Master series Mock CAT - 10 2018

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VARC

DILR

QA

Sec 1
Directions for questions 1-3: Each of the following paragraphs has ve sentences. One of these doesn’t
belong to the paragraph. Type in the option number of the odd sentence.
  Q.1

1. A capstone of this development was an article by Jerome S. Bruner linking perception to the concept of
pre-established cognitive categories.
2. Two important developments in social psychology shortly after World War II accelerated interest in the
processes of stereotyping.
3. Bruner explicitly stressed the assimilation of incoming information to the ‘typical instance’ of a
category, thus providing a fruitful context for the discussion of stereotyping.
4. Stereotypic thinking was found to characterize high scorers on the F scale, which was designed to
measure authoritarianism.
5. One was a growth of interest in the role of motivation and past experience as determinants of our
perceptions.

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 Answer key/Solution

Directions for questions 1-3: Each of the following paragraphs has ve sentences. One of these doesn’t
belong to the paragraph. Type in the option number of the odd sentence.

  Q.2

1. Nineteen sixty-three was a pivotal year in the history of race relations in the United States.
2. City authorities turned re hoses and police dogs on a large crowd of demonstrators—many of whom
were children from local schools—and hundreds of protesters were beaten and arrested.
3. The violent commotion was broadcast in national and world news media, allowing millions to witness
the startling brutality of American racism for the rst time.
4. In April of that year, Martin Luther King Jr. and several other civil rights leaders initiated a nonviolent
protest campaign to desegregate public facilities in Birmingham, Alabama.
5. Martin Luther King’s eloquent and heartfelt “I Have a Dream” speech, is the highlight of this event.

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 Answer key/Solution

Directions for questions 1-3: Each of the following paragraphs has ve sentences. One of these doesn’t
belong to the paragraph. Type in the option number of the odd sentence.
  Q.3

1. The development of spirituality is generally recognized as requiring some sort of practice or discipline
in order to make ‘progress'.
2. For other, while the evident order within the universe at macro - and micro -levels is su cient to
demonstrate that there is an intelligence at work much greater than the human mind, this does not justify
naming it as God.
3. The debate about the status of spiritual beliefs such as the existence of God, the meaning of life, the
absolute existence of moral laws, and many more such, typically appears to reach an impasse between
mature spiritual seekers and the sceptics.
4. For a believer there is no need to prove in any rational way that God exists as his existence is self-
evident in his creation.
5. To the spiritual person the sceptic appears like a blind man trying to say something about sight when it
is absent in himself, and the spiritual person appears to the sceptic as a vulnerable person motivated by
emotional needs to nd some delusional area of comfort or support.

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 Answer key/Solution

Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?

Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”
But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.

That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.4
What is the primary purpose of the passage?

1  To make the readers understand the difference between the politics of art and aesthetics.

2 To make the readers understand that art cannot be secluded from the biography of the artists, thus
appraising the power politics that exist in Hollywood.

3 To make the readers understand that Hollywood has been shaped by power abuse, which has made it
hard to separate the artist’s misdeeds from his work.

4 To make the readers aware about the implications of power abuse in Hollywood via various examples
like Kevin Spacey, Roman Polanski etc.

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 Answer key/Solution

Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?
Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”

But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.

That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.5
What is the purpose of the paragraph stating “These men stand accused . . . behaviour’?

1  The artist as an erring being should not be considered when experiencing the art work.
2 The artists who are prone to transgressive behaviour distort the industry.

3 The artist’s artistic content is shaped by personality which often damages the medium.

4 The artists who harass other people often use those experiences to build up a successful career.

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 Answer key/Solution

Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?

Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”

But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.
That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.6
Why is Polanski’s mention crucial in the passage?

1  It blows apart the myth of art and the artist as separate entities.

2 It asserts that the artist as a person and the work of art can stand separately.

3 It problematizes the position of the victim in discussions regarding harassment.

4 It helps to judge Polanski retrospectively.

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 Answer key/Solution

Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?

Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”

But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.

That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.7
According to the passage, the branding of the artist as a genius is a license for:

1  unremitting creativity.

2 deplorable activities.

3 biographical accounts.

4 unmitigated disaster.

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 Answer key/Solution
Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?

Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”

But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.

That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.8
Which of the following is false according to the given passage?

1  According to few critics, assessing works of artists on the basis of his\her biography is profane.

2 Roman Polanski invited a 13 year old for a photo-shoot and then offered Jack Nicolson to drug and
rape her.

3 According to Mark Anthony Neal, an African-American studies scholar at Duke University, art should
be seen as a separate entity aloof from the personal lives of the artists and both should be judged
separately.

4 The accused men use their star power in Hollywood to create traps for their victims and then using
that power they physically molest or rape their victims.

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 Answer key/Solution

Directions for questions 4-9: The following passage consists of a set of six questions. Read the passage
and answer the questions that follow.

Can we now do away with the idea of “separating the art from the artist”?

Whenever a creative type (usually a man) is accused of mistreating people (usually women), a call arises
to prevent those pesky biographical details from sneaking into our assessments of the artist’s work. But
the Hollywood players accused of harassment or worse — Harvey Weinstein, James Toback, Kevin Spacey
and Louis C.K., to name a few from the ever-expanding list — have never seemed too interested in
separating their art from their misdeeds. We’re learning more every day about how the entertainment
industry has been shaped by their abuses of power. It’s time to consider how their art has been, too.

These men stand accused of using their creative positions to offend — turning lm sets into hunting
grounds; grooming young victims in acting classes; and luring female colleagues close on the pretext of
networking, only to trap them in uninvited provocative situations. The performances we watch onscreen
have been shaped by those actions. And their offenses have affected the paths of other artists,
determining which rise to prominence and which harassed or shamed out of work are. In turn, the critical
acclaim and economic clout afforded their projects have worked to insulate them from the consequences
of their behaviour.

This idea of assessing an artist’s work in light of his biography is, to some critics, blasphemous. Roman
Polanski’s 2009 arrest inspired a New York Times round table on whether we ought to “separate the work
of artists from the artists themselves, despite evidence of reprehensible or even criminal behavior.” It
stands as a useful artefact of the prevailing attitude on the question in the early 21st century. The
screenwriter and critic Jay Parini wrote, “Being an artist has absolutely nothing — nothing — to do with
one’s personal behaviour.” Mark Anthony Neal, an African-American studies scholar at Duke University, put
it this way: “Let the art stand for itself, and these men stand in judgment, and never the twain shall meet.”

But Mr. Polanski stood charged of inviting a 13-year-old girl into Jack Nicholson’s hot tub on the pretext of
photographing her as a model, and then drugging and raping her. The twain have met.

A proclivity for reprehensible acts is built right into the mythos of the artistic genius — a designation rarely
extended to women. This is what the historian Martin Jay calls “the aesthetic alibi”: The art excuses the
crime. Mr. Jay writes that in the 19th century, artistic genius “was often construed as unbound by non-
aesthetic considerations — cognitive, ethical, or whatever.” And often the ethical lapses afforded to artists
have concerned the mistreatment of women.

That tradition lives on today. Recently, the New Yorker lm critic Richard Brody responded to assault
accusations against Mr. Weinstein by suggesting that while outside information about lmmakers “can be
illuminating,” the “better a lm is, the likelier that the biography only lls in details regarding what should
already have been apparent to a clear-eyed viewing.” That’s a bizarre calculation that dismisses
discussions of bad deeds based on the talent of the person performing them. The journalist Gay Talese
was blunter in his dismissal of Anthony Rapp, the “Rent” star who accused Kevin Spacey of preying on him
when he was 14. “I hate that actor that ruined that guy’s career,” he said.

Directors, meanwhile, have justi ed the mistreatment or plain resentment of women as a gritty artistic
choice. Bernardo Bertolucci, the director of “Last Tango in Paris,” boasted that he chose not to fully inform
his lead actress, Maria Schneider, of all the details of the lm’s infamous butter scene because he “wanted
her reaction as a girl, not as an actress.” The director Lars von Trier has whipped misogyny into a persona,
delighting in riling actresses and selling the stories to magazines as kicky evidence of his transgressive
brilliance. The auteur, celebrated for tightly controlling all aspects of the lmmaking, seems only to
enhance his reputation by aunting his control of women.

  Q.9
Which of the following can be inferred from the given passage?

1   Art and artists cannot be separated practically but many critics have pointed out that it is a crime to
mix the scandals and the work of the artists. The author seems to explore these perceptions.

2 Art and artists can be separated on the basis of distinguishing their personal life from their
professional life but some artists have stooped so low that their career is often de ned by their pervert
actions.

3 Art and artists go hand in hand. Although there are theories which differentiate them but practically it
is not possible.

4 The passage projects through examples the recent condition of the Hollywood industry and shows
how the people in power are taking advantage of their positions.

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 Answer key/Solution
Directions for questions 10-12: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

The study of varieties of English that began as second languages under the experience of British
colonialism is not new, going back to the nineteenth century. As in all matters pertaining to language
contact the name Hugo Schuchardt comes to mind, with his 1891 study Das Indo-Englische, which
examines the properties of varieties of English in India, in the light of the author’s interest in Creole and
other contact languages. To show the advancement of this language, some scholars had also inculcated
the serious study of the local varieties of English, as opposed to satirical works or grammars, promising to
weed out the unconventional in these varieties.

The terms most often used to describe the many varieties of English that are spoken around the world are
‘New Englishes’ or ‘World Englishes’. It has become customary to use the plural form ‘Englishes’ to stress
the diversity to be found in the language today, and to stress that English no longer has one single base of
authority, prestige and normativity.

The impact of international migration and globalization in the late twentieth and current centuries has
made World Englishes an essential part of modern culture and sociology. Creative writing in English from
the former colonial territories is an essential part of this prominence (e.g. those of Ben Okri, Vikram Seth
and Arundhati Roy, to name a few).

The in uence of Firoz Dustoor in the middle of the twentieth century at Allahabad and later Delhi is cited
by Braj Kachru. It is safe to say that until the 1980s most work tended to discuss individual varieties of
colonial English in isolation. The comparative study of what has more or less come to be called ‘World
Englishes’ is due to the pioneering efforts of many scholars. Of these scholars Braj Kachru, once of
Kashmir, then Edinburgh and nally Urbana Champaign, probably deserves the most credit. It is due to his
enthusiasm, vigorous insights and charisma that the area of study entered the mainstream of
Sociolinguistics. Other scholars have also played important pioneering roles.

  Q.10
Based on the above passage, which of the following is true?

1   The rise of English can be studied as a topic concerned with the impact of English upon different
cultures and literatures.

2 The rise of English can be studied as a topic examining the structural similarities and differences
amongst the new varieties of English.

3 The rise of English can be studied as a macro-sociolinguistic topic detailing the ways in which English
was associated with colonization.

4 The rise of English can be studied as a topic in literary studies examining the several varieties of
English language.

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 Answer key/Solution
Directions for questions 10-12: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

The study of varieties of English that began as second languages under the experience of British
colonialism is not new, going back to the nineteenth century. As in all matters pertaining to language
contact the name Hugo Schuchardt comes to mind, with his 1891 study Das Indo-Englische, which
examines the properties of varieties of English in India, in the light of the author’s interest in Creole and
other contact languages. To show the advancement of this language, some scholars had also inculcated
the serious study of the local varieties of English, as opposed to satirical works or grammars, promising to
weed out the unconventional in these varieties.

The terms most often used to describe the many varieties of English that are spoken around the world are
‘New Englishes’ or ‘World Englishes’. It has become customary to use the plural form ‘Englishes’ to stress
the diversity to be found in the language today, and to stress that English no longer has one single base of
authority, prestige and normativity.

The impact of international migration and globalization in the late twentieth and current centuries has
made World Englishes an essential part of modern culture and sociology. Creative writing in English from
the former colonial territories is an essential part of this prominence (e.g. those of Ben Okri, Vikram Seth
and Arundhati Roy, to name a few).

The in uence of Firoz Dustoor in the middle of the twentieth century at Allahabad and later Delhi is cited
by Braj Kachru. It is safe to say that until the 1980s most work tended to discuss individual varieties of
colonial English in isolation. The comparative study of what has more or less come to be called ‘World
Englishes’ is due to the pioneering efforts of many scholars. Of these scholars Braj Kachru, once of
Kashmir, then Edinburgh and nally Urbana Champaign, probably deserves the most credit. It is due to his
enthusiasm, vigorous insights and charisma that the area of study entered the mainstream of
Sociolinguistics. Other scholars have also played important pioneering roles.

  Q.11
According to the passage,

1  it is necessary to nd a cover term for all varieties of English around the world.

2 it is important to understand that languages associated with colonization have changed the
sociolinguistic ecology of the world.

3 it is because of the efforts of different scholars that the study of ‘World Englishes’ has been possible.

4 it is Braj Kachru who coined the term ‘World Englishes’ to stress the adaptations that English has
undergone

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 Answer key/Solution
Directions for questions 10-12: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

The study of varieties of English that began as second languages under the experience of British
colonialism is not new, going back to the nineteenth century. As in all matters pertaining to language
contact the name Hugo Schuchardt comes to mind, with his 1891 study Das Indo-Englische, which
examines the properties of varieties of English in India, in the light of the author’s interest in Creole and
other contact languages. To show the advancement of this language, some scholars had also inculcated
the serious study of the local varieties of English, as opposed to satirical works or grammars, promising to
weed out the unconventional in these varieties.

The terms most often used to describe the many varieties of English that are spoken around the world are
‘New Englishes’ or ‘World Englishes’. It has become customary to use the plural form ‘Englishes’ to stress
the diversity to be found in the language today, and to stress that English no longer has one single base of
authority, prestige and normativity.

The impact of international migration and globalization in the late twentieth and current centuries has
made World Englishes an essential part of modern culture and sociology. Creative writing in English from
the former colonial territories is an essential part of this prominence (e.g. those of Ben Okri, Vikram Seth
and Arundhati Roy, to name a few).

The in uence of Firoz Dustoor in the middle of the twentieth century at Allahabad and later Delhi is cited
by Braj Kachru. It is safe to say that until the 1980s most work tended to discuss individual varieties of
colonial English in isolation. The comparative study of what has more or less come to be called ‘World
Englishes’ is due to the pioneering efforts of many scholars. Of these scholars Braj Kachru, once of
Kashmir, then Edinburgh and nally Urbana Champaign, probably deserves the most credit. It is due to his
enthusiasm, vigorous insights and charisma that the area of study entered the mainstream of
Sociolinguistics. Other scholars have also played important pioneering roles.

  Q.12
Out of the following statements, which one is implicit in the passage?

1   Thinking that the term ‘New English’, has a problem of perspective that is di cult to overcome, is
incorrect.

2 Considering any particular variety of the English language as the only correct variety is incorrect.

3 Calling the English language as both new and elite is incorrect.

4 Stating that many books have been written on the different varieties of English spoken around the
world is [Link]

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 Answer key/Solution
Directions for questions 13-15: Each of the given paragraphs is followed by four options. Choose the
option which best captures the essence of the given paragraph. Type in that option number in the space
provided below the question.

  Q.13
Anthropology comes from the Greek, literally “the study of the human.” As such, we overlap with history,
sociology, psychology, political science, literature, documentary studies, and other elds. What
distinguishes anthropology is less what anthropologists study, than how they do it, and in particular the
investigative techniques of participant-observation. Researchers live with and share the daily experiences
of the people they are studying, often for years at a time. They also conduct formal and informal
interviews; carry out surveys; gather oral histories, myths, and genealogies; and take notes, lm, and
record. Things that seem irrational, scary, and downright weird on rst arrival become second nature, and
things that seemed natural and unquestionable at home can start to seem rather odd. Anthropologists
believe that this position of being betwixt and between, or liminal, is a powerful place for understanding.

1. The investigative methods in Anthropology lead to a lot of confusion and this, in turn, provides
Anthropology with a special meaning.
2. Meaning in Anthropology is derived from the dilemmatic states of the researchers who study many
subjects and undergo repeated changes of opinion.
3. Anthropology is a global discipline that builds upon knowledge from natural sciences, including the
discoveries about the origin and evolution of Homo sapiens.
4. Anthropology derives its meaning more from its research methodology than its subject matter.

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 Answer key/Solution

Directions for questions 13-15: Each of the given paragraphs is followed by four options. Choose the
option which best captures the essence of the given paragraph. Type in that option number in the space
provided below the question.
  Q.14
Darker Indians face discrimination by other Indians as demonstrated through lower incomes, less
education, and lack of access to coveted government positions. Due largely in part to the intersection of
gender, color, and caste, they have fewer available opportunities. For example, the outcaste groups of
Dalits are racialized as black and have limited access to occupational sectors. As a result, Dalits are often
relegated to unwanted professions including waste management, toilet cleaning, prostitution, and servants
to the middle and upper classes. The strati cation of Indian society by caste, religion, class, region,
gender, and particularly color are detrimental to Indians as a whole, as individuals, and as an emerging
nation. These taxonomies promote the creeds of colonialism and western imperialism, which preserves
power and wealth in the hands of the elite, who in turn maintain dominance through continued oppression
of the masses.

1. The practice of racialized discrimination in India, along with several other factors, impedes India’s
growth by subverting the underprivileged class.
2. The Indian society, marred by different discriminatory factors, continues to practice the oppression of
the have nots by the haves.
3. India, despite years of freedom from colonialism, still practices the western imperialistic practice of
exploitation of poor people by the rich.
4. The practice of racialized discrimination in India, along with several other such factors, is detrimental to
India’s progress.

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 Answer key/Solution

Directions for questions 13-15: Each of the given paragraphs is followed by four options. Choose the
option which best captures the essence of the given paragraph. Type in that option number in the space
provided below the question.

  Q.15
Not only the political community but the media too has played a very important role in projecting a not so
favourable perception of South Asian women political leaders. The women political leaders were received
with misperception and disdain. Research already shows that women even as political leaders are
stereotyped as mothers, homemakers and sex objects that are incompatible with the image of political
leadership. The perpetuation of such stereotypes by the media might have even “diminished the chances
of success of other women aspiring for political o ce”. Since most of the South Asian women leaders
have assumed power by feudal, tribal, hierarchical structures, the media has presented them as extensions
or mirrors of their male relatives.

1. The media representation of the South Asian women political leaders is faulty as it fails to respect the
individual achievements of these ladies.
2. The media treats the South Asian women leaders as diminutive pawns who are the extension or mirrors
of their male relatives as these ladies gain power due to nepotism.
3. The South Asian women leaders don’t receive a fair treatment from the political community as well as
the media as they are stereotyped and judged on the basis of their gender only.
4. The South Asian women leaders are stereotyped by some on the grounds of traditional gender roles,
patriarchal in uence and this practice causes harm to the aspiration of women in general.
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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.
We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.16
“Imagination is intrinsic to our inner lives.”

Which of the following supports this given argument according to the given passage?

1  The author questions why imagination is least catered by philosophers, psychologists and scientists?

2 The author states that imagination is the key to any great work, but it is not given importance by
academicians and scientists.

3 The author states that we invent everything via our imagination, be it fantasy art making or excavating
a mind of a ve year old.

4 The author states that life without imagination ceases to exist, yet the great fantasy art makers are
replicating everyday life through their work and not harnessing on the imaginary aspects of the mind.

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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.

We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.17
Which of the following sentence is true according to the given passage?

1  Natural art and imagination together can’t exist; one has to make way for the other.

2 The philosophers and artists lack interest or excitement when it comes to presenting imaginary tales
through their work.

3 The mechanical approach in art making has taken over the world as they fail to create anything
independent and out of their own mind.

4 According to Kant, art is unconscious synthesising faculty that pulls together sense perceptions.
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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.
We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.18
What can be said about the aim of the author?

1   The aim of the author is to inform his readers about the importance of imagination in the literary
eld..

2 The aim of the author is to make his readers understand the value of imagination which is the muse
and the ultimate source of any form of art work.

3 The aim of the author is to make his readers understand the lost art of imagination which has been
promoted by most well-known philosophers all across the world yet the modern day artists maintain a
distance from it.

4 The aim of the author is to make his readers understand the value of imagination which precedes any
form of art work and even after knowing this, the present day artists are not applying it in their work.

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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.

We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.19
Which of the following statements is correct about Ernst Fuchs?

1   He lost himself in unconsciousness while painting and his conscious self-took the back stage thus he
remained mesmerised by the mystery which lay hidden in his head.

2 His imagination was his muse, in which he lost himself while creating anything and everything; he was
an exception to those who hardly harnessed imagination.

3 He was an artist who realised the value of imagination which actually was a mystery and being an
artist he remained engulfed in it while his conscious mind stayed at a bay.

4 His muse was his unconscious self who provided him the urge to create something creative, so while
painting there was always this tussle going on between his conscious and unconscious self.
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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.
We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.20
According to the given passage, which of the following explains the phrase ‘cognitive artists’?

1  Artists who use the power of imagination.

2 Artists who use the power of reasoning, intuition or perception.

3 Artists who use the power of self-appreciation.

4 Artists who like to understand the value of self-learning and follow utilitarianism while creating any
form of art work.

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 Answer key/Solution

Directions for questions 16-21: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Imagination is intrinsic to our inner lives. You could even say that it makes up a ‘second universe’ inside
our heads. We invent animals and events that don’t exist, we rerun history with alternative outcomes, we
envision social and moral utopias, we revel in fantasy art, and we meditate both on what we could have
been and on what we might become. Animators such as Hayao Miyazaki, Walt Disney and the people at
Pixar Studios are masterful at imagination, but they’re only creating a public version of our everyday
private lives. If you could see the fantastic mash-up inside the mind of the average ve-year-old, then Star
Wars and Harry Potter would seem sober and dull. So, why is there so little analysis of imagination, by
philosophers, psychologists and scientists?

Apart from some cryptic passages in Aristotle and Kant, philosophy has said almost nothing about
imagination, and what it says seems thoroughly disconnected from the creativity that artists and laypeople
call ‘imaginative’.

Aristotle described the imagination as a faculty in humans (and most other animals) that produces stores
and recalls the images we use in a variety of mental activities. Even our sleep is energised by the dreams
of our involuntary imagination. Immanuel Kant saw the imagination as a synthesiser of senses and
understanding. Although there are many differences between Aristotle’s and Kant’s philosophies, Kant
agreed that the imagination is an unconscious synthesising faculty that pulls together sense perceptions
and binds them into coherent representations with universal conceptual dimensions. The imagination is a
mental faculty that mediates between the particulars of the senses – say, ‘luminous blue colours’ – and
the universals of our conceptual understanding – say, the judgment that ‘Marc Chagall’s blue America
Windows (1977) is beautiful.’ Imagination, according to these philosophers, is a kind of cognition, or more
accurately a prerequisite ‘bundling process’ prior to cognition. Its work is unconscious and it paves the
way for knowledge, but is not abstract or linguistic enough to stand as actual knowledge.

This rather mechanical approach to the imagination is echoed in more recent computational and modular
theories of the mind, according to which human thinking is packaged by innate processors. The American
philosopher Denis Dutton, for example, argued in The Art Instinct (2009) that landscape paintings are
popular because they trigger an innate instinctual preference for distant scouting positions in our
ancestors, who were evaluating the horizon for threats and resources. That view – dominant in
contemporary evolutionary psychology – seems very far away from the artist’s or even the engineer’s view
of creative imagination.

It is perhaps unsurprising that philosophers and cognitive theorists have a rather arid view of the
imagination, but our everyday ideas about the imagination are not much better. Following the Greeks, we
still think of our own creativity as a muse that descends upon us – a kind of spirit possession or
miraculous madness that ooded through Vincent van Gogh and John Lennon, but only trickles in you and
me. After the great Texas guitar improviser Stevie Ray Vaughan died, Eric Clapton paid tribute by
describing him as ‘an open channel … music just owed through him’.

We’ve romanticised creativity so completely that we’ve ended up with an impenetrable mystery inside our
heads. We might not literally believe in muse possession anymore, but we haven’t yet replaced this
‘mysterian’ view with a better one. As the Austrian painter Ernst Fuchs said of the mysterious loss of self
that accompanies the making of art: ‘My hand created, led in trance, obscure things … Not seldom, I get
into trance while painting, my state of consciousness fades, giving way to a feeling of being a oat … doing
things I do not know much about consciously.’ This mysterian view of imagination is vague and obscure,
but at least it captures something about the de-centred psychological state of creativity. Psychologists
such as Mihaly Csikszentmihalyi have celebrated this aspect of creativity by describing (and
recommending) ‘ ow’ states, but the idea of ‘ ow’ has proven little more than a secular re description of
the mysterian view.

  Q.21
After doing a thematic study of the given passage, which of the following is true?

1  It is a newspaper article.

2 It is a passage on history which discusses the journey of imagination from Plato to Ernst Fuchs.

3 It is a scholarly article which analyses the importance of imagination as it precedes language.

4 All of the above statements are true as far as the given passage is concerned.

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 Answer key/Solution
Directions for questions 22-24: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

Little by little, Internet and mobile technology seems to be subtly destroying the meaningfulness of
interactions we have with others, disconnecting us from the world around us, and leading to an imminent
sense of isolation in today’s society. Instead of spending time in person with friends, we just call, text or
instant message them. It may seem simpler, but we ultimately end up seeing our friends face to face a lot
less. Ten texts can’t even begin to equal an hour spent chatting with a friend over lunch. And a smiley-face
emoticon is cute, but it could never replace the ear-splitting grin and smiling eyes of one of your best
friends. Face time is important, people. We need to see each other.

This doesn’t just apply to our friends; it applies to the world around us. It should come as no surprise that
face-to-face interaction is proven by studies to comfort us and provide us with some important sense of
well-being, whether it’s with friends or friendly cashiers in the checkout line of Albertson’s. That’s actually
the motivation behind Albertson’s decision last year to take all of the self-checkout lanes out of its stores:
an eerie lack of human contact.

There’s something intangibly real and valuable about talking with someone face to face. This is signi cant
for friends, partners, potential employers, and other recurring people that make up your everyday world.
That person becomes an important existing human connection, not just someone whose disembodied text
voice pops up on your cell phone, iPad or computer screen.

It seems we have more extended connections than ever in this digital world, which can be great for
networking, if it’s used right. The sad fact of the matter is that most of us don’t. It’s too hard to keep up
with 1000 friends, let alone 200. At that point, do we even remember their names? We need to start prizing
the meaning of quality in our connections, not sheer quantity.

One of my best friends from my hometown has 2,241 Facebook friends. Sure, her posts get a ton of
feedback, but when I asked her about the quality of those relationships, she said to me that she really has
few friends that she can trust and spend time with happily. Using a strange conundrum like this as a
constructive example, we should consider pruning our rampant online connections at the very least.

  Q.22
Which of the following sentences is true according to the passage?

1  We need to understand the importance of our friends in our life.

2 We need to understand that meeting someone in person is more time worthy.

3 We need to understand that we need more friends o ine than online.

4 We need to understand the difference between virtual and real world.

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 Answer key/Solution
Directions for questions 22-24: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

Little by little, Internet and mobile technology seems to be subtly destroying the meaningfulness of
interactions we have with others, disconnecting us from the world around us, and leading to an imminent
sense of isolation in today’s society. Instead of spending time in person with friends, we just call, text or
instant message them. It may seem simpler, but we ultimately end up seeing our friends face to face a lot
less. Ten texts can’t even begin to equal an hour spent chatting with a friend over lunch. And a smiley-face
emoticon is cute, but it could never replace the ear-splitting grin and smiling eyes of one of your best
friends. Face time is important, people. We need to see each other.

This doesn’t just apply to our friends; it applies to the world around us. It should come as no surprise that
face-to-face interaction is proven by studies to comfort us and provide us with some important sense of
well-being, whether it’s with friends or friendly cashiers in the checkout line of Albertson’s. That’s actually
the motivation behind Albertson’s decision last year to take all of the self-checkout lanes out of its stores:
an eerie lack of human contact.

There’s something intangibly real and valuable about talking with someone face to face. This is signi cant
for friends, partners, potential employers, and other recurring people that make up your everyday world.
That person becomes an important existing human connection, not just someone whose disembodied text
voice pops up on your cell phone, iPad or computer screen.

It seems we have more extended connections than ever in this digital world, which can be great for
networking, if it’s used right. The sad fact of the matter is that most of us don’t. It’s too hard to keep up
with 1000 friends, let alone 200. At that point, do we even remember their names? We need to start prizing
the meaning of quality in our connections, not sheer quantity.

One of my best friends from my hometown has 2,241 Facebook friends. Sure, her posts get a ton of
feedback, but when I asked her about the quality of those relationships, she said to me that she really has
few friends that she can trust and spend time with happily. Using a strange conundrum like this as a
constructive example, we should consider pruning our rampant online connections at the very least.

  Q.23
Which of the following can be inferred from the last paragraph of the given passage?

1   Considering the given example, we should increase our online connections as soon as possible so
that at the end of the day we are not alone.

2 Considering the given example, one should keep making new friends o ine so that the quality of
friendship is restored.

3 Considering the given example, we should consider reducing line connections so that we spend
quality time with our actual friends.

4 Considering the given example, we must keep a balance between virtual and real life.

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 Answer key/Solution
Directions for questions 22-24: The following passage consists of a set of three questions. Read the
passage and answer the questions that follow.

Little by little, Internet and mobile technology seems to be subtly destroying the meaningfulness of
interactions we have with others, disconnecting us from the world around us, and leading to an imminent
sense of isolation in today’s society. Instead of spending time in person with friends, we just call, text or
instant message them. It may seem simpler, but we ultimately end up seeing our friends face to face a lot
less. Ten texts can’t even begin to equal an hour spent chatting with a friend over lunch. And a smiley-face
emoticon is cute, but it could never replace the ear-splitting grin and smiling eyes of one of your best
friends. Face time is important, people. We need to see each other.

This doesn’t just apply to our friends; it applies to the world around us. It should come as no surprise that
face-to-face interaction is proven by studies to comfort us and provide us with some important sense of
well-being, whether it’s with friends or friendly cashiers in the checkout line of Albertson’s. That’s actually
the motivation behind Albertson’s decision last year to take all of the self-checkout lanes out of its stores:
an eerie lack of human contact.

There’s something intangibly real and valuable about talking with someone face to face. This is signi cant
for friends, partners, potential employers, and other recurring people that make up your everyday world.
That person becomes an important existing human connection, not just someone whose disembodied text
voice pops up on your cell phone, iPad or computer screen.

It seems we have more extended connections than ever in this digital world, which can be great for
networking, if it’s used right. The sad fact of the matter is that most of us don’t. It’s too hard to keep up
with 1000 friends, let alone 200. At that point, do we even remember their names? We need to start prizing
the meaning of quality in our connections, not sheer quantity.

One of my best friends from my hometown has 2,241 Facebook friends. Sure, her posts get a ton of
feedback, but when I asked her about the quality of those relationships, she said to me that she really has
few friends that she can trust and spend time with happily. Using a strange conundrum like this as a
constructive example, we should consider pruning our rampant online connections at the very least.

  Q.24
According to the given passage, which of the following explains the word ‘conundrum’?

1   Something that is confusing or puzzling; like here in spite of having 1000 online friends, one can land
up lonely at the end of the day.

2 Something that is obvious; like here, if one doesn’t have friends outside social media platforms, one
will land up lonely.

3 Something that is wrong and unusual; like here, if one has less number of online pals, it’s very unlikely
, at least in the 21st century.

4 Something which is de ned or expressed; like here the author is expressing her views on social
connections.
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 Answer key/Solution

Directions for questions 25-28: Each of the following questions contains ve sentences which need to be
arranged in a logical order to create a coherent paragraph. Type in the sequence in the space provided
below the paragraph.

  Q.25

1. The latest rejigs of the tax rates under the goods and service tax has pared down the list of items in the
28 per cent tax bracket to 50 from 228.
2. The big slogan for the Union government's 'historic' indirect tax reform was 'One Nation, One Tax’.
3. If indiscriminate tax rate changes are bad, even more worrying is the fact that the government has
wrecked the essence of a seamless common market by denying the bene t of input tax credit to a
widening pool of taxpayers.
4. Since the indirect tax reform was introduced on July 1, the spate of rate revisions is certainly bemusing.
5. Restaurant owners are the latest group which will lose the tax set-off bene t after the GST council
decided to slash the relevant GST rate from 18 per cent to 5 per cent at its meeting last week.

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 Answer key/Solution

Directions for questions 25-28: Each of the following questions contains ve sentences which need to be
arranged in a logical order to create a coherent paragraph. Type in the sequence in the space provided
below the paragraph.

  Q.26

1. The Azzurri have always found a way, regardless of the circumstances. Italy went into the 2006 World
Cup with a match- xing scandal raging back home; it ended up lifting the trophy.
2. Since 1982, the team has failed to make it to the quadrennial extravaganza on four different occasions.
Dutch footballers were always expected to thrill but not necessarily to win.
3. Even the legendary Johan Cruyff didn’t bag football’s most coveted prize.
4. Football in the Netherlands is facing its worst crisis and its fans have perhaps become used to under-
performance.
5. But Italy is different.

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 Answer key/Solution
Directions for questions 25-28: Each of the following questions contains ve sentences which need to be
arranged in a logical order to create a coherent paragraph. Type in the sequence in the space provided
below the paragraph.

  Q.27

1. It did not, and now Mugabe is con ned to his o cial residence in the plush suburb of Borrowdale.
2. The nal unravelling of the 37-year rule of Robert Mugabe in Zimbabwe began with an uncharacteristic
tactical error.
3. Emerson Mnangagwa, the former vice-president was unceremoniously stripped of his o ce by Mugabe
nine days ago.
4. To clear the way to power for his wife, Grace, the 93-year- old autocrat sought a decisive confrontation
with the only man in the former British colony who had the power to mount a successful challenge to his
authority – and he lost.
5. The manner of the sacking should have given the oldest ruler in the world and the 53-year- old rst lady
pause.

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 Answer key/Solution

Directions for questions 25-28: Each of the following questions contains ve sentences which need to be
arranged in a logical order to create a coherent paragraph. Type in the sequence in the space provided
below the paragraph.

  Q.28

1. Inside is decay and despair, but also de ance.

2. The massive steel fences that have surrounded this place for years have been in large part pulled down,
but in haste, and much of the perimeter lies half-dismantled, twisted and torn.
3. But from the shadows comes a solitary blinking light into this darkness.
4. By the glow of his phone, Benham Satah leads the way into the Manus Island “regional processing
centre”, abandoned now by both the Australian and Papua New Guinean governments, and left to ruin and
the resourcefulness of those left within.
5. Darkness descends quickly upon the Manus Island detention centre, and it is very nearly absolute.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.29
From the passage, how can one describe Roth’s later stage career?
1  It has been marked by quibbles with other writers.

2 It has been marked by a sense of spirituality.

3 It has been marked by a sense of parting.

4 It has been marked by a feeling of resignation.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.30
What sort of character can be attributed to Philip Roth?
1  He is a man of diplomatic temperament.

2 He is a man of unequivocal temperament.

3 He is a man of choleric temperament.

4 He is a man of analytical temperament.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.31
Roth’s style can be analysed as:
1  a ction writer who incorporates treatise styled writings in his works.

2 a ction writer who has infused the argumentative spirit of his age.

3 a ction writer who produces fat novels and critical works on other authors.

4 a ction writer who is meticulous about stylistic devices and employs a diplomatic style.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.32
Based on the passage, which of the following makes Roth worth paying attention to?
1  The ability to incorporate minute details.

2 The ability to make scenes appear dynamic.

3 The ability to remain objective.

4 The ability to integrate inconsistencies.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.33
The given passage, is primarily a piece of:
1  analysis of Roth’s impact on Eastern European authors.

2 analysis of Roth’s works in general.

3 analysis of Roth’s ‘Why Write’ in particular.

4 analysis of Roth’s relationship with other authors.

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 Answer key/Solution
Directions for questions 29-34: The following passage consists of a set of six questions. Read the
passage and answer the questions that follow.

Philip Roth’s new collection of non ction, mostly writing about writing and about other writers, is called,
with Rothian bluntness, “Why Write?” It’s the rst non ction collection Roth has produced in many years,
though some pieces in it have appeared in two previous volumes, “Reading Myself and Others” and “Shop
Talk.” Where John Updike, his competitive partner in a half-century literary marathon—in which each
always had the other alongside, stride by stride, shedding books like perspiration—produced eight
doorstop-size volumes of reviews, essays, jeux d’esprit, citations, and general ponderations, Roth ceased
writing regularly about writing sometime in the mid-seventies. Since then, there have been the slightly
beleaguered interview when a new book came out, the carefully wrought “conversations” in support of
writers he admired, particularly embattled Eastern European ones, and, after his “retirement” from writing,
a few years ago, a series of valedictory addresses offered in a valedictorian’s tone.

This turning away from topical non ction was not an inevitable development. If our enigmatic oracles—
Thomas Pynchon, say, or Cormac McCarthy—weighed in too often on general literary and political topics,
they would cease to be enigmatic, and oracular. But Roth, from early on, was a natural essayist and even
an editorialist, a man with a taste and a gift for argument, with much to say about the passing scene as it
passed. (A 1960 Commentary piece, “Writing American Fiction,” about a murder in Chicago and the
impossibility of the writer’s imagination matching American reality, is a classic of that magazine’s high
period.) He remains engaged, so much so that a mischievous essayist might accuse Roth of being an
essayist manqué, looking for chances to interpolate essays in novels. In “Exit Ghost” (2007), for instance,
there are embryonic ones on (among other topics) the surprising excellence of George Plimpton’s prose
and the micro-mechanics of cell-phone use on New York streets, and though both are supportable as
pieces in a ctional work, they could easily be excised, enlarged, and made to stand on their own. The
editorialist in Roth is part of his art even when he’s writing straight ction. Roth is a dramatic writer
inasmuch as he typically begins with an inherently dramatic circumstance or situation: a writer pays a call
on his hero, as in “The Ghostwriter,” or is suffering from unbearable neck pain, as in “The Anatomy Lesson,”
or has become a woman’s breast, as in “The Breast.” But the succession of events is presented more as
rumination and reverie—as irony overlaid on incident—than as “scenes,” something that becomes apparent
when they are made into sometimes painfully static movies.

The new collection divides neatly into three parts: the rst, mostly from the sixties and the early seventies,
is devoted to setting up shop as a writer—announcing themes, countering critics, with the author trying to
defend himself from accusations, which dogged him after the publication of “Goodbye, Columbus” and
then “Portnoy’s Complaint,” that he was callous or hostile to the Jews. Peace was eventually made—he
actually got an honorary doctorate from the Jewish Theological Seminary—perhaps because the novels in
the “American” trilogy (“American Pastoral,” “I Married a Communist,” and “The Human Stain”) were such
undeniably Jewish meditations on ethnicity and morality.

Like any writer worth paying attention to, Roth turns out to be the sum of his contradictions. There is the
severity of purpose that he loved in the literary culture of the fties, one that had him coming to books “by
way of a rather priestly literary education in which writing poems and novels was assumed to eclipse all
else in what we called ‘moral seriousness.’ ” That’s the spirit that infuses the rst third of “Why Write?,” and
it is a state Roth has never really abandoned. (Even his announced retirement has the exigency of
vocation: the Archbishop makes a point of his withdrawal, whereas most writers just drift away from
attention.)

  Q.34
What does the author of the passage hint at when using the phrase, ‘enigmatic oracles’?
1  Writers who have a sarcastic tone.

2 Writers who have a spiritual bend of mind.

3 Writers who have a non- ction based aptitude.

4 Writers who have a disturbed frame of mind.

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 Answer key/Solution

Sec 2
Directions for questions 35 to 38: Answer the questions on the basis of the information given below.

In ITL Auction of 2017, one of the teams bid for the following players. Now it has a squad of 20 players.
The table given below represent list of those players, the type of players they are [i. e. Batsman (BAT),
Bowler (BOW), All-rounder (AR) and Wicket keeper (WK)] and the amount paid to the player for one match
in which he played.

It is also known that :

In each match, 11 players have to play. Minimum 1 Wicket Keeper needs to be played. There are two types
of values for the players – Bat value and Ball value. All Batsmen have Bat Value of 1 and ball value of 0. All
Bowlers have Bat value of 0.2 and Ball value of 1. All All-rounders have Bat value of 0.7 and Ball value of
0.7. Wicket Keepers have Bat value of 0.8 and ball value of 0. Ball value of the players combined should
not be less than 5 in any match. Also Bat value of players combined should not be less than 7.5 in any
match.
For the rst match, the team owner decided to form the least expensive team. However, after they lost
their rst match, they decided to form the most expensive team for the 2nd match.

  Q.35
Total expenses (in Rs. Lakh) to form the team for second match is

1  920

2 810

3 910

4 830
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 Answer key/Solution

Directions for questions 35 to 38: Answer the questions on the basis of the information given below.

In ITL Auction of 2017, one of the teams bid for the following players. Now it has a squad of 20 players.
The table given below represent list of those players, the type of players they are [i. e. Batsman (BAT),
Bowler (BOW), All-rounder (AR) and Wicket keeper (WK)] and the amount paid to the player for one match
in which he played.

It is also known that :

In each match, 11 players have to play. Minimum 1 Wicket Keeper needs to be played. There are two types
of values for the players – Bat value and Ball value. All Batsmen have Bat Value of 1 and ball value of 0. All
Bowlers have Bat value of 0.2 and Ball value of 1. All All-rounders have Bat value of 0.7 and Ball value of
0.7. Wicket Keepers have Bat value of 0.8 and ball value of 0. Ball value of the players combined should
not be less than 5 in any match. Also Bat value of players combined should not be less than 7.5 in any
match.
For the rst match, the team owner decided to form the least expensive team. However, after they lost
their rst match, they decided to form the most expensive team for the 2nd match.

  Q.36
How many players are common in the team for rst match and the team for second match?

1  1

2 2
3 3

4 4

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 Answer key/Solution

Directions for questions 35 to 38: Answer the questions on the basis of the information given below.

In ITL Auction of 2017, one of the teams bid for the following players. Now it has a squad of 20 players.
The table given below represent list of those players, the type of players they are [i. e. Batsman (BAT),
Bowler (BOW), All-rounder (AR) and Wicket keeper (WK)] and the amount paid to the player for one match
in which he played.

It is also known that :

In each match, 11 players have to play. Minimum 1 Wicket Keeper needs to be played. There are two types
of values for the players – Bat value and Ball value. All Batsmen have Bat Value of 1 and ball value of 0. All
Bowlers have Bat value of 0.2 and Ball value of 1. All All-rounders have Bat value of 0.7 and Ball value of
0.7. Wicket Keepers have Bat value of 0.8 and ball value of 0. Ball value of the players combined should
not be less than 5 in any match. Also Bat value of players combined should not be less than 7.5 in any
match.
For the rst match, the team owner decided to form the least expensive team. However, after they lost
their rst match, they decided to form the most expensive team for the 2nd match.

  Q.37
Who is the most expensive player among those, who did not play in any of the two matches ?
1  Nikhil Naik

2 Varun Aaron

3 Shaun Marsh

4 Manan Vohra

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 Answer key/Solution
Directions for questions 35 to 38: Answer the questions on the basis of the information given below.

In ITL Auction of 2017, one of the teams bid for the following players. Now it has a squad of 20 players.
The table given below represent list of those players, the type of players they are [i. e. Batsman (BAT),
Bowler (BOW), All-rounder (AR) and Wicket keeper (WK)] and the amount paid to the player for one match
in which he played.

It is also known that :

In each match, 11 players have to play. Minimum 1 Wicket Keeper needs to be played. There are two types
of values for the players – Bat value and Ball value. All Batsmen have Bat Value of 1 and ball value of 0. All
Bowlers have Bat value of 0.2 and Ball value of 1. All All-rounders have Bat value of 0.7 and Ball value of
0.7. Wicket Keepers have Bat value of 0.8 and ball value of 0. Ball value of the players combined should
not be less than 5 in any match. Also Bat value of players combined should not be less than 7.5 in any
match.
For the rst match, the team owner decided to form the least expensive team. However, after they lost
their rst match, they decided to form the most expensive team for the 2nd match.

  Q.38
What would be the best composition of the team if money is not a consideration but maximising BAT value
(in the given order of number of type of players i.e BAT, BOW, AR, WK) is?

1  3, 2, 5, 1

2 3, 3, 4, 1

3 2, 2, 5, 2

4 3, 2, 4, 2
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 Answer key/Solution

Directions for questions 39 to 42: Answer the questions on the basis of the information given below.

An Ottoman king in the 16th century commissioned a series of 6 books to be printed, so he appointed six
writers for writing the text and six artists for drawing images . For each book there was exactly one writer
and one artist for the text and images respectively. An artist or a writer could work on only 1 book. Each
writer was paid 1 gold coin per page for the text while each artist was paid 40 gold coins (of the same
type) per page of image. Each page of the book had either texts or images, but not both. No two books
have same number of total pages. As greed overtook the artists, they tried to include more pages of image
per book. However, the writers were no less, so each of the writer ensured the number of pages containing
text in a book must be directly proportional to the square of number of pages containing image(s) in the
same book. For example, if the total number of pages that contain image(s) in a book was N, then the total
number of pages that contain texts in the book must be kN2, where k is constant and has same value for
each book. Seeing this, the king ordered that no book should contain more than 1000 pages or less than
500 pages and the same was followed by the writers and artists. After printing of all the six books, the king
found some interesting facts which are as follow:

(i) The total number of pages in exactly one book is in the form of AAA, where A is a single digit natural
number.
(ii) For exactly one book the number of gold coins paid to the artist and to the writer was same.

  Q.39
The number of gold coins paid to the writer and artist put together for a book cannot be more than

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 Answer key/Solution
Directions for questions 39 to 42: Answer the questions on the basis of the information given below.

An Ottoman king in the 16th century commissioned a series of 6 books to be printed, so he appointed six
writers for writing the text and six artists for drawing images . For each book there was exactly one writer
and one artist for the text and images respectively. An artist or a writer could work on only 1 book. Each
writer was paid 1 gold coin per page for the text while each artist was paid 40 gold coins (of the same
type) per page of image. Each page of the book had either texts or images, but not both. No two books
have same number of total pages. As greed overtook the artists, they tried to include more pages of image
per book. However, the writers were no less, so each of the writer ensured the number of pages containing
text in a book must be directly proportional to the square of number of pages containing image(s) in the
same book. For example, if the total number of pages that contain image(s) in a book was N, then the total
number of pages that contain texts in the book must be kN2, where k is constant and has same value for
each book. Seeing this, the king ordered that no book should contain more than 1000 pages or less than
500 pages and the same was followed by the writers and artists. After printing of all the six books, the king
found some interesting facts which are as follow:

(i) The total number of pages in exactly one book is in the form of AAA, where A is a single digit natural
number.
(ii) For exactly one book the number of gold coins paid to the artist and to the writer was same.

  Q.40
The number of gold coins paid to the writers for all the six books put together cannot be less than

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 Answer key/Solution

Directions for questions 39 to 42: Answer the questions on the basis of the information given below.

An Ottoman king in the 16th century commissioned a series of 6 books to be printed, so he appointed six
writers for writing the text and six artists for drawing images . For each book there was exactly one writer
and one artist for the text and images respectively. An artist or a writer could work on only 1 book. Each
writer was paid 1 gold coin per page for the text while each artist was paid 40 gold coins (of the same
type) per page of image. Each page of the book had either texts or images, but not both. No two books
have same number of total pages. As greed overtook the artists, they tried to include more pages of image
per book. However, the writers were no less, so each of the writer ensured the number of pages containing
text in a book must be directly proportional to the square of number of pages containing image(s) in the
same book. For example, if the total number of pages that contain image(s) in a book was N, then the total
number of pages that contain texts in the book must be kN2, where k is constant and has same value for
each book. Seeing this, the king ordered that no book should contain more than 1000 pages or less than
500 pages and the same was followed by the writers and artists. After printing of all the six books, the king
found some interesting facts which are as follow:

(i) The total number of pages in exactly one book is in the form of AAA, where A is a single digit natural
number.
(ii) For exactly one book the number of gold coins paid to the artist and to the writer was same.
  Q.41
How many writers were paid in odd number of coins?

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 Answer key/Solution

Directions for questions 39 to 42: Answer the questions on the basis of the information given below.

An Ottoman king in the 16th century commissioned a series of 6 books to be printed, so he appointed six
writers for writing the text and six artists for drawing images . For each book there was exactly one writer
and one artist for the text and images respectively. An artist or a writer could work on only 1 book. Each
writer was paid 1 gold coin per page for the text while each artist was paid 40 gold coins (of the same
type) per page of image. Each page of the book had either texts or images, but not both. No two books
have same number of total pages. As greed overtook the artists, they tried to include more pages of image
per book. However, the writers were no less, so each of the writer ensured the number of pages containing
text in a book must be directly proportional to the square of number of pages containing image(s) in the
same book. For example, if the total number of pages that contain image(s) in a book was N, then the total
number of pages that contain texts in the book must be kN2, where k is constant and has same value for
each book. Seeing this, the king ordered that no book should contain more than 1000 pages or less than
500 pages and the same was followed by the writers and artists. After printing of all the six books, the king
found some interesting facts which are as follow:

(i) The total number of pages in exactly one book is in the form of AAA, where A is a single digit natural
number.
(ii) For exactly one book the number of gold coins paid to the artist and to the writer was same.

  Q.42
The number of pages containing image(s) in all the six books put together cannot be more than

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 Answer key/Solution
Directions for questions 43 to 46: Answer the questions on the basis of the information given below.

Benoni Democrazy is a country of ve states namely Brinjal, Dakshin, Hindi Shehar, Dongre and
Mahaprant.

The results of the recently held general elections are tabulated below. Table 1 given below shows the
minimum and maximum number of seats won by a party in a state and the total number of seats won by
the party in all the states (in which the party contested) put together.

The (Min, Max) column represents the minimum and maximum number of seats won by the party in a state
.For example the minimum number of seat won by PJP in a state is 3, the maximum number of seat won by
PJP in a state is 10 and the total number of seats won by PJP in all the states (in which the party
contested) put together is 19.

Table 2 indicates the ve states and the parties that contested in each state apart from others.

For example, apart from others, only four parties i.e Bongress, PJP, LSP and MJD have contested in state
Mahaprant.
It is also known that:
1. The total number of seats in the state of Brinjal is 21.
2. LSP won more number of seats in Mahaprant than that in Hindi Shehar.
3. Others did not contest in the state of Dakshin but contested in at least three states out of the four
remaining states.
  Q.43
How many seats did Bongress win in ‘Brinjal’?

1  4

2 5

3 7

4 Either (1) or (2)

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 Answer key/Solution

Directions for questions 43 to 46: Answer the questions on the basis of the information given below.

Benoni Democrazy is a country of ve states namely Brinjal, Dakshin, Hindi Shehar, Dongre and
Mahaprant.

The results of the recently held general elections are tabulated below. Table 1 given below shows the
minimum and maximum number of seats won by a party in a state and the total number of seats won by
the party in all the states (in which the party contested) put together.

The (Min, Max) column represents the minimum and maximum number of seats won by the party in a state
.For example the minimum number of seat won by PJP in a state is 3, the maximum number of seat won by
PJP in a state is 10 and the total number of seats won by PJP in all the states (in which the party
contested) put together is 19.
Table 2 indicates the ve states and the parties that contested in each state apart from others.

For example, apart from others, only four parties i.e Bongress, PJP, LSP and MJD have contested in state
Mahaprant.
It is also known that:
1. The total number of seats in the state of Brinjal is 21.
2. LSP won more number of seats in Mahaprant than that in Hindi Shehar.
3. Others did not contest in the state of Dakshin but contested in at least three states out of the four
remaining states.

  Q.44
Which party won second-largest number of seats in state ‘Dakshin’?

1  KMK

2 WYMK

3 SPP

4 QCP

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 Answer key/Solution
Directions for questions 43 to 46: Answer the questions on the basis of the information given below.

Benoni Democrazy is a country of ve states namely Brinjal, Dakshin, Hindi Shehar, Dongre and
Mahaprant.

The results of the recently held general elections are tabulated below. Table 1 given below shows the
minimum and maximum number of seats won by a party in a state and the total number of seats won by
the party in all the states (in which the party contested) put together.

The (Min, Max) column represents the minimum and maximum number of seats won by the party in a state
.For example the minimum number of seat won by PJP in a state is 3, the maximum number of seat won by
PJP in a state is 10 and the total number of seats won by PJP in all the states (in which the party
contested) put together is 19.

Table 2 indicates the ve states and the parties that contested in each state apart from others.

For example, apart from others, only four parties i.e Bongress, PJP, LSP and MJD have contested in state
Mahaprant.
It is also known that:
1. The total number of seats in the state of Brinjal is 21.
2. LSP won more number of seats in Mahaprant than that in Hindi Shehar.
3. Others did not contest in the state of Dakshin but contested in at least three states out of the four
remaining states.
  Q.45
If SPP won more seats in ‘Dakshin’ than in ‘Hindi Shehar’ then the total number of seats in state Dakshin

1  15

2 14

3 16

4 Cannot be determined

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 Answer key/Solution

Directions for questions 43 to 46: Answer the questions on the basis of the information given below.

Benoni Democrazy is a country of ve states namely Brinjal, Dakshin, Hindi Shehar, Dongre and
Mahaprant.

The results of the recently held general elections are tabulated below. Table 1 given below shows the
minimum and maximum number of seats won by a party in a state and the total number of seats won by
the party in all the states (in which the party contested) put together.

The (Min, Max) column represents the minimum and maximum number of seats won by the party in a state
.For example the minimum number of seat won by PJP in a state is 3, the maximum number of seat won by
PJP in a state is 10 and the total number of seats won by PJP in all the states (in which the party
contested) put together is 19.
Table 2 indicates the ve states and the parties that contested in each state apart from others.

For example, apart from others, only four parties i.e Bongress, PJP, LSP and MJD have contested in state
Mahaprant.
It is also known that:
1. The total number of seats in the state of Brinjal is 21.
2. LSP won more number of seats in Mahaprant than that in Hindi Shehar.
3. Others did not contest in the state of Dakshin but contested in at least three states out of the four
remaining states.

  Q.46
For how many political parties (except others), it is possible to nd exact number of seats won in the
states in which they contested?

1  7

2 10

3 8

4 6

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 Answer key/Solution
Directions for questions 47 to 50: Answer the questions on the basis of the information given below.

A rectangular eld ‘X’ with area 7200 sq. meters is divided into 10 small rectangular areas: A, B, C, D, E, F,
G, H, I and J. Each rectangular area including ‘X’ has its length and breadth in East to west and North to
South direction respectively. The dimensions (length × breadth, in meter) of X, A, B, C,…… J are 80 × 90, 20
× 40, 25 × 30, 25 × 30, 35 × 40, 40 × 15, 20 × 30, 40 × 15, 20 × 30, 20 × 20 and 35 × 20, in the given order.
Here the length of the elds are not necessarily longer than breadth. Further it is known that:
I. The square eld is at the west north corner of X.
II. The eld G is in the south - east corner of X, and E is just north of G and both of them share at least one
boundary with the boundary of X.
III. A is the only eld which does not share its boundary with the boundary of X.
IV. Field F is immediately to the west of eld H such that there is common breadth for both the eld.
V Field B is immediately north of C such that there is common length for both the eld.

  Q.47
Which of the following two elds share their boundary?

1  A and D

2 I and F

3 H and C

4 D and B

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 Answer key/Solution

Directions for questions 47 to 50: Answer the questions on the basis of the information given below.

A rectangular eld ‘X’ with area 7200 sq. meters is divided into 10 small rectangular areas: A, B, C, D, E, F,
G, H, I and J. Each rectangular area including ‘X’ has its length and breadth in East to west and North to
South direction respectively. The dimensions (length × breadth, in meter) of X, A, B, C,…… J are 80 × 90, 20
× 40, 25 × 30, 25 × 30, 35 × 40, 40 × 15, 20 × 30, 40 × 15, 20 × 30, 20 × 20 and 35 × 20, in the given order.
Here the length of the elds are not necessarily longer than breadth. Further it is known that:
I. The square eld is at the west north corner of X.
II. The eld G is in the south - east corner of X, and E is just north of G and both of them share at least one
boundary with the boundary of X.
III. A is the only eld which does not share its boundary with the boundary of X.
IV. Field F is immediately to the west of eld H such that there is common breadth for both the eld.
V Field B is immediately north of C such that there is common length for both the eld.

  Q.48
Field E shares boundary with how many other elds, excluding X?

1  2
2 3

3 4

4 5

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 Answer key/Solution

Directions for questions 47 to 50: Answer the questions on the basis of the information given below.

A rectangular eld ‘X’ with area 7200 sq. meters is divided into 10 small rectangular areas: A, B, C, D, E, F,
G, H, I and J. Each rectangular area including ‘X’ has its length and breadth in East to west and North to
South direction respectively. The dimensions (length × breadth, in meter) of X, A, B, C,…… J are 80 × 90, 20
× 40, 25 × 30, 25 × 30, 35 × 40, 40 × 15, 20 × 30, 40 × 15, 20 × 30, 20 × 20 and 35 × 20, in the given order.
Here the length of the elds are not necessarily longer than breadth. Further it is known that:
I. The square eld is at the west north corner of X.
II. The eld G is in the south - east corner of X, and E is just north of G and both of them share at least one
boundary with the boundary of X.
III. A is the only eld which does not share its boundary with the boundary of X.
IV. Field F is immediately to the west of eld H such that there is common breadth for both the eld.
V Field B is immediately north of C such that there is common length for both the eld.

  Q.49
Two poles P1 and P2 are of same height, and situated inside or on the boundaries of eld D and eld C
respectively. A bird sitting on the top of P1 reaches to the top of P2 by ying on a path which is straight
line. What can be the maximum possible distance (in metres) travelled by the bird?

1  100m

2 40√5

3 10√145

4 60√2

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 Answer key/Solution
Directions for questions 47 to 50: Answer the questions on the basis of the information given below.

A rectangular eld ‘X’ with area 7200 sq. meters is divided into 10 small rectangular areas: A, B, C, D, E, F,
G, H, I and J. Each rectangular area including ‘X’ has its length and breadth in East to west and North to
South direction respectively. The dimensions (length × breadth, in meter) of X, A, B, C,…… J are 80 × 90, 20
× 40, 25 × 30, 25 × 30, 35 × 40, 40 × 15, 20 × 30, 40 × 15, 20 × 30, 20 × 20 and 35 × 20, in the given order.
Here the length of the elds are not necessarily longer than breadth. Further it is known that:
I. The square eld is at the west north corner of X.
II. The eld G is in the south - east corner of X, and E is just north of G and both of them share at least one
boundary with the boundary of X.
III. A is the only eld which does not share its boundary with the boundary of X.
IV. Field F is immediately to the west of eld H such that there is common breadth for both the eld.
V Field B is immediately north of C such that there is common length for both the eld.

  Q.50
Which eld/s share their boundary with D and A both?

1  J

2 H

3 J and H

4 None

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 Answer key/Solution

Directions for questions 51 to 54: Answer the question on the basis of the information given below.

In a small family of four members, the ages (in years) of Father, Mother, Son and Daughter in that order, are
in the descending order and further all ages are different natural numbers. All the four members were
spotted at a party with each of them wearing a dress of a different color among Red, Green, Pink and
White, not necessarily in the same order. Each of them was enquired about the ages of the remaining three
persons, for which, their replies were as follows:
Person wearing a Red dress: The sum of the ages of all the others is 90 years.
Person wearing a Green dress: The sum of the ages of all the others is 70 years.
Person wearing a Pink dress: The sum of the ages of all the others is 80 years.
Person wearing a White dress: The sum of the ages of all the others is 110 years.
It later turned out that all of them made the right statement except one who made an error of 10 while
adding the ages.

  Q.51
The mother was wearing a dress of which color?

1  Red
2 Green

3 Pink

4 Blue

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 Answer key/Solution

Directions for questions 51 to 54: Answer the question on the basis of the information given below.

In a small family of four members, the ages (in years) of Father, Mother, Son and Daughter in that order, are
in the descending order and further all ages are different natural numbers. All the four members were
spotted at a party with each of them wearing a dress of a different color among Red, Green, Pink and
White, not necessarily in the same order. Each of them was enquired about the ages of the remaining three
persons, for which, their replies were as follows:
Person wearing a Red dress: The sum of the ages of all the others is 90 years.
Person wearing a Green dress: The sum of the ages of all the others is 70 years.
Person wearing a Pink dress: The sum of the ages of all the others is 80 years.
Person wearing a White dress: The sum of the ages of all the others is 110 years.
It later turned out that all of them made the right statement except one who made an error of 10 while
adding the ages.

  Q.52
What was the age (in years) of the father?

1  45

2 50

3 65

4 Cannot be determined

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 Answer key/Solution
Directions for questions 51 to 54: Answer the question on the basis of the information given below.

In a small family of four members, the ages (in years) of Father, Mother, Son and Daughter in that order, are
in the descending order and further all ages are different natural numbers. All the four members were
spotted at a party with each of them wearing a dress of a different color among Red, Green, Pink and
White, not necessarily in the same order. Each of them was enquired about the ages of the remaining three
persons, for which, their replies were as follows:
Person wearing a Red dress: The sum of the ages of all the others is 90 years.
Person wearing a Green dress: The sum of the ages of all the others is 70 years.
Person wearing a Pink dress: The sum of the ages of all the others is 80 years.
Person wearing a White dress: The sum of the ages of all the others is 110 years.
It later turned out that all of them made the right statement except one who made an error of 10 while
adding the ages.

  Q.53
Who has done the error while adding the ages?

1  Father

2 Daughter

3 Son

4 Mother

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 Answer key/Solution

Directions for questions 51 to 54: Answer the question on the basis of the information given below.

In a small family of four members, the ages (in years) of Father, Mother, Son and Daughter in that order, are
in the descending order and further all ages are different natural numbers. All the four members were
spotted at a party with each of them wearing a dress of a different color among Red, Green, Pink and
White, not necessarily in the same order. Each of them was enquired about the ages of the remaining three
persons, for which, their replies were as follows:
Person wearing a Red dress: The sum of the ages of all the others is 90 years.
Person wearing a Green dress: The sum of the ages of all the others is 70 years.
Person wearing a Pink dress: The sum of the ages of all the others is 80 years.
Person wearing a White dress: The sum of the ages of all the others is 110 years.
It later turned out that all of them made the right statement except one who made an error of 10 while
adding the ages.

  Q.54
After how many years would the son be as old as what the mother is now?

1  10
2 20

3 30

4 40

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 Answer key/Solution

Directions for questions 55 to 58: Answer the questions on the basis of the information given below.

In “Career Launcher”, a training institute for competitive exams, 10,000 students enrolled for 5 different
courses i.e. SAT, MBA, Law, Banking and BBA. Each student is enrolled in at least 1 and at most 3 courses.
The total number of students enrolled for the 5 above mentioned courses, in the same order is 4,000,
2,500, 1500, 1,000 and 3,000 respectively. Further it is known that
I. 800 of the students enrolled in SAT, are enrolled in at least one more course.
II. Of all the students enrolled in BBA, 2150 are not enrolled in more than 1 course.
III. 150 of the students enrolled in Law are enrolled in SAT and BBA as well whereas 250 students enrolled
in Law are also enrolled in SAT and MBA as well.
IV. 600 students are enrolled in exactly 2 courses.
V. No student enrolled in Banking is enrolled in 3 courses and 200 of these students are enrolled in Law
too.
VI. Of all the students enrolled in Law and two more courses, 300 of them are not enrolled in SAT.

  Q.55
How many students are enrolled in both SAT and BBA?
Fill “1 if your answer is 400”
Fill “2 if your answer is 550”
Fill “3 if your answer is 850”
Fill “4 if your answer is 1100”

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 Answer key/Solution
Directions for questions 55 to 58: Answer the questions on the basis of the information given below.

In “Career Launcher”, a training institute for competitive exams, 10,000 students enrolled for 5 different
courses i.e. SAT, MBA, Law, Banking and BBA. Each student is enrolled in at least 1 and at most 3 courses.
The total number of students enrolled for the 5 above mentioned courses, in the same order is 4,000,
2,500, 1500, 1,000 and 3,000 respectively. Further it is known that
I. 800 of the students enrolled in SAT, are enrolled in at least one more course.
II. Of all the students enrolled in BBA, 2150 are not enrolled in more than 1 course.
III. 150 of the students enrolled in Law are enrolled in SAT and BBA as well whereas 250 students enrolled
in Law are also enrolled in SAT and MBA as well.
IV. 600 students are enrolled in exactly 2 courses.
V. No student enrolled in Banking is enrolled in 3 courses and 200 of these students are enrolled in Law
too.
VI. Of all the students enrolled in Law and two more courses, 300 of them are not enrolled in SAT.

  Q.56
How many students are enrolled in only one course?
Fill “1 if your answer is 8,000”
Fill “2 if your answer is 8,600”
Fill “3 if your answer is 8,700”
Fill “4 if your answer is 9,400”

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 Answer key/Solution

Directions for questions 55 to 58: Answer the questions on the basis of the information given below.

In “Career Launcher”, a training institute for competitive exams, 10,000 students enrolled for 5 different
courses i.e. SAT, MBA, Law, Banking and BBA. Each student is enrolled in at least 1 and at most 3 courses.
The total number of students enrolled for the 5 above mentioned courses, in the same order is 4,000,
2,500, 1500, 1,000 and 3,000 respectively. Further it is known that
I. 800 of the students enrolled in SAT, are enrolled in at least one more course.
II. Of all the students enrolled in BBA, 2150 are not enrolled in more than 1 course.
III. 150 of the students enrolled in Law are enrolled in SAT and BBA as well whereas 250 students enrolled
in Law are also enrolled in SAT and MBA as well.
IV. 600 students are enrolled in exactly 2 courses.
V. No student enrolled in Banking is enrolled in 3 courses and 200 of these students are enrolled in Law
too.
VI. Of all the students enrolled in Law and two more courses, 300 of them are not enrolled in SAT.
  Q.57
If the fee of SAT and Law course is Rs. 40,000 each whereas for the other three courses is Rs. 30,000
each, then what is the total fee (in Rs.) paid by students enrolled in exactly two courses?
Fill “1 if your answer is 4,20,00,000”
Fill “2 if your answer is 42,00,000”
Fill “3 if your answer is 48,00,000”
Fill “4 if your answer is 4,80,00,000”

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 Answer key/Solution

Directions for questions 55 to 58: Answer the questions on the basis of the information given below.

In “Career Launcher”, a training institute for competitive exams, 10,000 students enrolled for 5 different
courses i.e. SAT, MBA, Law, Banking and BBA. Each student is enrolled in at least 1 and at most 3 courses.
The total number of students enrolled for the 5 above mentioned courses, in the same order is 4,000,
2,500, 1500, 1,000 and 3,000 respectively. Further it is known that
I. 800 of the students enrolled in SAT, are enrolled in at least one more course.
II. Of all the students enrolled in BBA, 2150 are not enrolled in more than 1 course.
III. 150 of the students enrolled in Law are enrolled in SAT and BBA as well whereas 250 students enrolled
in Law are also enrolled in SAT and MBA as well.
IV. 600 students are enrolled in exactly 2 courses.
V. No student enrolled in Banking is enrolled in 3 courses and 200 of these students are enrolled in Law
too.
VI. Of all the students enrolled in Law and two more courses, 300 of them are not enrolled in SAT.

  Q.58
How many students are enrolled in SAT but not MBA?
Fill “1 if your answer is 4,000”
Fill “2 if your answer is 3,750”
Fill “3 if your answer is 3,200”
Fill “4 if your answer is 3,000”

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 Answer key/Solution
Directions for questions 59 to 62: Answer the questions on the basis of the information given below.

A company has a building having 3 oors–Floor 1, Floor 2 and Floor 3 and a total of 600 employees
working on those three oors. The number of employees working on Floor 2 is equal to that on Floor [Link]
number of employees working on Floor 1 is equal to the sum of the number of employees working on Floor
2 and Floor 3 put together. The company is looking for employees who can dance on its annual function
scheduled on November 30, [Link] following table gives the proportion of males and that of employees
who can dance.

  Q.59
Find the number of male employees working on Floor 1.

1  115

2 85

3 95

4 105

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 Answer key/Solution

Directions for questions 59 to 62: Answer the questions on the basis of the information given below.

A company has a building having 3 oors–Floor 1, Floor 2 and Floor 3 and a total of 600 employees
working on those three oors. The number of employees working on Floor 2 is equal to that on Floor [Link]
number of employees working on Floor 1 is equal to the sum of the number of employees working on Floor
2 and Floor 3 put together. The company is looking for employees who can dance on its annual function
scheduled on November 30, [Link] following table gives the proportion of males and that of employees
who can dance.
  Q.60
If 20% of males on Floor 3 can dance, then what is the absolute difference between the number of female
who can dance and that of male who cannot dance on that Floor 3?

1  12

2 15

3 18

4 20

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 Answer key/Solution

Directions for questions 59 to 62: Answer the questions on the basis of the information given below.

A company has a building having 3 oors–Floor 1, Floor 2 and Floor 3 and a total of 600 employees
working on those three oors. The number of employees working on Floor 2 is equal to that on Floor [Link]
number of employees working on Floor 1 is equal to the sum of the number of employees working on Floor
2 and Floor 3 put together. The company is looking for employees who can dance on its annual function
scheduled on November 30, [Link] following table gives the proportion of males and that of employees
who can dance.

  Q.61
If at least 3/5 th of the number of males working on Floor 2 and Floor 3 put together cannot dance, then
what is the maximum number of females, working on Floor 2 and Floor 3 put together, who can not dance?

1  111

2 97

3 103

4 None of these
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 Answer key/Solution

Directions for questions 59 to 62: Answer the questions on the basis of the information given below.

A company has a building having 3 oors–Floor 1, Floor 2 and Floor 3 and a total of 600 employees
working on those three oors. The number of employees working on Floor 2 is equal to that on Floor [Link]
number of employees working on Floor 1 is equal to the sum of the number of employees working on Floor
2 and Floor 3 put together. The company is looking for employees who can dance on its annual function
scheduled on November 30, [Link] following table gives the proportion of males and that of employees
who can dance.

  Q.62
Which of the following is true?

1  Number of females, who work on Floor 2 is more than that on oor 3

2 Number of females, who work on Floor 1 is equal to number of people who cannot dance on Floor 1

3 Number of males, who work on Floor 1 is equal to number of people who cannot dance on Floor 1

4 Number of employees, who cannot dance and work on Floor 3 is equal to number of employees who
can dance and work on Floor 1

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 Answer key/Solution
Directions for questions 63 to 66: Answer the questions on the basis of the information given below.

Eleven friends live in ‘Carlton’ society and every day they go to their respective o ces. 2 of them is
working in Intello Pvt Ltd., 1 is working in Creative Pvt. Ltd., 4 are working in Knowledge Pvt. Ltd and the
other 4 are working in Sober Pvt. Ltd. At the end of the day, they all leave their o ce at the same time and
meet at a common point.
Further it is known regarding the location of these companies:
The o ce of Intello Pvt Ltd. is 4 km to the east and 9 km to north from Carlton.
The o ce of Creative Pvt Ltd. is 8 km to east and 2 km to north from Carlton.
The o ce of Knowledge Pvt [Link] 5 km to east and 5 km south from Carlton.
The o ce of Sober Pvt Ltd. is 2 km to west and 7 km to north from Carlton.

One can travel in east, west, north and south direction only. For example, If one has to reach to the o ce of
Intello Pvt Ltd from Carlton, then he/she will have to walk 4 km toward east and then 9 km toward north.
The same walking pattern is applicable for all other o ces.

  Q.63
Where should all of them meet such that the total distance travelled by all 11 friends is minimum possible?

1  In Creative Pvt Ltd.

2 5 km east and 7 km south of Carlton

3 4 km east and 7 km north of Carlton

4 4 km north and 2 km south of Carlton

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 Answer key/Solution

Directions for questions 63 to 66: Answer the questions on the basis of the information given below.

Eleven friends live in ‘Carlton’ society and every day they go to their respective o ces. 2 of them is
working in Intello Pvt Ltd., 1 is working in Creative Pvt. Ltd., 4 are working in Knowledge Pvt. Ltd and the
other 4 are working in Sober Pvt. Ltd. At the end of the day, they all leave their o ce at the same time and
meet at a common point.
Further it is known regarding the location of these companies:
The o ce of Intello Pvt Ltd. is 4 km to the east and 9 km to north from Carlton.
The o ce of Creative Pvt Ltd. is 8 km to east and 2 km to north from Carlton.
The o ce of Knowledge Pvt [Link] 5 km to east and 5 km south from Carlton.
The o ce of Sober Pvt Ltd. is 2 km to west and 7 km to north from Carlton.

One can travel in east, west, north and south direction only. For example, If one has to reach to the o ce of
Intello Pvt Ltd from Carlton, then he/she will have to walk 4 km toward east and then 9 km toward north.
The same walking pattern is applicable for all other o ces.
  Q.64
What is the minimum distance travelled towards north by all the employees of Sober Pvt. Ltd. to meet the
other friends?

1  24 km

2 28 km

3 44 km

4 Cannot be determined

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 Answer key/Solution

Directions for questions 63 to 66: Answer the questions on the basis of the information given below.

Eleven friends live in ‘Carlton’ society and every day they go to their respective o ces. 2 of them is
working in Intello Pvt Ltd., 1 is working in Creative Pvt. Ltd., 4 are working in Knowledge Pvt. Ltd and the
other 4 are working in Sober Pvt. Ltd. At the end of the day, they all leave their o ce at the same time and
meet at a common point.
Further it is known regarding the location of these companies:
The o ce of Intello Pvt Ltd. is 4 km to the east and 9 km to north from Carlton.
The o ce of Creative Pvt Ltd. is 8 km to east and 2 km to north from Carlton.
The o ce of Knowledge Pvt [Link] 5 km to east and 5 km south from Carlton.
The o ce of Sober Pvt Ltd. is 2 km to west and 7 km to north from Carlton.

One can travel in east, west, north and south direction only. For example, If one has to reach to the o ce of
Intello Pvt Ltd from Carlton, then he/she will have to walk 4 km toward east and then 9 km toward north.
The same walking pattern is applicable for all other o ces.

  Q.65
One day, due to extended working hours in Knowledge Pvt Ltd., their employees could not come to meet
others. The friend working in other three o ces decided to meet at a point such that the total distance
travelled by these friends is minimum possible. Where should they meet?

1  In Sober Pvt Ltd.

2 In Intello Pvt Ltd.

3 At Carlton

4 In Creative Pvt Ltd.

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 Answer key/Solution

Directions for questions 63 to 66: Answer the questions on the basis of the information given below.

Eleven friends live in ‘Carlton’ society and every day they go to their respective o ces. 2 of them is
working in Intello Pvt Ltd., 1 is working in Creative Pvt. Ltd., 4 are working in Knowledge Pvt. Ltd and the
other 4 are working in Sober Pvt. Ltd. At the end of the day, they all leave their o ce at the same time and
meet at a common point.
Further it is known regarding the location of these companies:
The o ce of Intello Pvt Ltd. is 4 km to the east and 9 km to north from Carlton.
The o ce of Creative Pvt Ltd. is 8 km to east and 2 km to north from Carlton.
The o ce of Knowledge Pvt [Link] 5 km to east and 5 km south from Carlton.
The o ce of Sober Pvt Ltd. is 2 km to west and 7 km to north from Carlton.

One can travel in east, west, north and south direction only. For example, If one has to reach to the o ce of
Intello Pvt Ltd from Carlton, then he/she will have to walk 4 km toward east and then 9 km toward north.
The same walking pattern is applicable for all other o ces.

  Q.66
The straight line (air route) distance is minimum between o ce of which two companies?

1  Intello and Creative

2 Creative and Knowledge

3 Sober and Intello

4 Sober and Knowledge

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 Answer key/Solution

Sec 3

  Q.67
One day, Rajesh walked from his home to his o ce at three fourths of his usual speed. When he reached
midway, he realised that he was 10 minutes late at that point. He, then, increased his speed by 25% and
completed the remaining journey. Find the time (in minutes) taken by Rajesh to reach his o ce that day.
1  64

2 72

3 60

4 80

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 Answer key/Solution

  Q.68
If |x2 + 7x + 12| – |x2 – 8x + p| = 0 and |x – 7| – |x – 9| = 0, then nd the value |p|,

1  132

2 64

3 256

4 128

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 Answer key/Solution

  Q.69

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 Answer key/Solution
  Q.70
In the gure given below, AC is the diameter of the circle and ED is parallel to AC. If ∠CBE = 55°, then nd
the measure of ∠DEC.

1  35°

2 70°

3 25°

4 55°

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 Answer key/Solution

  Q.71
X, Y and Z are three distinct natural numbers such that X < Y < Z. The only factors of the number (X + Y + Z)
are (X – 7), (X – 6), (X + 9), (Y – 10), (Y – 5), (Y + 1), (Z – 12), (Z – 7) and (Z + 20). Which of the following
statements is/are true?
I. X is a perfect square
II. Y is a prime number
III. Z is a perfect square

1  I only

2 I and III only

3 II and III only

4 All three of them

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  Q.72
A function de ned as F(n) = q × 5n , where n and q are natural number such that q is not divisible by 5. If m
is a natural number, then which of the following is true?

1  F(m + n) = F(m) + F(n)

2 F(m + n) < F(m) + F(n)

3 F(m + n) > F(m) + F(n)

4 None of these

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  Q.73
In a trapezium ABCD, AD and BC are parallel but not equal and the diagonals AC and BD intersect each
other at point O. If AO = 4, BO = 2x – 11, CO = x – 4, DO = x – 3 then nd x. (all lengths are measured in
same unit)

1  7

2 8

3 9

4 Either (1) or (2)

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  Q.74
If 1× 50 + 2× 49 + 3× 48 + ..... + 48×3 + 49× 2 + 50×1= nC3 , then what is the value of n?

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  Q.75
Three circles of equal radius r are drawn inside a circle of radius R such that the smaller circles touch each
other externally and the bigger circle (of radius R) internally. What percentage of area of the bigger circle is
occupied by the smaller circles?

1  51.5

2 58.3

3 64.7

4 69.4

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  Q.76
At the beginning of winter, there were at least 66 students registered in a ski class. After the class started,
eleven new boys joined the class and thirteen girls left the class. Post this the ratio of boys to girls in the
class became 1 : 1. Which of the following cannot be a possible ratio of boys to girls, in the class at the
beginning of winter?

1  4:7

2 1:2

3 9 : 13

4 5 : 11
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  Q.77
In the gure given below, ABCD is a trapezium such that AB = 10 cm, CD = 15 cm and AD = 8 cm.
AB is parallel to CD, BD is parallel to EF, AD is parallel to BE and AD is perpendicular to DC. Find the area (in
cm2) of triangle DBF.

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  Q.78

1  45.83

2 38.5

3 27.27

4 36.36

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  Q.79
In the gure below, PQR is an acute angled triangle in which QS is perpendicular to PR.
If PQ = (x – 2) cm, QR = (x + 2) cm and PR = x cm. Find the absolute difference between the lengths (in cm)
of PS and SR.

1  x/9

2 8

3 x/8

4 Cannot be determined

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  Q.80
If the 27th, 36th and 45th terms of an Arithmetic Progression are a, b and c respectively, then what is the
value of 24a – 48b + 24c?

1  0

2 48

3 96

4 Cannot be determined

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  Q.81

1  Always even

2 Always odd

3 Always a perfect square

4 None of the above

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  Q.82
If a beats B by 15 seconds in a 200 m race, B beats C by 25 seconds in a 500 m race, C beats D by 32
seconds in a 800 m race and D beats E by 35 seconds in a kilometer race. What must be the speed of A in
order to beat E by 800 m in a 2 km race?

1  2.5 m/s

2 3.33 m/s

3 5 m/s

4 6.66 m/s

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  Q.83
The weight of 9 melons is equal to the total weight of 9 lemons and one and a half turnips. The total weight
of 9 melons and four and a half turnips is equal to the weight of 18 lemons. if every object of the same
kind weighs the same, then which of the following will be equal to the total weight of 1 melon, 1 lemon and
1 turnip?

1  3 melons
2 3 lemons

3 2 turnips

4 Indeterminate

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  Q.84
Ashok and Kishore buy ovens from two different stores. They then sell it to their neighbors and both make
a pro t. If their selling prices are interchanged, their pro t percentages also interchange. Which of the
following has to be true?

1  Their selling prices are equal

2 Their cost prices are equal

3 Their pro ts are equal

4 Their pro t percentages are equal

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  Q.85
ABCE is a rectangle and G is a point inside the rectangle. Two perpendiculars are drawn from G meeting
AE and EC at D and F respectively. If AB = 10 cm, BC = GD = 8cm and GF = 6 cm, nd the area (in cm2) of
the quadrilateral BFGD.

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  Q.86
George’s age was X years in the year X2 BC (Before Christ). After 3X years, George’s age became one third
of the numerical value of the calendar year. What was George’s age (in years) after X more years? (Note:-
The year after 200 BC was 199 BC)

1  75

2 105

3 36

4 55

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  Q.87
Radha went to Mega Bazar to buy fruits. Only 100 units each of apples, bananas, oranges, guavas and
melons were available in the fruits section. The number of fruits that she bought of each type were in the
ratio 6 : 7 : 8 : 9 : 10. In all she bought 56% of the total unit of fruits available. The number of types of fruits
of which she bought more than 60% of available units is

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  Q.88
Amit had Rs.1,09,386 with him which he invested partly in Plan A at simple interest at the rate of 25% per
annum and partly in Plan B at compound interest 20% per annum. After 2 years, the amount of money
returned by both the investments is the same. What is the ratio of the amount invested in Plan A to that in
Plan B?

1  18 : 11

2 24 : 25

3 23 : 21

4 19 : 17
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  Q.89
Two inlet pipes and an outlet pipe have radii 3 cm, 2 cm and 4 cm respectively. The inlet pipes are opened
at alternate minutes (one after the other), while the outlet pipe is kept open throughout. The rate of ow of
water through each of these pipes is 1m per minute. If a completely lled tank gets emptied in exactly 14
minutes, nd the capacity of the tank.

1  5.17 × 104 cm3

2 4.18 × 104 cm3

3 3.135 × 104 cm3

4 3.19 × 104 cm3

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  Q.90
The product of two natural numbers X and Y is 10,00,000. If neither X nor Y has zero as one of its digits,
then nd the value of X + Y.

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  Q.91
On a planet called Bluto every month has a xed number of days. In one particular month it rained for 12
days and the remaining days were clear (that means there was no rain on those days). Every morning when
it rained was followed by a clear afternoon. Every afternoon when it rained was preceded by a clear
morning. A total of ten mornings and fourteen afternoons were clear. How many days had no rain at all?

1  3
2 6

3 8

4 Cannot be determined

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  Q.92
In the gure given below, ABC is a triangle such that E and D are the midpoints of sides AC and BC
respectively. F is a point on side AC such that DF is parallel to BE. If CF = 4 cm, FD = 3 cm and CD = 5 cm,
then nd the length (in cm) of AB.

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  Q.93
The diagram below shows a rectangular network of paths. What is the number of shortest paths from point
A to point B without passing through intersection C?

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  Q.94
What is the largest bill amount that cannot be cleared using only notes of denominations Rs. 5 and Rs. 8?

1  Rs. 43

2 Rs. 22

3 Rs. 27

4 Rs. 39

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  Q.95
If square of Laurel’s age (in years) is added to the age (in years) of Hardy, the sum is 37; but if the square
of Hardy’s age is added to the age of Laurel, the result is 149. If their ages (in years) are integers, then
what is the difference between their age?

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  Q.96
Siva read a book called ‘The Last Hunter’. On the rst day he read p pages in d minutes, where p and d are
positive integers. On the second day he read (p + 1) pages in (d + 1) minutes. On the third day he read (p +
2) pages in (d + 2) minutes. Every day he read one more page than the previous day and took one more
minute to do so as compared to the previous day till he reached the end of the book. He read 374 pages, in
total, and it took him 319 minutes to do so. Find the value of (p + 4)

1  60

2 22

3 54

4 33

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  Q.97
On a wooden rod, there are markings for three different scales. The rst set of markings divides the rod
into 8 equal parts, the second set of markings divides the rod into 10 equal parts and the third set of
markings divides the rod into 12 equal parts. If a person cuts the rod at each marking, how many pieces of
wood does he get?

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  Q.98
Before his last Maths test, Bongani’s cumulative percentage marks in Maths was 33%. In his last test he
scored 40%, which increased his cumulative percentage marks to 34%. If the maximum marks of each test
was 100, what should he score in his next test to increase his cumulative percentage marks to 35%?

1  42

2 41

3 39
4 38

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  Q.99
If f(x) denotes the number of prime numbers less than x, what is the value of f(f(40))?

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  Q.100
A teacher wants to buy exactly 106 laddoos. The laddoos are sold in packs of 5 which cost Rs.6 per pack,
or packs of 7 which cost Rs.7 per pack. What is the lowest cost (in Rs.) at which the teacher can buy the
laddoos?

1  112

2 109

3 99

4 38

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