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CAT Practice Test - 13 - CAT MCQ


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30 Questions MCQ Test CAT Mock Test Series and 500+ Practice Tests 2024 - CAT Practice Test - 13

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CAT Practice Test - 13 - Question 1

Direction: Read the passage carefully and answer the questions
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anticapitalist conservationism (not conservatism) that solaced itself with the vision of a preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk historians and revivalists have led to music that is commonly regarded as parochial and conservative. And yet – as newspaper columns periodically rejoice – folk is hip again, influencing artists, clothing and furniture designers, celebrated at music festivals, awards ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic", containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant transformation, a living example of an art form in a perpetual state of renewal. "One man sings a song, and then others sing it after him, changing what they do not like" is the most concise summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms. For the early-20th-century composers such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism, angular modernism and the body blow of the first world war, as well as input from the rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical freedom of Dylan and the unchained melodies of psychedelia created the conditions for folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .

Q. Which of the following statements about folk revivalism of the 1940s and 1960s cannot be inferred from the passage?

Detailed Solution for CAT Practice Test - 13 - Question 1

“In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms.”
The author says that electrification, however, comes in many forms; in other words, electrification need not always come through rock along. It might come from any other form of music as well. Thus option 2 surely cannot be inferred.
Option 4 can be inferred because Cecil Sharp talks about folk music’s ability to adapt. The music of 40s and 60s demonstrates that adaptation.
The passage says that in the late 1960s, Purists were suspicious of folk songs recast in rock idioms, this suggests that it had critics. The purists were those critics. This supports choice 1
“…the lyrical freedom of Bob Dylan…” this phrase comes in support of choice 3

CAT Practice Test - 13 - Question 2

Direction: Read the passage carefully and answer the questions
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anticapitalist conservationism (not conservatism) that solaced itself with the vision of a preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk historians and revivalists have led to music that is commonly regarded as parochial and conservative. And yet – as newspaper columns periodically rejoice – folk is hip again, influencing artists, clothing and furniture designers, celebrated at music festivals, awards ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic", containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant transformation, a living example of an art form in a perpetual state of renewal. "One man sings a song, and then others sing it after him, changing what they do not like" is the most concise summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms. For the early-20th-century composers such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism, angular modernism and the body blow of the first world war, as well as input from the rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical freedom of Dylan and the unchained melodies of psychedelia created the conditions for folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .

Q. All of the following are causes for plurality and diversity within the British folk tradition EXCEPT:

Detailed Solution for CAT Practice Test - 13 - Question 2

Diversity will surely come if there is long history of past influence. Both option 1 and option 2 support that. The fluidity of folk forms means adaptability of folk forms, or flexibility of folk forms. Thus even 4 justifies the idea of diversity.
Option 1 goes out because being popular or unpopular has nothing to do with diversity.

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CAT Practice Test - 13 - Question 3

Direction: Read the passage carefully and answer the questions
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anticapitalist conservationism (not conservatism) that solaced itself with the vision of a preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk historians and revivalists have led to music that is commonly regarded as parochial and conservative. And yet – as newspaper columns periodically rejoice – folk is hip again, influencing artists, clothing and furniture designers, celebrated at music festivals, awards ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic", containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant transformation, a living example of an art form in a perpetual state of renewal. "One man sings a song, and then others sing it after him, changing what they do not like" is the most concise summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms. For the early-20th-century composers such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism, angular modernism and the body blow of the first world war, as well as input from the rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical freedom of Dylan and the unchained melodies of psychedelia created the conditions for folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .

Q. At a conference on folk forms, the author of the passage is least likely to agree with which one of the following views?

Detailed Solution for CAT Practice Test - 13 - Question 3

Right across the passage the author appreciates how folk forms have been used my modern musicians, and appreciates the fusion of folk with other forms of music.
Option 1 supports the author’s opinion by asserting that folk forms have the ability to influence and be influenced by. The author will agree with this statement.
Option 2 also supports the author’s contention that folk forms were relevant and are relevant even today
Option 4 also supports the author’s point and therefore the author is likely to agree with this point
Option 3 is the right choice because it says that folk music exhibit unusual homogeneity. If there is homogeneity, then the idea of the adapting and infusing with other kinds of music is not valid. Thus the author will not agree with this. The author would rather say that folk music, by influencing and by getting influenced, becomes heterogeneous and not homogenous. Heterogeneous means mixed with varieties, while homogenous means comprising things of the same type.

CAT Practice Test - 13 - Question 4

Direction: Read the passage carefully and answer the questions
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anticapitalist conservationism (not conservatism) that solaced itself with the vision of a preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk historians and revivalists have led to music that is commonly regarded as parochial and conservative. And yet – as newspaper columns periodically rejoice – folk is hip again, influencing artists, clothing and furniture designers, celebrated at music festivals, awards ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic", containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant transformation, a living example of an art form in a perpetual state of renewal. "One man sings a song, and then others sing it after him, changing what they do not like" is the most concise summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms. For the early-20th-century composers such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism, angular modernism and the body blow of the first world war, as well as input from the rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical freedom of Dylan and the unchained melodies of psychedelia created the conditions for folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .

Q. the pervasive influence of folk on contemporary art, culture, and fashion.

Detailed Solution for CAT Practice Test - 13 - Question 4

Our team could not come up with the correct explanation for this question, though by elimination and by understanding the context, we can arrive at option 3 as the right choice.

CAT Practice Test - 13 - Question 5

Direction: Read the passage carefully and answer the questions
"Free of the taint of manufacture" – that phrase, in particular, is heavily loaded with the ideology of what the Victorian socialist William Morris called the "anti-scrape", or an anticapitalist conservationism (not conservatism) that solaced itself with the vision of a preindustrial golden age. In Britain, folk may often appear a cosy, fossilised form, but when you look more closely, the idea of folk – who has the right to sing it, dance it, invoke it, collect it, belong to it or appropriate it for political or cultural ends – has always been contested territory. . . .
In our own time, though, the word "folk" . . . has achieved the rare distinction of occupying fashionable and unfashionable status simultaneously. Just as the effusive floral prints of the radical William Morris now cover genteel sofas, so the revolutionary intentions of many folk historians and revivalists have led to music that is commonly regarded as parochial and conservative. And yet – as newspaper columns periodically rejoice – folk is hip again, influencing artists, clothing and furniture designers, celebrated at music festivals, awards ceremonies and on TV, reissued on countless record labels. Folk is a sonic "shabby chic", containing elements of the uncanny and eerie, as well as an antique veneer, a whiff of Britain's heathen dark ages. The very obscurity and anonymity of folk music's origins open up space for rampant imaginative fancies. . . .
[Cecil Sharp, who wrote about this subject, believed that] folk songs existed in constant transformation, a living example of an art form in a perpetual state of renewal. "One man sings a song, and then others sing it after him, changing what they do not like" is the most concise summary of his conclusions on its origins. He compared each rendition of a ballad to an acorn falling from an oak tree; every subsequent iteration sows the song anew. But there is tension in newness. In the late 1960s, purists were suspicious of folk songs recast in rock idioms. Electrification, however, comes in many forms. For the early-20th-century composers such as Vaughan Williams and Holst, there were thunderbolts of inspiration from oriental mysticism, angular modernism and the body blow of the first world war, as well as input from the rediscovered folk tradition itself.
For the second wave of folk revivalists, such as Ewan MacColl and AL Lloyd, starting in the 40s, the vital spark was communism's dream of a post-revolutionary New Jerusalem. For their younger successors in the 60s, who thronged the folk clubs set up by the old guard, the lyrical freedom of Dylan and the unchained melodies of psychedelia created the conditions for folkrock's own golden age, a brief Indian summer that lasted from about 1969 to 1971. . . . Four decades on, even that progressive period has become just one more era ripe for fashionable emulation and pastiche. The idea of a folk tradition being exclusively confined to oral transmission has become a much looser, less severely guarded concept. Recorded music and television, for today's metropolitan generation, are where the equivalent of folk memories are seeded. . . .

Q. The author says that folk “may often appear a cosy, fossilised form” because:

Detailed Solution for CAT Practice Test - 13 - Question 5

something that is fossilized belongs to or reminds of the past. The only correct choice that can be convincingly picked is choice 4. Rest all don’t justify the word ‘fossilised’

CAT Practice Test - 13 - Question 6

Direction: Read the passage carefully and answer the questions
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first European translator of . . . Arabian Nights [which] started as a series of translations of an incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland that would suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”

Q. Which of the following is the primary reason for why storytellers are still fascinated by the story of Aladdin?

Detailed Solution for CAT Practice Test - 13 - Question 6

The first few sentences of the last paragraph have the clue to the right answer.
“To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle
East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it.”
The archetype rags to riches story… has not featured in the above passage.
By reading the above paragraph, we can indisputably mark option 2 as your choice.

CAT Practice Test - 13 - Question 7

Direction: Read the passage carefully and answer the questions
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first European translator of . . . Arabian Nights [which] started as a series of translations of an incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland that would suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”

Q. Which of the following, if true, would invalidate the inversion that the phrase “flips the script” refers to?

Detailed Solution for CAT Practice Test - 13 - Question 7

To invalidate the inversion, we have to first understand the inversion. What exactly is ‘flips the script” referring to? Scholars initially thought that Aladdin must have been inspired by 18th century French Fairy tales, but “The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script.“
Here flips the script means changes the opinion that Aladdin was inspired by French Fairy tales. In other words, Aladdin was not inspired by French Fairy tales but that Diyab was the actual author. By invalidating the inversion, the question wants us to not give the credit to Diyab
Option 3 goes out because by pointing out the dissimilarity between Aladdin and French Fairy Tales, it gives the credit to Diyab.
Option 2 does not invalidate because still Diyab has seen the luxury and opulence of France, not necessarily of Versailles.
Option 1 also gives the credit to Diyab, so it is not invalidating the inversion.
Option 4 is the right choice because, if they bore no resemblance, then it disputes the evidence that Diyab ever narrated the story to Galland, as Galland claims in his diary. This would contradict, at least to some extent, the author’s claim that Diyab was the author of the character of Aladdin.

CAT Practice Test - 13 - Question 8

Direction: Read the passage carefully and answer the questions
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first European translator of . . . Arabian Nights [which] started as a series of translations of an incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland that would suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”

Q. All of the following serve as evidence for the character of Aladdin being based on Hanna Diyab EXCEPT:

Detailed Solution for CAT Practice Test - 13 - Question 8

We have to mark the choice that is not serving as evidence, as it is an except question.
Option 1 serves as evidence (Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.”). The youthful observations of the wealth of Versailles refers to his cross-cultural experience. We can also eliminate choice 4 by reading above extract from the passage.
Option 2 can be ruled out because of this extract from the second paragraph: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing…(the hard-knocks upbringing supports that Diyab could well be the author)
Option 3 does not serve as evidence for the character of Aladdin being based on Hanna Diyab, because Diyab could have read or heard the story from somewhere or narrated it to Galland. The fact that he is just narrating the story to Galland does not serve as evidence that Diyab is likely to be real Aladdin.
The other choices do support that.

CAT Practice Test - 13 - Question 9

Direction: Read the passage carefully and answer the questions
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first European translator of . . . Arabian Nights [which] started as a series of translations of an incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland that would suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”

Q. Which of the following does not contribute to the passage’s claim about the authorship of Aladdin?

Detailed Solution for CAT Practice Test - 13 - Question 9

We have to mark the choice that does not contribute to the passage’s claim about the authorship of Aladdin.
Option 1 does contribute because it confirms that Diyab is the author of the Aladdin
Option 2 too is mentioned in the passage towards the end “…Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young Protagonist…”
Option 4, too, supports the claim that Diyab could well be the author.
Option 3 does not support the claim because ‘the French fairy tales’ evidence has been disputed by the author, and he says that “The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script.“
Which script is getting flipped? The story that Aladdin was inspired by French Fairy tales of the 18th century (read the passage)

CAT Practice Test - 13 - Question 10

Direction: Read the passage carefully and answer the questions
In the past, credit for telling the tale of Aladdin has often gone to Antoine Galland . . . the first European translator of . . . Arabian Nights [which] started as a series of translations of an incomplete manuscript of a medieval Arabic story collection. . . But, though those tales were of medieval origin, Aladdin may be a more recent invention. Scholars have not found a manuscript of the story that predates the version published in 1712 by Galland, who wrote in his diary that he first heard the tale from a Syrian storyteller from Aleppo named Hanna Diyab . . .
Despite the fantastical elements of the story, scholars now think the main character may actually be based on a real person’s real experiences. . . . Though Galland never credited Diyab in his published translations of the Arabian Nights stories, Diyab wrote something of his own: a travelogue penned in the mid-18th century. In it, he recalls telling Galland the story of Aladdin [and] describes his own hard-knocks upbringing and the way he marveled at the extravagance of Versailles. The descriptions he uses were very similar to the descriptions of the lavish palace that ended up in Galland’s version of the Aladdin story. [Therefore, author Paulo Lemos] Horta believes that “Aladdin might be the young Arab Maronite from Aleppo, marveling at the jewels and riches of Versailles.” . . .
For 300 years, scholars thought that the rags-to-riches story of Aladdin might have been inspired by the plots of French fairy tales that came out around the same time, or that the story was invented in that 18th century period as a byproduct of French Orientalism, a fascination with stereotypical exotic Middle Eastern luxuries that was prevalent then. The idea that Diyab might have based it on his own life — the experiences of a Middle Eastern man encountering the French, not vice-versa — flips the script. [According to Horta,] “Diyab was ideally placed to embody the overlapping world of East and West, blending the storytelling traditions of his homeland with his youthful observations of the wonder of 18th-century France.” . . .
To the scholars who study the tale, its narrative drama isn’t the only reason storytellers keep finding reason to return to Aladdin. It reflects not only “a history of the French and the Middle East, but also [a story about] Middle Easterners coming to Paris and that speaks to our world today,” as Horta puts it. “The day Diyab told the story of Aladdin to Galland, there were riots due to food shortages during the winter and spring of 1708 to 1709, and Diyab was sensitive to those people in a way that Galland is not. When you read this diary, you see this solidarity among the Arabs who were in Paris at the time. . . . There is little in the writings of Galland that would suggest that he was capable of developing a character like Aladdin with sympathy, but Diyab’s memoir reveals a narrator adept at capturing the distinctive psychology of a young protagonist, as well as recognizing the kinds of injustices and opportunities that can transform the path of any youthful adventurer.”

Q. The author of the passage is most likely to agree with which of the following explanations for the origins of the story of Aladdin?

Detailed Solution for CAT Practice Test - 13 - Question 10

This is a very simple question. The main argument of the passage is that Diyab could well be the author of the passage. We have to pick a choice that goes in this direction.
Option 1 attributes the authorship to Diyab, it is the right choice
Option 2 attributes the authorship to some incomplete medieval manuscript. It goes out
Option 3 goes out for the same reason as option 2
Option 4 says that Galland derived the story, ultimately giving the credit of authorship to Galland.

CAT Practice Test - 13 - Question 11

Direction: Read the passage carefully and answer the question based on it.
As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. Factors influencing one’s depth of response to the environment include cultural background, gender, race, and historical circumstance, and Tuan also argued that there is a biological and sensory element. Topophilia might not be the strongest of human emotions— indeed, many people feel utterly indifferent toward the environments that shape their lives— but when activated it has the power to elevate a place to become the carrier of emotionally charged events or to be perceived as a symbol.
Aesthetic appreciation is one way in which people respond to the environment. A brilliantly colored rainbow after gloomy afternoon showers, a busy city street alive with human interaction—one might experience the beauty of such landscapes that had seemed quite ordinary only moments before or that are being newly discovered. This is quite the opposite of a second topophilic bond, namely that of the acquired taste for certain landscapes and places that one knows well. When a place is home, or when a space has become the locus of memories or the means of gaining a livelihood, it frequently evokes a deeper set of attachments than those predicated purely on the visual. A third response to the environment also depends on the human senses but may be tactile and olfactory, namely a delight in the feel and smell of air, water, and the earth.
Topophilia—and its very close conceptual twin, sense of place—is an experience that, however elusive, has inspired recent architects and planners. Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted, purely aesthetic responses often are suddenly revealed, but their intensity rarely is longlasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.
Topophilia connotes a positive relationship, but it often is useful to explore the darker affiliations between people and place. Patriotism, literally meaning the love of one’s terra patria or homeland, has long been cultivated by governing elites for a range of nationalist projects, including war preparation and ethnic cleansing. Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.

Q. Which one of the following comes closest in meaning to the author’s understanding of topophilia?

Detailed Solution for CAT Practice Test - 13 - Question 11

Topophilia means love for a particular place. The choice must reflect love. Option 2 goes out because in the option we have "least affinity for the place". Option 3 says that the French are not patriotic, so it too goes out because topophilia will bring patriotism. Topography has nothing to do with love, topography means understanding of the topology of a particular place. Thus only 1 fits the meaning of topophilia.

CAT Practice Test - 13 - Question 12

Direction: Read the passage carefully and answer the question based on it.
As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. Factors influencing one’s depth of response to the environment include cultural background, gender, race, and historical circumstance, and Tuan also argued that there is a biological and sensory element. Topophilia might not be the strongest of human emotions— indeed, many people feel utterly indifferent toward the environments that shape their lives— but when activated it has the power to elevate a place to become the carrier of emotionally charged events or to be perceived as a symbol.
Aesthetic appreciation is one way in which people respond to the environment. A brilliantly colored rainbow after gloomy afternoon showers, a busy city street alive with human interaction—one might experience the beauty of such landscapes that had seemed quite ordinary only moments before or that are being newly discovered. This is quite the opposite of a second topophilic bond, namely that of the acquired taste for certain landscapes and places that one knows well. When a place is home, or when a space has become the locus of memories or the means of gaining a livelihood, it frequently evokes a deeper set of attachments than those predicated purely on the visual. A third response to the environment also depends on the human senses but may be tactile and olfactory, namely a delight in the feel and smell of air, water, and the earth.
Topophilia—and its very close conceptual twin, sense of place—is an experience that, however elusive, has inspired recent architects and planners. Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted, purely aesthetic responses often are suddenly revealed, but their intensity rarely is longlasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.
Topophilia connotes a positive relationship, but it often is useful to explore the darker affiliations between people and place. Patriotism, literally meaning the love of one’s terra patria or homeland, has long been cultivated by governing elites for a range of nationalist projects, including war preparation and ethnic cleansing. Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.

Q. Which of the following statements, if true, could be seen as not contradicting the arguments in the passage?

Detailed Solution for CAT Practice Test - 13 - Question 12

This is a slightly difficult question. We have to read the options carefully and look for the one that is not against what the author has to say, the ones that are against what the author has to say, will contradict the author’s argument. But we have to mark the choice that is not contradicting what the author has to say.’
Option 1 contradicts because the author says that olfactory response is the third most important factor, while the option says that it is the most important factor.
Option 2 also can be ruled out because the author says in the first paragraph: the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. The author says ‘vary greatly’, while the option says ‘vary little’
Option 3 can be seen in the last paragraph, and is parallel to what the author has to say. This is not contradicting the author’s argument, and hence it is the right choice.
Option 4 can be ruled out because it too goes against what the author has to say.
“Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint”
The author says the New Urbanism is bound to disappoint, but the options says that it is successful as the client’s demand for it.

CAT Practice Test - 13 - Question 13

Direction: Read the passage carefully and answer the question based on it.
As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. Factors influencing one’s depth of response to the environment include cultural background, gender, race, and historical circumstance, and Tuan also argued that there is a biological and sensory element. Topophilia might not be the strongest of human emotions— indeed, many people feel utterly indifferent toward the environments that shape their lives— but when activated it has the power to elevate a place to become the carrier of emotionally charged events or to be perceived as a symbol.
Aesthetic appreciation is one way in which people respond to the environment. A brilliantly colored rainbow after gloomy afternoon showers, a busy city street alive with human interaction—one might experience the beauty of such landscapes that had seemed quite ordinary only moments before or that are being newly discovered. This is quite the opposite of a second topophilic bond, namely that of the acquired taste for certain landscapes and places that one knows well. When a place is home, or when a space has become the locus of memories or the means of gaining a livelihood, it frequently evokes a deeper set of attachments than those predicated purely on the visual. A third response to the environment also depends on the human senses but may be tactile and olfactory, namely a delight in the feel and smell of air, water, and the earth.
Topophilia—and its very close conceptual twin, sense of place—is an experience that, however elusive, has inspired recent architects and planners. Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted, purely aesthetic responses often are suddenly revealed, but their intensity rarely is longlasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.
Topophilia connotes a positive relationship, but it often is useful to explore the darker affiliations between people and place. Patriotism, literally meaning the love of one’s terra patria or homeland, has long been cultivated by governing elites for a range of nationalist projects, including war preparation and ethnic cleansing. Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.

Q. In the last paragraph, the author uses the example of “Residents of upscale residential developments” to illustrate the:

Detailed Solution for CAT Practice Test - 13 - Question 13

This question can be answered only by understanding the context in which the phrase has come. It reads as follows:
“Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. “
Option 2 becomes the right answer, without any doubt. This was a very simple question.

CAT Practice Test - 13 - Question 14

Direction: Read the passage carefully and answer the question based on it.
As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. Factors influencing one’s depth of response to the environment include cultural background, gender, race, and historical circumstance, and Tuan also argued that there is a biological and sensory element. Topophilia might not be the strongest of human emotions— indeed, many people feel utterly indifferent toward the environments that shape their lives— but when activated it has the power to elevate a place to become the carrier of emotionally charged events or to be perceived as a symbol.
Aesthetic appreciation is one way in which people respond to the environment. A brilliantly colored rainbow after gloomy afternoon showers, a busy city street alive with human interaction—one might experience the beauty of such landscapes that had seemed quite ordinary only moments before or that are being newly discovered. This is quite the opposite of a second topophilic bond, namely that of the acquired taste for certain landscapes and places that one knows well. When a place is home, or when a space has become the locus of memories or the means of gaining a livelihood, it frequently evokes a deeper set of attachments than those predicated purely on the visual. A third response to the environment also depends on the human senses but may be tactile and olfactory, namely a delight in the feel and smell of air, water, and the earth.
Topophilia—and its very close conceptual twin, sense of place—is an experience that, however elusive, has inspired recent architects and planners. Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted, purely aesthetic responses often are suddenly revealed, but their intensity rarely is longlasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.
Topophilia connotes a positive relationship, but it often is useful to explore the darker affiliations between people and place. Patriotism, literally meaning the love of one’s terra patria or homeland, has long been cultivated by governing elites for a range of nationalist projects, including war preparation and ethnic cleansing. Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.

Q. Which one of the following best captures the meaning of the statement, “Topophilia is difficult to design for and impossible to quantify . . .”?

Detailed Solution for CAT Practice Test - 13 - Question 14

We can answer the question by reading the sentence that follows this sentence. Let’s see what follows this sentence in the passage.
“Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.”
Henry David liked the pond, while Tuan liked the desert. Thus there is subjectiveness. Option 1 is the right choice.

CAT Practice Test - 13 - Question 15

Direction: Read the passage carefully and answer the question based on it.
As defined by the geographer Yi-Fu Tuan, topophilia is the affective bond between people and place. His 1974 book set forth a wide-ranging exploration of how the emotive ties with the material environment vary greatly from person to person and in intensity, subtlety, and mode of expression. Factors influencing one’s depth of response to the environment include cultural background, gender, race, and historical circumstance, and Tuan also argued that there is a biological and sensory element. Topophilia might not be the strongest of human emotions— indeed, many people feel utterly indifferent toward the environments that shape their lives— but when activated it has the power to elevate a place to become the carrier of emotionally charged events or to be perceived as a symbol.
Aesthetic appreciation is one way in which people respond to the environment. A brilliantly colored rainbow after gloomy afternoon showers, a busy city street alive with human interaction—one might experience the beauty of such landscapes that had seemed quite ordinary only moments before or that are being newly discovered. This is quite the opposite of a second topophilic bond, namely that of the acquired taste for certain landscapes and places that one knows well. When a place is home, or when a space has become the locus of memories or the means of gaining a livelihood, it frequently evokes a deeper set of attachments than those predicated purely on the visual. A third response to the environment also depends on the human senses but may be tactile and olfactory, namely a delight in the feel and smell of air, water, and the earth.
Topophilia—and its very close conceptual twin, sense of place—is an experience that, however elusive, has inspired recent architects and planners. Most notably, new urbanism seeks to counter the perceived placelessness of modern suburbs and the decline of central cities through neo-traditional design motifs. Although motivated by good intentions, such attempts to create places rich in meaning are perhaps bound to disappoint. As Tuan noted, purely aesthetic responses often are suddenly revealed, but their intensity rarely is longlasting. Topophilia is difficult to design for and impossible to quantify, and its most articulate interpreters have been self-reflective philosophers such as Henry David Thoreau, evoking a marvelously intricate sense of place at Walden Pond, and Tuan, describing his deep affinity for the desert.
Topophilia connotes a positive relationship, but it often is useful to explore the darker affiliations between people and place. Patriotism, literally meaning the love of one’s terra patria or homeland, has long been cultivated by governing elites for a range of nationalist projects, including war preparation and ethnic cleansing. Residents of upscale residential developments have disclosed how important it is to maintain their community’s distinct identity, often by casting themselves in a superior social position and by reinforcing class and racial differences. And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.

Q. The word “topophobia” in the passage is used:

Detailed Solution for CAT Practice Test - 13 - Question 15

This passage was the simplest of all the passages. The answer to the first question can be found in the passage itself in the last sentence, where the author introduces the idea of ‘topophobia’.
“And just as a beloved landscape is suddenly revealed, so too may landscapes of fear cast a dark shadow over a place that makes one feel a sense of dread or anxiety—or topophobia.”

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 16

Identify the odd word from : Cease, Launch, Initiate, Commence


Detailed Solution for CAT Practice Test - 13 - Question 16

Launch, initiate ad commence all mean to begin or start something while cease means to bring to halt. Hence, it is the odd one out.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 17

Identify the odd word from : Couple, Sever, Rend, Lacerate


Detailed Solution for CAT Practice Test - 13 - Question 17

Sever, rend and lacerate mean to separate by force while couple means a pair. Hence, it is the odd one out.

CAT Practice Test - 13 - Question 18

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. All of the following, IF TRUE, would weaken the author’s claims EXCEPT:

Detailed Solution for CAT Practice Test - 13 - Question 18

Option 2 definitely supports what the author has to say; right from the start he is in favour of offering limited choices to customers. This option shows that offering fewer product can bring positive results. Thus 2 is not weakening. It becomes the right choice.
Choice 4 goes out because people go to Instagram because they are overwhelmed with choices. If that fails (as the sales are 40 percent less) it will weaken the author’s argument.
Choice 1 too speaks in favour of giving greater product options to customers. Choice 3 too does the same thing.

CAT Practice Test - 13 - Question 19

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. Which of the following hypothetical statements would add the least depth to the author’s prediction of the fate of start-ups offering few product options?

Detailed Solution for CAT Practice Test - 13 - Question 19

The author says towards the end that start-ups have the pressure of revenue, and they too will start offering greater number of choices to customers, as Casper and Glossier have done.
Option 1 adds depth to that prediction. So it goes out.
Option 2 says start-ups are no exception, so there is nothing unique about them. They are bound to fail or will have to change.
Option 3 adds least depth because it brings out a point that will not lead start-ups to offer more product varieties, after all they are experiencing a surge in revenue without expanding their product catalogue.
Option 4 also predicts that start-ups are likely to fail, adding weight to author’s argument about their fate mentioned in the last para.

CAT Practice Test - 13 - Question 20

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. A new food brand plans to launch a series of products in the American market. Which of the following product plans is most likely to be supported by the author of the passage?

Detailed Solution for CAT Practice Test - 13 - Question 20

The author is in favour of two things: not too much variety, and mid-range pricing. Choice 2 and 3 provide less variety and out of the two only choice 2 provides mid-range pricing. Thus 2 is the right choice.
The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices”. The author has praised this in the passage.

CAT Practice Test - 13 - Question 21

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. Which one of the following best sums up the overall purpose of the examples of Casper and Glossier in the passage?

Detailed Solution for CAT Practice Test - 13 - Question 21

We can correctly mark the answer by reading three different parts of the paragraphs and combine them together.
“Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice”
“For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety.”
“Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics.”
The two companies started by offering simplicity in choices, but they might eventually push to overwhelming variety…Casper and Glossier both have done that. Thus 2 is the right choice.

CAT Practice Test - 13 - Question 22

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. Based on the passage, all of the following can be inferred about consumer behavior EXCEPT that:

Detailed Solution for CAT Practice Test - 13 - Question 22

Since this is an inference question, we have to derive the answer from what is given.
The passage says:
“Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices.
They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .”
Thus we know that customers prefer fewer choices, and that in turn builds trust or confidence. Thus 1 and 3 can be inferred and will not be the right choice, as we have to pick the one that cannot be inferred.
“choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .”
This extract from the passage suggests that customers are susceptible (influenced by) to marketing images on the social media (Instagram)
Choice 2 is the right answer because we have no evidence for it.

CAT Practice Test - 13 - Question 23

Direction: Read the passage carefully and answer the questions
Contemporary internet shopping conjures a perfect storm of choice anxiety. Research has consistently held that people who are presented with a few options make better, easier decisions than those presented with many. . . . Helping consumers figure out what to buy amid an endless sea of choice online has become a cottage industry unto itself. Many brands and retailers now wield marketing buzzwords such as curation, differentiation, and discovery as they attempt to sell an assortment of stuff targeted to their ideal customer. Companies find such shoppers through the data gold mine of digital advertising, which can catalog people by gender, income level, personal interests, and more. Since Americans have lost the ability to sort through the sheer volume of the consumer choices available to them, a ghost now has to be in the retail machine, whether it’s an algorithm, an influencer, or some snazzy ad tech to help a product follow you around the internet. Indeed, choice fatigue is one reason so many people gravitate toward lifestyle influencers on Instagram—the relentlessly chic young moms and perpetually vacationing 20-somethings—who present an aspirational worldview, and then recommend the products and services that help achieve it. . . .
For a relatively new class of consumer-products start-ups, there’s another method entirely. Instead of making sense of a sea of existing stuff, these companies claim to disrupt stuff as Americans know it. Casper (mattresses), Glossier (makeup), Away (suitcases), and many others have sprouted up to offer consumers freedom from choice: The companies have a few aesthetically pleasing and supposedly highly functional options, usually at mid-range prices. They’re selling nice things, but maybe more importantly, they’re selling a confidence in those things, and an ability to opt out of the stuff rat race. . . .
One-thousand-dollar mattresses and $300 suitcases might solve choice anxiety for a certain tier of consumer, but the companies that sell them, along with those that attempt to massage the larger stuff economy into something navigable, are still just working within a consumer market that’s broken in systemic ways. The presence of so much stuff in America might be more valuable if it were more evenly distributed, but stuff’s creators tend to focus their energy on those who already have plenty. As options have expanded for people with disposable income, the opportunity to buy even basic things such as fresh food or quality diapers has contracted for much of America’s lower classes.
For start-ups that promise accessible simplicity, their very structure still might eventually push them toward overwhelming variety. Most of these companies are based on hundreds of millions of dollars of venture capital, the investors of which tend to expect a steep growth rate that can’t be achieved by selling one great mattress or one great sneaker. Casper has expanded into bedroom furniture and bed linens. Glossier, after years of marketing itself as no-makeup makeup that requires little skill to apply, recently launched a full line of glittering color cosmetics. There may be no way to opt out of stuff by buying into the right thing.

Q. Which of the following hypothetical statements would add the least depth to the author’s prediction of the fate of start-ups offering few product options?

Detailed Solution for CAT Practice Test - 13 - Question 23

The author says towards the end that start-ups have the pressure of revenue, and they too will start offering greater number of choices to customers, as Casper and Glossier have done.
Option 1 adds depth to that prediction. So it goes out.
Option 2 says start-ups are no exception, so there is nothing unique about them. They are bound to fail or will have to change.
Option 3 adds least depth because it brings out a point that will not lead start-ups to offer more product varieties, after all they are experiencing a surge in revenue without expanding their product catalogue.
Option 4 also predicts that start-ups are likely to fail, adding weight to author’s argument about their fate mentioned in the last para.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 24

Identify the odd word from: Quell, Ruffle, Allay ,Control


Detailed Solution for CAT Practice Test - 13 - Question 24

Quell means to put an end to something, ruffle means to destroy, allay means to put to rest and control means to prevent something from flourishing. Hence, ruffle is the odd one out.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 25

Directions: Identify the most appropriate summary for the paragraph.
To me, a "classic" means precisely the opposite of what my predecessors understood: a work is classical by reason of its resistance to contemporaneity and supposed universality, by reason of its capacity to indicate human particularity and difference in that past epoch. The classic is not what tells me about shared humanity—or, more truthfully put, what lets me recognize myself as already present in the past, what nourishes in me the illusion that everything has been like me and has existed only to prepare the way for me. Instead, the classic is what gives access to radically different forms of human consciousness for any given generation of readers, and thereby expands for them the range of possibilities of what it means to be a human being.


Detailed Solution for CAT Practice Test - 13 - Question 25

The author of the paragraph defines a classic as giving access to very different forms of human consciousness for any reader at any time, enabling them to experience the different possibilities of being a human being. 
"A classic is a work exploring the new, going beyond the universal, the contemporary, and the notion of a unified human consciousness" faithfully sticks to the classical experience going beyond the notion of a unified human consciousness to give access to different forms of human consciousness.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 26

Which of the following will be the odd one out.
"M H Ansari, Abdul Kalam, Pranab Mukherjee, Dr. Rajendra Prasad".


Detailed Solution for CAT Practice Test - 13 - Question 26

Except for M.H.Ansari(who is a Vice President of India), rest are Ex-Presidents of India.
So, M H Ansariwill be the perfect odd one out. 

CAT Practice Test - 13 - Question 27

Directions : Read the following passage and answer the question.
Techno India University started five medical colleges in year 2007 at five different places, Rajarhat, Salt-Lake, Chinsura, Topsia and PoddarVihar. The following table provides information about the 1st batch of students who took admission in these colleges in the year 2007 and the range of pass percentage of these students in the first two years. Pass percentage as well as number of students passed was a natural number for each college in each of the years. If a student failed in a year he was ousted from the college. Further, it is known that no student failed in 3rd, 4th or 5th year. A student who passes in 5thyear said to have completed the course.
Range of pass percentage for all the colleges is given for the first two years. For example, pass percentage for college at Rajarhat in 1st year can take any value between 60% and 75%, both inclusive.

Q. In the first year, if the number of students who passed in the colleges from Salt Lake, Chinsurs and Poddar Vihar was the same, X, then find the value of 'X'?

Detailed Solution for CAT Practice Test - 13 - Question 27

Let the pass percentage in the colleges of Salt Lake, Chinsurs and Poddar Vihar be a, b and c respectively.
∴ a % of 3600=b % of 2700
∴ a : b=3:4
Similarly a : c=4:3
∴ a:b:c=12:16:9
So 'a' is a multiple of 12, and it can take either of two values out of 60 or 72. If a is 72, then b will be 96, which is out of range. Hence, a is 60, b is 80 and c is 45.
Hence, X= 60% of 3600=2160.
Hence, the correct option is (A).

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 28

Directions : Read the following passage and answer the question.
Techno India University started five medical colleges in year 2007 at five different places, Rajarhat, Salt-Lake, Chinsura, Topsia and PoddarVihar. The following table provides information about the 1st batch of students who took admission in these colleges in the year 2007 and the range of pass percentage of these students in the first two years. Pass percentage as well as number of students passed was a natural number for each college in each of the years. If a student failed in a year he was ousted from the college. Further, it is known that no student failed in 3rd, 4th or 5th year. A student who passes in 5thyear said to have completed the course.
Range of pass percentage for all the colleges is given for the first two years. For example, pass percentage for college at Rajarhat in 1st year can take any value between 60% and 75%, both inclusive.

Q. What was the minimum possible number of students who were part of the first batch and completed medical from any of the five colleges?


Detailed Solution for CAT Practice Test - 13 - Question 28

The minimum possible number of students completing medical from colleges in
PoddarVihar = 45% x 60% x 4800 =1296
Rajarhat = 60% x 70% x 3750 =1575
Topsia = 65 % x 60% x 3000 =1170
Chinsurs = 70% x 65% x 2700 =1228
Salt Lake = 60% x 50% x 3600 =1080.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 29

Directions : Read the following passage and answer the question.
Techno India University started five medical colleges in year 2007 at five different places, Rajarhat, Salt-Lake, Chinsura, Topsia and PoddarVihar. The following table provides information about the 1st batch of students who took admission in these colleges in the year 2007 and the range of pass percentage of these students in the first two years. Pass percentage as well as number of students passed was a natural number for each college in each of the years. If a student failed in a year he was ousted from the college. Further, it is known that no student failed in 3rd, 4th or 5th year. A student who passes in 5thyear said to have completed the course.
Range of pass percentage for all the colleges is given for the first two years. For example, pass percentage for college at Rajarhat in 1st year can take any value between 60% and 75%, both inclusive.

Q. In the first year, if pass percentage was highest in the college of Rajarhat, what was the maximum possible number of students who passed in first year from the college of Chinsura?


Detailed Solution for CAT Practice Test - 13 - Question 29

The minimum pass percentage in the college from Chinsurs is 70%.
The highest pass percentage in the college from Rajarhat was 75%. So the highest pass percentage in the college from Chinsurs must be 74%.
Hence, the required number= 74%of 2700=1998.

*Answer can only contain numeric values
CAT Practice Test - 13 - Question 30

Directions : Read the following passage and answer the question.
Techno India University started five medical colleges in year 2007 at five different places, Rajarhat, Salt-Lake, Chinsura, Topsia and PoddarVihar. The following table provides information about the 1st batch of students who took admission in these colleges in the year 2007 and the range of pass percentage of these students in the first two years. Pass percentage as well as number of students passed was a natural number for each college in each of the years. If a student failed in a year he was ousted from the college. Further, it is known that no student failed in 3rd, 4th or 5th year. A student who passes in 5thyear said to have completed the course.
Range of pass percentage for all the colleges is given for the first two years. For example, pass percentage for college at Rajarhat in 1st year can take any value between 60% and 75%, both inclusive.

Q. The number of students who passed the second year from the colleges in city Rajarhat and Salt-Lake put together as a percentage of total students who took admission in these two colleges in first year could not be more than approximately? (Enter the percentage to 1 decimal place in the space provided without the percentage symbol. 


Detailed Solution for CAT Practice Test - 13 - Question 30

The total percentage would be maximum when the number of students passed from both the colleges individually was maximum.
For college in Rajarhat (75% of 3750)x80%=2250
For college in Salt-Lake  (76% of 3600)x60%=1641.6
Required percentage= 100 x (2250+1641.6) / (3750 + 3600) =52.94%

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