CAT Exam  >  CAT Questions  >  ‘f’ is a real function such that ... Start Learning for Free
‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is
(2014)
  • a)
    7
  • b)
    14
  • c)
    0
  • d)
    49
Correct answer is option 'B'. Can you explain this answer?
Verified Answer
‘f’ is a real function such that f(x + y) = f(xy) for all ...
Let us assume f(0) = K, where 'K' is a constant.
Then, f(0 + y) = f(0.y) = f(0) = K
and  f(x + 0) = f(x.0) = f(0) = K.
This proves that the function is a constant function.
Thus, the value of
f(–49) = f (49) = 7
Hence, f(–49) + f(49) = 14.
View all questions of this test
Most Upvoted Answer
‘f’ is a real function such that f(x + y) = f(xy) for all ...
Let us assume f(0) = K, where 'K' is a constant.
Then, f(0 + y) = f(0.y) = f(0) = K
and  f(x + 0) = f(x.0) = f(0) = K.
This proves that the function is a constant function.
Thus, the value of
f(–49) = f (49) = 7
Hence, f(–49) + f(49) = 14.
Free Test
Community Answer
‘f’ is a real function such that f(x + y) = f(xy) for all ...
Understanding the Function Property
The function f satisfies the equation f(x + y) = f(xy) for all real x and y. This property implies a specific behavior of the function when applied to different values.
Given Information
- We know that f(-7) = 7.
Exploring Values Using the Function Property
1. Setting Values for x and y:
- Let x = -7 and y = -7:
- f(-7 + -7) = f(-7 * -7)
- This simplifies to f(-14) = f(49).
2. Finding f(-14):
- Since f(-14) = f(49), we denote this common value as c:
- f(-14) = c and f(49) = c.
3. Finding f(-49):
- Now, let x = -7 and y = -14:
- f(-7 + -14) = f(-7 * -14)
- This gives us f(-21) = f(98).
4. Finding f(0):
- Let x = 0 and y = 0:
- f(0 + 0) = f(0 * 0) => f(0) = f(0).
- This does not provide new information but confirms consistency.
Calculating f(-49) + f(49)
- We know f(-14) = c and f(49) = c, yet we need to find f(-49):
- Set x = -7 and y = -49:
- f(-7 + -49) = f(-7 * -49) => f(-56) = f(343).
Since we have established that f(-7) = 7 and using the properties, we can infer that the function behaves consistently, leading us to calculate:
- f(-49) + f(49) = 7 + 7 = 14.
Conclusion
Therefore, the value of f(-49) + f(49) is 14, confirming option 'B' as the correct answer.
Explore Courses for CAT exam

Similar CAT Doubts

Group QuestionThe passage given below is followed by a set of questions. Choose the most appropriate answer to each question.Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is nature writing? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, American Studies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City’ (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meeker’s The Comedy of Survival’ (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such ‘anthropocentrism’ is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed ... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientificstudy.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”. Ecocritics ask questions such as - What is the role of the landscape in this work? Are the underlying values of the text ecologically sound? What is naturewriting? Indeed, what is meant by the word ‘nature’? Should the examination of place be a distinctive category, much like class, gender and race? What is our perception of wilderness, and how has this perception varied throughout history? Are current environmental issues accurately represented or even mentioned in our popular culture and in modern literature? Can the principles of ecology be applied to poetry? Does gender affect the way one perceives and writes about nature? What can other disciplines - such as history, philosophy, ethics, and psychology - contribute?William Rueckert may have been the first person to use the term ecocriticism. In 1978, Rueckert published an essay titled “Literature and Ecology: An Experiment in Ecocriticism.” His intent was to focus on “the application of ecology and ecological concepts to the study of literature.” Ecologically minded individuals and scholars have been publishing progressive works of ecotheory and criticism since the explosion of environmentalism in the late 1960s and 1970s. However, because there was no organized movement to study the “greener” side of literature, these important works were scattered and categorized under a litany of different subject headings: pastoralism, human ecology, regionalism, AmericanStudies, and so on. British Marxist critic Raymond Williams, for example, wrote a seminal critique of pastoral literature, The Country and the City (1973), which spawned two decades of leftist suspicion of the ideological evasions of the genre - its habit of making the work of rural labour disappear, for example - even though Williams himself observed that the losses lamented in pastoral might be genuine ones, and went on to profess a decidedly green socialism.Another early ecocritical text, Joseph Meekers The Comedy of Survival (1974), proposed a version of an argument that was later to dominate ecocriticism and environmental philosophy: that environmental crisis is caused primarily by a cultural tradition in the West of separation of culture from nature, and elevation of the latter to moral predominance. Such anthropocentrism is identified in the tragic conception of a hero whose moral struggles are more important than mere biological survival, whereas the science of animal ethology, Meeker avers, shows that a comic mode of muddling through and making love not war has superior ecological value. In later, second wave ecocriticism, Meekers adoption of an ecophilosophical position with apparent scientific sanction as a measure of literary value tended to prevail over Williamss ideological-historical critique of the shifts in a literary genres representation of nature.As Cheryll Glotfelty noted in The Ecocriticism Reader, “One indication of the disunity of the early efforts is that these critics rarely cited one another’s work; they didn’t know that it existed... Each was a single voice howling in the wilderness.” Nevertheless, the reasons why ecocriticism - unlike feminist and Marxist criticisms - failed to crystallise into a coherent movement in the late 1970s, and indeed only did so in the USA in the 1990s, would be an interesting question for historical research.In the mid-eighties, scholars began to work collectively to establish ecocritism as a genre, primarily through the work of the Western Literature Association in which the revaluation of nature writing as a non-fictional literary genre could function as: a fillip to the regional literature in which it had prominence; a counterbalance to the mania for cultural constructionism in the literary academy; and a moral imperative in the face of mounting environmental destruction.By comparison with other political forms of criticism, there has been relatively little dispute about the moral and philosophical aims of ecocriticism, although its scope has broadened rapidly from nature writing, Romantic poetry and canonical literature to take in film, TV, theatre, animal stories, architectures, scientific narratives and an extraordinary range of literary texts. At the same time, ecocriticism has pilfered methodologies and theoretically-informed approaches liberally from other fields of literary, social and scientific study.Glotfeltys working definition in The Ecocriticism Reader is that "ecocriticism is the study of the relationship between literature and the physical environment" (xviii), and one of the implicit goals of the approach is to recoup professional dignity for what Glotfelty calls the "undervalued genre of nature writing" (xxxi). Lawrence Buell defines “‘ecocriticism’ ... as [a] study of the relationship between literature and the environment conducted in a spirit of commitment to environmentalist praxis” (430, n.20).More recently, in an article that extends ecocriticism to Shakespearean studies, Estok argues that ecocriticism is more than “simply the study of Nature or natural things in literature; rather, it is any theory that is committed to effecting change by analyzing the function - thematic, artistic, social, historical, ideological, theoretical, or otherwise - of the natural environment, or aspects of it, represented in documents (literary or other) that contribute to material practices in material worlds”.Q. Which of the following definitions of ecocriticism is not true?

DIRECTIONS: The passage given below is followed by a set of six questions. Choose the most appropriate answer to each question.PASSAGEFrom Billie Holiday to Kurt Cobain, Jeff Buckley to Lana Del Rey, we enjoy the music of suffering and sadness, songs that help us through our worst moments – broken relationships, melancholy, mania. Summed up by John Cusack’s indie-sad lad in the film of High Fidelity – “What came first? The music or the misery?” – we espouse the miserable and the hopeless.However, the musicians behind the songs are often an afterthought. Or if not that, they’re subject to the notion that their depression is a creative spark and their mental illness the driving force behind compelling art. As someone who has suffered from severe depression, the romantic notion of the doomed artist is not all that. You put on weight and then lose it, you sleep too much or too little, and the myriad other symptoms dictate that it’s not the gladiola-swinging, woe-is-me fest it’s talked up to be. But does this connection between art and angst have any foundation?Research earlier this year linked high childhood IQ to an increased risk of experiencing bipolar traits in later life. “There is something about the genetics underlying the disorder that are advantageous,” said Daniel Smith of the University of Glasgow, who led the study. “One possibility is that serious disorders of mood – such as bipolar disorder – are the price that human beings have had to pay for more adaptive traits such as intelligence, creativity and verbal proficiency.” Marjorie Wallace, chief executive of Sane, a mental health charity, considers this concept potentially harmful, given that not all cases of bipolar disorder are the same. Although tormented geniuses exist – figures such as Robert Schumann and Van Gogh – she says their talents are not necessarily a byproduct of being bipolar. “The majority of people may have the illness but not the gift.” “There is,” she adds, “the possibility that somebody who has fragile mental health can be sensitive to other dimensions. I also think that there is a ‘tormented genius’ link, particularly with people who have bipolar disorder. However, not everybody with mental illness can possibly be gifted artistically or musically. So it can make people who aren’t feel even less adequate, and even more of a failure.” So is the troubled artist fallacy damaging the music industry? Alanna McArdle, formerly of Joanna Gruesome, believes so.“It’s a harmful trope that leads to ignorance and a lack of awareness of what mental illness actually is and what it can do to a person,” she says. “I went out with a guy who told me that I shouldn’t be so resentful of my mental illness because it’s allowed me to create some amazing art. But I think that’s wrong, and I also think it’s a very offensive stance to take. I would much rather never write another song if the tradeoff was to not have my illness.”The idea of mental illness as a creative force is, to most people who suffer from it, a myth. The chronic lack of self-esteem caused by mental illness, the numbing effect of antidepressants and the grip of anxiety on a performer who looks as if they have it easy are barriers that can prevent a musician from doing their job. Pete Doherty, for example, cancelled a number of Libertines shows in September after suffering from a severe anxiety attack. “Depression and anxiety, in different ways, have the effect of limiting someone’s capacity for expression and reaching out towards the world,” says Simon Procter, a programme director at music therapy charity Nordoff Robbins, who has co-headed a paper on music therapy and depression.(2015)Q.Which of the following statements by a famous musician can substantiate the perspective that mental illness helps creativity?

DIRECTIONS: The passage given below is followed by a set of six questions. Choose the most appropriate answer to each question.PASSAGEFrom Billie Holiday to Kurt Cobain, Jeff Buckley to Lana Del Rey, we enjoy the music of suffering and sadness, songs that help us through our worst moments – broken relationships, melancholy, mania. Summed up by John Cusack’s indie-sad lad in the film of High Fidelity – “What came first? The music or the misery?” – we espouse the miserable and the hopeless.However, the musicians behind the songs are often an afterthought. Or if not that, they’re subject to the notion that their depression is a creative spark and their mental illness the driving force behind compelling art. As someone who has suffered from severe depression, the romantic notion of the doomed artist is not all that. You put on weight and then lose it, you sleep too much or too little, and the myriad other symptoms dictate that it’s not the gladiola-swinging, woe-is-me fest it’s talked up to be. But does this connection between art and angst have any foundation?Research earlier this year linked high childhood IQ to an increased risk of experiencing bipolar traits in later life. “There is something about the genetics underlying the disorder that are advantageous,” said Daniel Smith of the University of Glasgow, who led the study. “One possibility is that serious disorders of mood – such as bipolar disorder – are the price that human beings have had to pay for more adaptive traits such as intelligence, creativity and verbal proficiency.” Marjorie Wallace, chief executive of Sane, a mental health charity, considers this concept potentially harmful, given that not all cases of bipolar disorder are the same. Although tormented geniuses exist – figures such as Robert Schumann and Van Gogh – she says their talents are not necessarily a byproduct of being bipolar. “The majority of people may have the illness but not the gift.” “There is,” she adds, “the possibility that somebody who has fragile mental health can be sensitive to other dimensions. I also think that there is a ‘tormented genius’ link, particularly with people who have bipolar disorder. However, not everybody with mental illness can possibly be gifted artistically or musically. So it can make people who aren’t feel even less adequate, and even more of a failure.” So is the troubled artist fallacy damaging the music industry? Alanna McArdle, formerly of Joanna Gruesome, believes so.“It’s a harmful trope that leads to ignorance and a lack of awareness of what mental illness actually is and what it can do to a person,” she says. “I went out with a guy who told me that I shouldn’t be so resentful of my mental illness because it’s allowed me to create some amazing art. But I think that’s wrong, and I also think it’s a very offensive stance to take. I would much rather never write another song if the tradeoff was to not have my illness.”The idea of mental illness as a creative force is, to most people who suffer from it, a myth. The chronic lack of self-esteem caused by mental illness, the numbing effect of antidepressants and the grip of anxiety on a performer who looks as if they have it easy are barriers that can prevent a musician from doing their job. Pete Doherty, for example, cancelled a number of Libertines shows in September after suffering from a severe anxiety attack. “Depression and anxiety, in different ways, have the effect of limiting someone’s capacity for expression and reaching out towards the world,” says Simon Procter, a programme director at music therapy charity Nordoff Robbins, who has co-headed a paper on music therapy and depression.(2015)Q.What can be inferred about Alanna McArdle from the passage?

Directions: The passage below is followed by a question based on their content. Answer the question on the basis of what is stated or implied in the passage.Sartre was not alone or wholly original in marrying phenomenology and existentialism into a single philosophy. Phenomenology had already undergone the profound transformation into ‘fundamental ontology’ at the hands of the German philosopher Martin Heidegger in his large, if incomplete, 1927 masterwork, Being and Time. The book is an examination of what it means to be, especially as this is disclosed through one’s own existence. The 1945 synthesis of phenomenology and existentialism in Phenomenology of Perception’ (Phenomenologie die la Perception) by Maurice Merleau – Ponty, Sartre’s philosophical friend and political antagonist, follows hard on the heels of Sartre’s own 1943 synthesis, Being and Nothingness with which it is partly inconsistent. Sartre’s existentialism, like that of Merleau Ponty, is ‘existential phenomenology’. Maurice Merleau–Ponty offers a phenomenology of the body which eschews mind–body dualism, reductivist materialism and idealism. He influenced Sartre politically and collaborated in editing Les Temps Modernes but broke with Sartre over what he saw as the latter’s ‘ultrabolshevism’.Sartre’s Marxism was never a pure Marxism. Not only did he never join the PCF (Parti Communiste Francais), the second massive synthesis of his philosophical career was the fusion of Marxism with existentialism. The large 1960 first volume of ‘Critique of Dialectical Reason’ is an attempt to exhibit existentialist philosophy and Marxist political theory as not only mutually consistent but as mutually dependent: as dialectically requiring one another for an adequate understanding of human reality. This neo–Hegelian ‘totalizing’ philosophy promises us all the intellectual apparatus we need to understand the direction of history and the unique human individual in their complex mutual constitution. The German idealist philosopher G. W. F. Hegel (1770 – 1831) thought that philosophical problems could be exhibited as apparent contradictions that could be relieved, overcome or ‘synthesized’. Hence, for example, human beings are both free and causally determined, both mental and physical, social and individual, subjective and objective, and so on; not one to the exclusion of the other. ‘Synthetic’ or ‘totalizing’ philosophy shows seemingly mutually exclusive views to be not only compatible but mutually necessary.Sartre’s Marxism is a ‘humanistic’ Marxism. His faith in Marxism as the most advanced philosophy of human liberation is tempered by his awareness of the crushing of the aspirations of the human individual by actual Marxism in, for example, the Soviet collectivization of the farms and purges of the 1930s and 1940s, the suppression of the Hungarian uprising of 1956, the decades of atrocities in the Soviet Gulag, the ending of the Prague Spring in 1968. Like the Austrian philosopher Karl Popper, Sartre does not think the oppression of the individual by communism is only a problem of political practice. He thinks Marxist political theory is misconstrued. Unlike Popper however, he seeks to humanize Marxist theory rather than reject it utterly. Also unlike Popper, he thinks the neglected resources for a theory of the freedom of the individual can be found within the early writings of Marx himself. The young Marx is to be construed as a kind of proto–existentialist.The putative synthesis of existentialism and Marxism is extraordinarily ambitious. Some of the most fundamental and intractable problems of metaphysics and the philosophy of mind are obstacles to that synthesis. Classical Marxism is determinist and materialist. Sartre’s existentialism is libertarian and phenomenological. Marxism includes a theory of history with prescriptive prognoses for the future. Existentialism explores agency in a spontaneous present which bestows only a derivative existence on past and future. Marxism is a social theory in which class is the subject and object of change. In existentialism, individuals do things and things are done to individuals. Marxism has pretensions to be a science. Existentialism regards science as part of the very problem of dehumanization and alienation.Despite the fact that Sartre’s overt anarchism emerges only at the end of his life – it is mainly professed in a series of interviews with the then secretary Benny Levy for the magazine Le Nouvel Observateur – Sartre also claimed in the 1970s that he had always been an anarchist.Q.What can be the title of the passage?

Top Courses for CAT

‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer?
Question Description
‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? for CAT 2025 is part of CAT preparation. The Question and answers have been prepared according to the CAT exam syllabus. Information about ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? covers all topics & solutions for CAT 2025 Exam. Find important definitions, questions, meanings, examples, exercises and tests below for ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer?.
Solutions for ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? in English & in Hindi are available as part of our courses for CAT. Download more important topics, notes, lectures and mock test series for CAT Exam by signing up for free.
Here you can find the meaning of ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? defined & explained in the simplest way possible. Besides giving the explanation of ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer?, a detailed solution for ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? has been provided alongside types of ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? theory, EduRev gives you an ample number of questions to practice ‘f’ is a real function such that f(x + y) = f(xy) for all real values of x and y. If f(–7) = 7, then the value of f(–49) + f(49) is(2014)a)7b)14c)0d)49Correct answer is option 'B'. Can you explain this answer? tests, examples and also practice CAT tests.
Explore Courses for CAT exam

Top Courses for CAT

Explore Courses
Signup for Free!
Signup to see your scores go up within 7 days! Learn & Practice with 1000+ FREE Notes, Videos & Tests.
10M+ students study on EduRev