on Reliability, Vendor 2 obtains a score of 45 on Features and Vendor 3 obtains a score of 90
on Cost.

SubQuestion No : 11
Q.11 List of all the vendors who are among the top two scorers on the maximum number of
aspects is:
Ans 1. Vendor 1 and Vendor 2

2. Vendor 1 and Vendor 5

3. Vendor 2 and Vendor 5

4. Vendor 2, Vendor 3 and Vendor 4

Question ID : 4891687947

Five vendors are being considered for a service. The evaluation committee evaluated each
vendor on six aspects – Cost, Customer Service, Features, Quality, Reach, and Reliability.
Each of these evaluations are on a scale of 0 (worst) to 100 (perfect). The evaluation scores
on these aspects are shown in the radar chart. For example, Vendor 1 obtains a score of 52
on Reliability, Vendor 2 obtains a score of 45 on Features and Vendor 3 obtains a score of 90
on Cost.

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SubQuestion No : 12
Q.12 List of all the vendors who are among the top three vendors on all six aspects is:
Ans 1. Vendor 1 and Vendor 3

2. Vendor 3

3. Vendor 1

4. None of the Vendors

Question ID : 4891687948

The figure below shows the street map for a certain region with the street intersections
marked from a through l. A person standing at an intersection can see along straight lines to
other intersections that are in her line of sight and all other people standing at these
intersections. For example, a person standing at intersection g can see all people standing at
intersections b, c, e, f, h, and k. In particular, the person standing at intersection g can see the
person standing at intersection e irrespective of whether there is a person standing at
intersection f.

.

Six people U, V, W, X, Y, and Z, are standing at different intersections. No two people are
standing at the same intersection.

The following additional facts are known.

1. X, U, and Z are standing at the three corners of a triangle formed by three street segments.
2. X can see only U and Z.
3. Y can see only U and W.
4. U sees V standing in the next intersection behind Z.
5. W cannot see V or Z.
6. No one among the six is standing at intersection d.

SubQuestion No : 13
Q.13 Who is standing at intersection a?

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Ans 1. V

2. W

3. No one

4. Y

Question ID : 4891688344

The figure below shows the street map for a certain region with the street intersections
marked from a through l. A person standing at an intersection can see along straight lines to
other intersections that are in her line of sight and all other people standing at these
intersections. For example, a person standing at intersection g can see all people standing at
intersections b, c, e, f, h, and k. In particular, the person standing at intersection g can see the
person standing at intersection e irrespective of whether there is a person standing at
intersection f.

.

Six people U, V, W, X, Y, and Z, are standing at different intersections. No two people are
standing at the same intersection.

The following additional facts are known.

1. X, U, and Z are standing at the three corners of a triangle formed by three street segments.
2. X can see only U and Z.
3. Y can see only U and W.
4. U sees V standing in the next intersection behind Z.
5. W cannot see V or Z.
6. No one among the six is standing at intersection d.

SubQuestion No : 14
Q.14 Who can V see?
Ans 1. U and Z only

2. Z only

3. U only

4. U, W and Z only

Question ID : 4891688345

The figure below shows the street map for a certain region with the street intersections
marked from a through l. A person standing at an intersection can see along straight lines to
other intersections that are in her line of sight and all other people standing at these
intersections. For example, a person standing at intersection g can see all people standing at
intersections b, c, e, f, h, and k. In particular, the person standing at intersection g can see the
person standing at intersection e irrespective of whether there is a person standing at
intersection f.

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.

Six people U, V, W, X, Y, and Z, are standing at different intersections. No two people are
standing at the same intersection.

The following additional facts are known.

1. X, U, and Z are standing at the three corners of a triangle formed by three street segments.
2. X can see only U and Z.
3. Y can see only U and W.
4. U sees V standing in the next intersection behind Z.
5. W cannot see V or Z.
6. No one among the six is standing at intersection d.

SubQuestion No : 15
Q.15 What is the minimum number of street segments that X must cross to reach Y?
Ans 1. 1

2. 2

3. 3

4. 4

Question ID : 4891688346

The figure below shows the street map for a certain region with the street intersections
marked from a through l. A person standing at an intersection can see along straight lines to
other intersections that are in her line of sight and all other people standing at these
intersections. For example, a person standing at intersection g can see all people standing at
intersections b, c, e, f, h, and k. In particular, the person standing at intersection g can see the
person standing at intersection e irrespective of whether there is a person standing at
intersection f.

.

Six people U, V, W, X, Y, and Z, are standing at different intersections. No two people are
standing at the same intersection.

The following additional facts are known.

1. X, U, and Z are standing at the three corners of a triangle formed by three street segments.
2. X can see only U and Z.
3. Y can see only U and W.
4. U sees V standing in the next intersection behind Z.
5. W cannot see V or Z.
6. No one among the six is standing at intersection d.

SubQuestion No : 16

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Q.16 Should a new person stand at intersection d, who among the six would she see?
Ans 1. W and X only

2. U and W only

3. V and X only

4. U and Z only

Question ID : 4891688347

Six players – Tanzi, Umeza, Wangdu, Xyla, Yonita and Zeneca competed in an archery
tournament. The tournament had three compulsory rounds, Rounds 1 to 3. In each round
every player shot an arrow at a target. Hitting the centre of the target (called bull’s eye)
fetched the highest score of 5. The only other possible scores that a player could achieve
were 4, 3, 2 and 1. Every bull’s eye score in the first three rounds gave a player one additional
chance to shoot in the bonus rounds, Rounds 4 to 6. The possible scores in Rounds 4 to 6
were identical to the first three.

A player’s total score in the tournament was the sum of his/her scores in all rounds played by
him/her. The table below presents partial information on points scored by the players after
completion of the tournament. In the table, NP means that the player did not participate in that
round, while a hyphen means that the player participated in that round and the score
information is missing.

The following facts are also known.

1.Tanzi, Umeza and Yonita had the same total score.
2.Total scores for all players, except one, were in multiples of three.
3.The highest total score was one more than double of the lowest total score.
4.The number of players hitting bull’s eye in Round 2 was double of that in Round 3.
5.Tanzi and Zeneca had the same score in Round 1 but different scores in Round 3.

SubQuestion No : 17
Q.17 What was the highest total score?
Ans 1. 25

2. 23

3. 24

4. 21

Question ID : 4891688312

Six players – Tanzi, Umeza, Wangdu, Xyla, Yonita and Zeneca competed in an archery
tournament. The tournament had three compulsory rounds, Rounds 1 to 3. In each round
every player shot an arrow at a target. Hitting the centre of the target (called bull’s eye)
fetched the highest score of 5. The only other possible scores that a player could achieve
were 4, 3, 2 and 1. Every bull’s eye score in the first three rounds gave a player one additional
chance to shoot in the bonus rounds, Rounds 4 to 6. The possible scores in Rounds 4 to 6
were identical to the first three.

A player’s total score in the tournament was the sum of his/her scores in all rounds played by
him/her. The table below presents partial information on points scored by the players after
completion of the tournament. In the table, NP means that the player did not participate in that
round, while a hyphen means that the player participated in that round and the score
information is missing.

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The following facts are also known.

1.Tanzi, Umeza and Yonita had the same total score.
2.Total scores for all players, except one, were in multiples of three.
3.The highest total score was one more than double of the lowest total score.
4.The number of players hitting bull’s eye in Round 2 was double of that in Round 3.
5.Tanzi and Zeneca had the same score in Round 1 but different scores in Round 3.

SubQuestion No : 18
Q.18 What was Zeneca's total score?
Ans 1. 21

2. 24

3. 22

4. 23

Question ID : 4891688313

Six players – Tanzi, Umeza, Wangdu, Xyla, Yonita and Zeneca competed in an archery
tournament. The tournament had three compulsory rounds, Rounds 1 to 3. In each round
every player shot an arrow at a target. Hitting the centre of the target (called bull’s eye)
fetched the highest score of 5. The only other possible scores that a player could achieve
were 4, 3, 2 and 1. Every bull’s eye score in the first three rounds gave a player one additional
chance to shoot in the bonus rounds, Rounds 4 to 6. The possible scores in Rounds 4 to 6
were identical to the first three.

A player’s total score in the tournament was the sum of his/her scores in all rounds played by
him/her. The table below presents partial information on points scored by the players after
completion of the tournament. In the table, NP means that the player did not participate in that
round, while a hyphen means that the player participated in that round and the score
information is missing.

The following facts are also known.

1.Tanzi, Umeza and Yonita had the same total score.
2.Total scores for all players, except one, were in multiples of three.
3.The highest total score was one more than double of the lowest total score.
4.The number of players hitting bull’s eye in Round 2 was double of that in Round 3.
5.Tanzi and Zeneca had the same score in Round 1 but different scores in Round 3.

SubQuestion No : 19
Q.19 Which of the following statements is true?
Ans 1. Zeneca’s score was 23.

2. Xyla was the highest scorer.

3. Xyla’s score was 23.

4. Zeneca was the highest scorer.

Question ID : 4891688314

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Six players – Tanzi, Umeza, Wangdu, Xyla, Yonita and Zeneca competed in an archery
tournament. The tournament had three compulsory rounds, Rounds 1 to 3. In each round
every player shot an arrow at a target. Hitting the centre of the target (called bull’s eye)
fetched the highest score of 5. The only other possible scores that a player could achieve
were 4, 3, 2 and 1. Every bull’s eye score in the first three rounds gave a player one additional
chance to shoot in the bonus rounds, Rounds 4 to 6. The possible scores in Rounds 4 to 6
were identical to the first three.

A player’s total score in the tournament was the sum of his/her scores in all rounds played by
him/her. The table below presents partial information on points scored by the players after
completion of the tournament. In the table, NP means that the player did not participate in that
round, while a hyphen means that the player participated in that round and the score
information is missing.

The following facts are also known.

1.Tanzi, Umeza and Yonita had the same total score.
2.Total scores for all players, except one, were in multiples of three.
3.The highest total score was one more than double of the lowest total score.
4.The number of players hitting bull’s eye in Round 2 was double of that in Round 3.
5.Tanzi and Zeneca had the same score in Round 1 but different scores in Round 3.

SubQuestion No : 20
Q.20 What was Tanzi's score in Round 3?
Ans 1. 3

2. 4

3. 1

4. 5

Question ID : 4891688315

Princess, Queen, Rani and Samragni were the four finalists in a dance competition. Ashman,
Badal, Gagan and Dyu were the four music composers who individually assigned items to the
dancers. Each dancer had to individually perform in two dance items assigned by the
different composers. The first items performed by the four dancers were all assigned by
different music composers. No dancer performed her second item before the performance of
the first item by any other dancers. The dancers performed their second items in the same
sequence of their performance of their first items.

The following additional facts are known.

i) No composer who assigned item to Princess, assigned any item to Queen.
ii) No composer who assigned item to Rani, assigned any item to Samragni.
iii) The first performance was by Princess; this item was assigned by Badal.
iv) The last performance was by Rani; this item was assigned by Gagan.
v) The items assigned by Ashman were performed consecutively. The number of
performances between items assigned by each of the remaining composers was the same.

SubQuestion No : 21
Q.21 Which of the following is true?
Ans 1. The third performance was composed by Ashman.

2. The second performance was composed by Gagan.

3. The third performance was composed by Dyu.

4. The second performance was composed by Dyu.

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Question ID : 4891687570
Status : Answered
Chosen Option : 4

Princess, Queen, Rani and Samragni were the four finalists in a dance competition. Ashman,
Badal, Gagan and Dyu were the four music composers who individually assigned items to the
dancers. Each dancer had to individually perform in two dance items assigned by the
different composers. The first items performed by the four dancers were all assigned by
different music composers. No dancer performed her second item before the performance of
the first item by any other dancers. The dancers performed their second items in the same
sequence of their performance of their first items.

The following additional facts are known.

i) No composer who assigned item to Princess, assigned any item to Queen.
ii) No composer who assigned item to Rani, assigned any item to Samragni.
iii) The first performance was by Princess; this item was assigned by Badal.
iv) The last performance was by Rani; this item was assigned by Gagan.
v) The items assigned by Ashman were performed consecutively. The number of
performances between items assigned by each of the remaining composers was the same.

SubQuestion No : 22
Q.22 Which of the following is FALSE?
Ans 1. Princess did not perform in any item composed by Dyu.

2. Queen did not perform in any item composed by Gagan.

3. Samragni did not perform in any item composed by Ashman.

4. Rani did not perform in any item composed by Badal.

Question ID : 4891687571
Status : Answered
Chosen Option : 3

Princess, Queen, Rani and Samragni were the four finalists in a dance competition. Ashman,
Badal, Gagan and Dyu were the four music composers who individually assigned items to the
dancers. Each dancer had to individually perform in two dance items assigned by the
different composers. The first items performed by the four dancers were all assigned by
different music composers. No dancer performed her second item before the performance of
the first item by any other dancers. The dancers performed their second items in the same
sequence of their performance of their first items.

The following additional facts are known.

i) No composer who assigned item to Princess, assigned any item to Queen.
ii) No composer who assigned item to Rani, assigned any item to Samragni.
iii) The first performance was by Princess; this item was assigned by Badal.
iv) The last performance was by Rani; this item was assigned by Gagan.
v) The items assigned by Ashman were performed consecutively. The number of
performances between items assigned by each of the remaining composers was the same.

SubQuestion No : 23
Q.23 The sixth performance was composed by:
Ans 1. Gagan

2. Dyu

3. Badal

4. Ashman

Question ID : 4891687572
Status : Answered
Chosen Option : 3

Princess, Queen, Rani and Samragni were the four finalists in a dance competition. Ashman,
Badal, Gagan and Dyu were the four music composers who individually assigned items to the
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dancers. Each dancer had to individually perform in two dance items assigned by the
different composers. The first items performed by the four dancers were all assigned by
different music composers. No dancer performed her second item before the performance of
the first item by any other dancers. The dancers performed their second items in the same
sequence of their performance of their first items.

The following additional facts are known.

i) No composer who assigned item to Princess, assigned any item to Queen.
ii) No composer who assigned item to Rani, assigned any item to Samragni.
iii) The first performance was by Princess; this item was assigned by Badal.
iv) The last performance was by Rani; this item was assigned by Gagan.
v) The items assigned by Ashman were performed consecutively. The number of
performances between items assigned by each of the remaining composers was the same.

SubQuestion No : 24
Q.24 Which pair of performances were composed by the same composer?
Ans 1. The first and the sixth

2. The first and the seventh

3. The second and the sixth

4. The third and the seventh

Question ID : 4891687573
Status : Answered
Chosen Option : 1

The Ministry of Home Affairs is analysing crimes committed by foreigners in different states
and union territories (UT) of India. All cases refer to the ones registered against foreigners
in 2016.

The number of cases – classified into three categories: IPC crimes, SLL crimes and other
crimes – for nine states/UTs are shown in the figure below. These nine belong to the top
ten states/UTs in terms of the total number of cases registered. The remaining state
(among top ten) is West Bengal, where all the 520 cases registered were SLL crimes.

The table below shows the ranks of the ten states/UTs mentioned above among ALL
states/UTs of India in terms of the number of cases registered in each of the three category
of crimes. A state/UT is given rank r for a category of crimes if there are (r‐1) states/UTs
having a larger number of cases registered in that category of crimes. For example, if two
states have the same number of cases in a category, and exactly three other states/UTs
have larger numbers of cases registered in the same category, then both the states are
given rank 4 in that category. Missing ranks in the table are denoted by *.

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SubQuestion No : 25
Q.25 What is the rank of Kerala in the ‘IPC crimes’ category?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 5
Given --
Answer :

Question Type : SA
Question ID : 4891688377

The Ministry of Home Affairs is analysing crimes committed by foreigners in different states
and union territories (UT) of India. All cases refer to the ones registered against foreigners in
2016.

The number of cases – classified into three categories: IPC crimes, SLL crimes and other
crimes – for nine states/UTs are shown in the figure below. These nine belong to the top ten
states/UTs in terms of the total number of cases registered. The remaining state (among top
ten) is West Bengal, where all the 520 cases registered were SLL crimes.

The table below shows the ranks of the ten states/UTs mentioned above among ALL
states/UTs of India in terms of the number of cases registered in each of the three category of
crimes. A state/UT is given rank r for a category of crimes if there are (r‐1) states/UTs having
a larger number of cases registered in that category of crimes. For example, if two states
have the same number of cases in a category, and exactly three other states/UTs have larger
numbers of cases registered in the same category, then both the states are given rank 4 in
that category. Missing ranks in the table are denoted by *.

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SubQuestion No : 26
Q.26 In the two states where the highest total number of cases are registered, the ratio of
the total number of cases in IPC crimes to the total number in SLL crimes is closest to
Ans 1. 1:9

2. 11:10

3. 3:2

4. 19:20

Question ID : 4891687959

The Ministry of Home Affairs is analysing crimes committed by foreigners in different states
and union territories (UT) of India. All cases refer to the ones registered against foreigners in
2016.

The number of cases – classified into three categories: IPC crimes, SLL crimes and other
crimes – for nine states/UTs are shown in the figure below. These nine belong to the top ten
states/UTs in terms of the total number of cases registered. The remaining state (among top
ten) is West Bengal, where all the 520 cases registered were SLL crimes.

The table below shows the ranks of the ten states/UTs mentioned above among ALL
states/UTs of India in terms of the number of cases registered in each of the three category of
crimes. A state/UT is given rank r for a category of crimes if there are (r‐1) states/UTs having
a larger number of cases registered in that category of crimes. For example, if two states
have the same number of cases in a category, and exactly three other states/UTs have larger
numbers of cases registered in the same category, then both the states are given rank 4 in
that category. Missing ranks in the table are denoted by *.

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SubQuestion No : 27
Q.27 Which of the following is DEFINITELY true about the ranks of states/UT in the ‘other
crimes’ category?
i) Tamil Nadu: 2
ii) Puducherry: 3
Ans 1. only ii)

2. both i) and ii)

3. neither i) , nor ii)

4. only i)

Question ID : 4891687960

The Ministry of Home Affairs is analysing crimes committed by foreigners in different states
and union territories (UT) of India. All cases refer to the ones registered against foreigners
in 2016.

The number of cases – classified into three categories: IPC crimes, SLL crimes and other
crimes – for nine states/UTs are shown in the figure below. These nine belong to the top
ten states/UTs in terms of the total number of cases registered. The remaining state
(among top ten) is West Bengal, where all the 520 cases registered were SLL crimes.

The table below shows the ranks of the ten states/UTs mentioned above among ALL
states/UTs of India in terms of the number of cases registered in each of the three category
of crimes. A state/UT is given rank r for a category of crimes if there are (r‐1) states/UTs
having a larger number of cases registered in that category of crimes. For example, if two
states have the same number of cases in a category, and exactly three other states/UTs

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have larger numbers of cases registered in the same category, then both the states are
given rank 4 in that category. Missing ranks in the table are denoted by *.

SubQuestion No : 28
Q.28 What is the sum of the ranks of Delhi in the three categories of crimes?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 5
Given --
Answer :

Question Type : SA
Question ID : 4891688378

The following table represents addition of two six-digit numbers given in the first and the
second rows, while the sum is given in the third row. In the representation, each of the
digits 0, 1, 2, 3, 4, 5, 6, 7, 8, 9 has been coded with one letter among A, B, C, D, E, F, G,
H, J, K, with distinct letters representing distinct digits.

SubQuestion No : 29
Q.29 Which digit does the letter A represent?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 1
Given 1
Answer :

Question Type : SA
Question ID : 4891688387
Status : Answered

The following table represents addition of two six-digit numbers given in the first and the
second rows, while the sum is given in the third row. In the representation, each of the
digits 0, 1, 2, 3, 4, 5, 6, 7, 8, 9 has been coded with one letter among A, B, C, D, E, F, G,
H, J, K, with distinct letters representing distinct digits.

SubQuestion No : 30
Q.30 Which digit does the letter B represent?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 9
Given --

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Answer :

Question Type : SA
Question ID : 4891688388

The following table represents addition of two six-digit numbers given in the first and the
second rows, while the sum is given in the third row. In the representation, each of the
digits 0, 1, 2, 3, 4, 5, 6, 7, 8, 9 has been coded with one letter among A, B, C, D, E, F, G,
H, J, K, with distinct letters representing distinct digits.

SubQuestion No : 31
Q.31 Which among the digits 3, 4, 6 and 7 cannot be represented by the letter D?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 7
Given --
Answer :

Question Type : SA
Question ID : 4891688389

The following table represents addition of two six-digit numbers given in the first and the
second rows, while the sum is given in the third row. In the representation, each of the
digits 0, 1, 2, 3, 4, 5, 6, 7, 8, 9 has been coded with one letter among A, B, C, D, E, F, G,
H, J, K, with distinct letters representing distinct digits.

SubQuestion No : 32
Q.32 Which among the digits 4, 6, 7 and 8 cannot be represented by the letter G?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 6
Given --
Answer :

Question Type : SA
Question ID : 4891688390

Section : QA

Q.1 In a class, 60% of the students are girls and the rest are boys. There are 30 more
girls than boys. If 68% of the students, including 30 boys, pass an examination, the
percentage of the girls who do not pass is
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 20
Given 20
Answer :

Question Type : SA
Question ID : 4891687671
Status : Answered

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Q.2 The wheels of bicycles A and B have radii 30 cm and 40 cm, respectively. While
traveling a certain distance, each wheel of A required 5000 more revolutions than each
wheel of B. If bicycle B traveled this distance in 45 minutes, then its speed, in km per
hour, was
Ans 1. 14π

2. 18π

3. 12π

4. 16π

Question ID : 4891687639

Q.3 Meena scores 40% in an examination and after review, even though her score is
increased by 50%, she fails by 35 marks. If her post-review score is increased by 20%,
she will have 7 marks more than the passing score. The percentage score needed for
passing the examination is
Ans 1. 60

2. 75

3. 80

4. 70

Question ID : 4891687899

Q.4 Let x and y be positive real numbers such that
log5 (x + y) + log5 (x − y) = 3, and log2 y − log2 x = 1 − log2 3. Then xy equals
Ans 1. 150

2. 100

3. 25

4. 250

Question ID : 4891687587

Q.5 On selling a pen at 5% loss and a book at 15% gain, Karim gains Rs. 7. If he sells the
pen at 5% gain and the book at 10% gain, he gains Rs. 13. What is the cost price of the
book in Rupees?
Ans 1. 95

2. 100

3. 80

4. 85

Question ID : 4891687542

Q.6 The product of the distinct roots of ∣ x2 − x − 6∣ = x + 2 is

Ans 1. −16

2. -8

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3. -24

4. -4

Question ID : 4891687533

Q.7 Let S be the set of all points (x, y) in the x-y plane such that | x | + | y | ≤ 2 and | x | ≥
1. Then, the area, in square units, of the region represented by S equals
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 2
Given --
Answer :

Question Type : SA
Question ID : 4891687632

Q.8 Corners are cut off from an equilateral triangle T to produce a regular hexagon H.
Then, the ratio of the area of H to the area of T is
Ans 1. 3 : 4

2. 2 : 3

3. 5 : 6

4. 4 : 5

Question ID : 4891687816

Q.9 The number of the real roots of the equation 2cos (x ( x + 1 ) ) =
2x + 2-x is
Ans 1. 1

2. 0

3. 2

4. infinite

Question ID : 4891687799

Q.10 Three men and eight machines can finish a job in half the time taken by three
machines and eight men to finish the same job. If two machines can finish the job in
13 days, then how many men can finish the job in 13 days?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 13
Given --
Answer :

Question Type : SA
Question ID : 4891687634

Q.11

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Case Sensitivity: No
Answer Type: Equal
Possible Answer: 3
Given --
Answer :

Question Type : SA
Question ID : 4891688278

Q.12 If the rectangular faces of a brick have their diagonals in the ratio 3 : 2√3 : √15, then
the ratio of the length of the shortest edge of the brick to that of its longest edge is
Ans 1.

2.

3.

4.

Question ID : 4891687644

Q.13 Let T be the triangle formed by the straight line 3x + 5y - 45 = 0 and the coordinate
axes. Let the circumcircle of T have radius of length L, measured in the same unit
as the coordinate axes. Then, the integer closest to L is
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 9
Given --
Answer :

Question Type : SA
Question ID : 4891687635

Q.14 AB is a diameter of a circle of radius 5 cm. Let P and Q be two points on the circle so
that the length of PB is 6 cm, and the length of AP is twice that of AQ. Then the length,
in cm, of QB is nearest to
Ans 1. 9.3

2. 8.5

3. 9.1

4. 7.8

Question ID : 4891687676

Q.15 A chemist mixes two liquids 1 and 2. One litre of liquid 1 weighs 1 kg

and one litre of liquid 2 weighs 800 gm. If half litre of the mixture
weighs 480 gm, then the percentage of liquid 1 in the mixture, in
terms of volume, is
Ans 1. 70

2. 80

3. 75

4. 85

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Question ID : 4891687685

Q.16 The income of Amala is 20% more than that of Bimala and 20% less than that of
Kamala. If Kamala's income goes down by 4% and Bimala's goes up by 10%, then the
percentage by which Kamala's income would exceed Bimala's is nearest to
Ans 1. 28

2. 31

3. 29

4. 32

Question ID : 4891687648
Status : Answered
Chosen Option : 1

Q.17 For any positive integer n, let f(n) = n(n + 1) if n is even, and f(n) = n + 3 if n is odd.
If m is a positive integer such that 8f(m + 1) - f(m) = 2, then m equals
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 10
Given --
Answer :

Question Type : SA
Question ID : 4891687642

Q.18 Ramesh and Gautam are among 22 students who write an examination. Ramesh
scores 82.5. The average score of the 21 students other than Gautam is 62. The
average score of all the 22 students is one more than the average score of the 21
students other than Ramesh. The score of Gautam is
Ans 1. 48

2. 53

3. 51

4. 49

Question ID : 4891687867

Q.19 At their usual efficiency levels, A and B together finish a task in 12 days. If A had
worked half as efficiently as she usually does, and B had worked thrice as efficiently
as he usually does, the task would have been completed in 9 days. How many days
would A take to finish the task if she works alone at her usual efficiency?
Ans 1. 18

2. 12

3. 36

4. 24

Question ID : 4891687653

Q.20

Case Sensitivity: No

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Answer Type: Equal
Possible Answer: 5
Given --
Answer :

Question Type : SA
Question ID : 4891688275

Q.21 Amala, Bina, and Gouri invest money in the ratio 3 : 4 : 5 in fixed deposits having
respective annual interest rates in the ratio 6 : 5 : 4. What is their total interest income
(in Rs) after a year, if Bina's interest income exceeds Amala's by Rs 250?
Ans 1. 7250

2. 6350

3. 7000

4. 6000

Question ID : 4891687654

Q.22 In a circle of radius 11 cm, CD is a diameter and AB is a chord of length 20.5 cm. If AB
and CD intersect at a point E inside the circle and CE has length 7 cm, then the
difference of the lengths of BE and AE, in cm, is
Ans 1. 3.5

2. 1.5

3. 0.5

4. 2.5

Question ID : 4891687901

Q.23 The product of two positive numbers is 616. If the ratio of the difference of their cubes
to the cube of their difference is 157:3, then the sum of the two numbers is
Ans 1. 85

2. 50

3. 95

4. 58

Question ID : 4891687636

Q.24 With rectangular axes of coordinates, the number of paths from
(1,1) to (8,10) via (4,6), where each step from any point (x, y) is
either to (x, y+1) or to (x+1, y), is
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 3920
Given --
Answer :

Question Type : SA
Question ID : 4891687690

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Q.25 A person invested a total amount of Rs 15 lakh. A part of it was invested in a fixed
deposit earning 6% annual interest, and the remaining amount was invested in two
other deposits in the ratio 2 : 1, earning annual interest at the rates of 4% and 3%,
respectively. If the total annual interest income is Rs 76000 then the amount (in Rs
lakh) invested in the fixed deposit was
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 9
Given --
Answer :

Question Type : SA
Question ID : 4891687656

Q.26

Ans
1.

2. 3

3. 1

4.

Question ID : 4891687924

Q.27 If the population of a town is p in the beginning of any year then it becomes 3+2p in
the beginning of the next year. If the population in the beginning of 2019 is 1000, then
the population in the beginning of 2034 will be
Ans 1. (997)214 + 3

2. (997)15 - 3

3. (1003)15 + 6

4. (1003)215 - 3

Question ID : 4891687861

Q.28

Case Sensitivity: No
Answer Type: Equal
Possible Answer: 6144
Given --
Answer :

Question Type : SA
Question ID : 4891688281

Q.29 A club has 256 members of whom 144 can play football, 123 can play tennis, and 132
can play cricket. Moreover, 58 members can play both football and tennis, 25 can play
both cricket and tennis, while 63 can play both football and cricket. If every member
can play at least one game, then the number of members who can play only tennis is

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Ans 1. 32

2. 38

3. 43

4. 45

Question ID : 4891687897

Q.30

Ans 1. -20

2. -24

3. -16

4. -12

Question ID : 4891687650

Q.31 In a race of three horses, the first beat the second by 11 metres and the third by 90
metres. If the second beat the third by 80 metres, what was the length, in metres, of
the racecourse?
Case Sensitivity: No
Answer Type: Equal
Possible Answer: 880
Given --
Answer :

Question Type : SA
Question ID : 4891687684

Q.32 Two cars travel the same distance starting at 10:00 am and 11:00 am, respectively, on
the same day. They reach their common destination at the same point of time. If the
first car travelled for at least 6 hours, then the highest possible value of the
percentage by which the speed of the second car could exceed that of the first car is
Ans 1. 25

2. 30

3. 10

4. 20

Question ID : 4891687550

Q.33 One can use three different transports which move at 10, 20, and 30 kmph,
respectively. To reach from A to B, Amal took each mode of transport 1/3 of his total
journey time, while Bimal took each mode of transport 1/3 of the total distance. The
percentage by which Bimal’s travel time exceeds Amal’s travel time is nearest to
Ans 1. 19

2. 21

3. 20

4. 22

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11/29/2019 https://cdn.digialm.com//per/g01/pub/756/touchstone/AssessmentQPHTMLMode1//CAT191/CAT191S1D1466/1574686501833248/…
Question ID : 4891687565

Q.34

Ans

1.

2.

3.

4.

Question ID : 4891687886

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