VA/LR For XAT 2019 | Verbal Ability (VA) & Reading Comprehension (RC) - CAT PDF Download

Choose the option that would fill in the blanks meaningfully in the sentence(s) below:

Please study the paragraph given below:
In 1942, the French writer Albert Camus composed an essay, ‘The Myth of Sisyphus’. It draws on the Greek fable of a man condemned to roll a rock up a mountain only to have it roll back down under its own weight, a ______ that lasts for eternity. Camus argues that this image ______ the human condition in a world where we can no longer make sense of events; but instead of committing suicide, we should ______ ourselves to this ‘elusive feeling of absurdity’ and bear it as best we can. In this sense, Sisyphus is the ideal hero.
Consider the following words:

1. surrender
2. choice
3. symbolises
4. quandary
5. attune
6. option
7. reconcile
8. depicts

Carefully read the following paragraph:
Who could resist the idea of remembering everything they wanted to, without trying? Learning would be made easy, exams a ______ and you would never forget where you left your keys. And memory-related disorders like Alzheimer’s would have met their match. So, it is of little surprise that scientists have turned their attention to ways of ______ human memory using techniques that ______, supplement or even mimic parts of the brain. The immediate goal is to treat memory disorders, but the idea of a memory ______ for everyday life is gaining ground.

Read the following statements and answer the question that follows:
1. They subjected the residues from sherds of the rhyta- vessels to radiocarbon dating to determine their ages and chromatography - mass  spectrometry (GC-MS) - to identify their structure and isotopic composition and found that the vessels were used to store cheese.
2. In many Neolithic sites near the Adriatic Sea, researchers unearthed cone-shaped clay vessels, known as rhyta, with four legs on the bottom and a round opening on the side.
3. Fresh milk couldn’t be kept for long without going bad; cheese, on the other hand, could be stored for months at a time, providing much-needed calories to early farmers between harvests.
4. Archaeologists who used to assume animals such as cows and goats were mainly used for meat early in their domestication history are thus forced to admit that humans might have been using animals for dairy quite early in their domestication history.
5. “If you kill one cow, you eat meat for about a week until it goes off; but by milking the animals, the farmer would be spreading the food gain from that animal over several months rather than just one week”

Read the following statements and answer the question that follows:
1. An in-depth exploration of the Indian case and case studies of early adopters of mobile technology will provide spectrum managers a pragmatic and modern approach whereby they could utilize their resources efficiently and optimally.
2. Even as spectrum management regimes are moving from a command and control regime to a flexible use regime, new technological developments are suggesting that there are significant opportunities in managing large swathes of spectrum as a common property resource, in addition to flexible use.
3. Political legacies and market realities in different regimes pose unique challenges for spectrum managers who must negotiate a tricky path to the land promised by technological possibility.
4. On the other hand, supply of spectrum is restricted due to competing nature of uses and vested interests of incumbent holders.
5. The demand for spectrum has never been so acute as today's communication services extend beyond simple voice to complex data and video, augmented by evolving technologies such as peer-to-peer sharing, social networking, Fourth and Fifth Generation networks, Big Data, and cloud computing.

Read the poem given below and answer the question that follows it:
Black lake, black boat, two black, cut-paper people.
Where do the black trees go that drink here?
Their shadows must cover Canada.

A little light is filtering from the water flowers
Their leaves do not wish us to hurry:
They are round and flat and full of dark advice.

Cold words shake from the oar.
The spirit of blackness is in us, it is in the fishes.
A snag is lifting a valedictory, pale hand;
Stars opening among the lilies.
Are you not blinded by such expressionless sirens?
This is the silence of abandoned souls.

Read the following statements and answer the question that follows:
Does having a mood disorder make you more creative? That’s the most frequent question I hear about the relationship. But because we cannot control the instance of a mood disorder (that is, we can’t turn it on and off, and measure that person’s creativity under both conditions), the question should really be: Do individuals with a mood disorder exhibit greater creativity than those without? Studies that attempt to answer this question by comparing the creativity of individuals with a mood disorder against those without, have been well, mixed.
Studies that ask participants to complete surveys of creative personality, behavior or accomplishment, or to complete divergent thinking measures (where they are asked to generate lots of ideas) often find that individuals with mood disorders do not differ from those without. However, studies using “creative occupation” as an indicator of creativity (based on the assumption that those employed in these occupations are relatively more creative than others) have found that people with bipolar disorders are overrepresented in these occupations. These studies do not measure the creativity of participants directly, rather they use external records (such as censuses and medical registries) to tally the number of people with a history of mood disorders (compared with those without) who report being employed in a creative occupation at some time. These studies incorporate an enormous number of people and provide solid evidence that people who have sought treatment for mood disorders are engaged in creative occupations to a greater extent than those who have not. But can creative occupations serve as a proxy for creative ability?
The creative occupations considered in these studies are overwhelmingly in the arts, which frequently provide greater autonomy and less rigid structure than the average nine-to-five job. This makes these jobs more conducive to the success of individuals who struggle with performance consistency as the result of a mood disorder. The American psychiatrist Arnold Ludwig has suggested that the level of emotional expressiveness required to be successful in various occupations creates an occupational drift and demonstrated that the pattern of expressive occupations being associated with a greater incidence of psychopathology is a self-repeating pattern. For example, professions in the creative arts are associated with greater psychopathology than professions in the sciences whereas, within creative arts professions, architects exhibit a lower lifetime prevalence rate of psychopathology than visual artists and, within the visual arts, abstract artists exhibit lower rates of psychopathology than expressive artists. Therefore, it is possible that many people who suffer from mood disorders gravitate towards these types of professions, regardless of creative ability or inclination.

Read the following statements and answer the question that follows:
Lately it seems everyone’s got an opinion about women’s speech. Everybody has been getting his two cents in about vocal fry, up-speak, and women’s allegedly over-liberal use of apologies. The ways women live and move in the world are subject to relentless scrutiny, their modes of speech are assessed against a (usually) masculine standard. This is increasingly true as women have entered previously male-dominated fields like industry and politics.
In his essay “On Speech and Public Release,” Joshua Gunn highlights the field of public address as an important arena where social roles and norms are contested, reshaped, and upheld. Gunn argues that the field of public address is an important symbolic arena where we harbor an “[ideological] bias against the feminine voice,” a bias, that is rooted in positive primal associations with masculinity (and the corresponding devaluation of femininity, the voice that constrains and nags—the mother, the droning Charlie Brown schoolteacher, the wife).
Gunn contends that masculine speech is the cultural standard. It’s what we value and respect. The low pitch and assertive demeanor that characterize the adult male voice signify reason, control, and authority, suitable for the public domain. Women’s voices are higher pitched, like those of immature boys, and their characteristic speech patterns have a distinctive cadence that exhibits a wider range of emotional expression. In Western cultures, this is bad because it comes across as uncontrolled. We associate uncontrolled speech - “the cry, the grunt, the scream, and the yawp” - with things that happen in the private, domestic spheres (both coded as feminine). Men are expected to repress passionate, emotional speech, Gunn explains, precisely because it threatens norms of masculine control and order.
The notion of control also relates to the cultural ideal of eloquence. Language ideologies in the U.S. are complex and highly prescriptive, but not formal or explicit. They are internalized by osmosis, from early observations of adult language use, criticism from teachers (i.e., telling little girls not to “be so bossy” and boys to “act like gentlemen”), and sanctions imposed by peers. These norms become most obvious when they are violated. When men fall off the “control and reason” wagon, they suffer for it. Gunn recalls Howard Dean’s infamous 2004 “I Have a Scream” speech, in which Dean emitted a spontaneous high-pitched screech of joy after he rattled off a list of planned campaign stops. The rest, as they say, is history. Women face a different dilemma—how to please like a woman and impress like a man. Women in the public sphere have, historically, been expected to “perform” femininity and they usually do this by adopting a personal tone, giving anecdotal evidence, using domestic metaphors, and making emotional appeals to ideals of wifely virtue and motherhood.
Gunn arrives at the conclusion that “eloquence” is, essentially, code for values associated with masculinity, saying, “Performances of femininity are principally vocal and related, not to arguments, but to tone; not to appearance, but to speech; not to good reasons, but to sound. This implies that the ideology of sexism is much more insidious, much more deeply ingrained than many might suppose.”

Read the following statements and answer the question that follows:
There are no Commandments in art and no easy axioms for art appreciation. “Do I like this?” is the question anyone should ask themselves at the moment of confrontation with the picture. But if “yes,” why “yes”? and if “no,” why “no”? The obvious direct emotional response is never simple, and ninety-nine times out of a hundred, the “yes” or “no” has nothing at all to do with the picture in its own right. “I don’t understand this poem” and “I don’t like this picture” are statements that tell us something about the speaker. That should be obvious, but in fact, such statements are offered as criticisms of art, as evidence against, not least because the ignorant, the lazy, or the plain confused are not likely to want to admit themselves as such. We hear a lot about the arrogance of the artist but nothing about the arrogance of the audience. The audience, who have given no thought to the medium or the method, will glance up, flick through, chatter over the opening chords, then snap their fingers and walk away like some monstrous Roman tyrant. This is not arrogance; of course, they can absorb in a few moments, and without any effort, the sum of the artist and the art.
Admire me is the sub-text of so much of our looking; the demand put on art that it should reflect the reality of the viewer. The true painting, in its stubborn independence, cannot do this, except coincidentally. Its reality is imaginative not mundane.
When the thick curtain of protection is taken away; protection of prejudice, protection of authority, protection of trivia, even the most familiar of paintings can begin to work its power. There are very few people who could manage an hour alone with the Mona Lisa. Our poor art-lover in his aesthetic laboratory has not succeeded in freeing himself from the protection of assumption. What he has found is that the painting objects to his lack of concentration; his failure to meet intensity with intensity. He still has not discovered anything about the painting, but the painting has discovered a lot about him. He is inadequate, and the painting has told him so.
When you say “This work is boring/ pointless/silly/obscure/élitist etc.,” you might be right, because you are looking at a fad, or you might be wrong because the work falls so outside of the safety of your own experience that in order to keep your own world intact, you must deny the other world of the painting. This denial of imaginative experience happens at a deeper level than our affirmation of our daily world. Every day, in countless ways, you and I convince ourselves about ourselves. True art, when it happens to us, challenges the “I” that we are and you say, “This work has nothing to do with me.”
Art is not a little bit of evolution that late-twentieth-century city dwellers can safely do without. Strictly, art does not belong to our evolutionary pattern at all. It has no biological necessity. Time taken up with it was time lost to hunting, gathering, mating, exploring, building, surviving, thriving. We say we have no time for art. If we say that art, all art. is no longer relevant to our lives, then we might at least risk the question “What has happened to our lives?” The usual question, “What has happened to art?” is too easy an escape route.

Read the following statements and answer the question that follows:
Elevation has always existed but has just moved out of the realm of philosophy and religion and been recognized as a distinct emotional state and a subject for psychological study. Psychology has long focused on what goes wrong, but in the past decade there has been an explosion of interest in “positive psychology”—what makes us feel good and why. University of Virginia moral psychologist Jonathan Haidt, who coined the term elevation, writes, “Powerful moments of elevation sometimes seem to push a mental ‘reset button,’ wiping out feelings of cynicism and replacing them with feelings of hope, love, and optimism, and a sense of moral inspiration.”
Haidt quotes first-century Greek philosopher Longinus on great oratory: “The effect of elevated language upon an audience is not persuasion but transport.” Such feeling was once a part of our public discourse. After hearing Abraham Lincoln’s second inaugural address, former slave Frederick Douglass said it was a “sacred effort.” But uplifting rhetoric came to sound anachronistic, except as practiced by the occasional master like Martin Luther King Jr.
It was while looking through the letters of Thomas Jefferson that Haidt first found a description of elevation. Jefferson wrote of the physical sensation that comes from witnessing goodness in others: It is to “dilate [the] breast and elevate [the] sentiments … and privately covenant to copy the fair example.” Haidt took this description as a mandate.
Elevation can so often give us chills or a tingling feeling in the chest. This noticeable, physiological response is important. In fact, this physical reaction is what can tell us most surely that we have been moved. This reaction, and the prosocial inclinations it seems to inspire, has been linked with a specific hormone, oxytocin, emitted from Vagus nerve which works with oxytocin, the hormone of connection. The nerve’s activities can only be studied indirectly.
Elevation is part of a family of self-transcending emotions. Some others are awe, that sense of the vastness of the universe and smallness of self that is often invoked by nature; another is admiration, that goose-bump-making thrill that comes from seeing exceptional skill in action. While there is very little lab work on the elevating emotions, there is quite a bit on its counterpart, disgust. It started as a survival strategy: Early humans needed to figure out when food was spoiled by contact with bacteria or parasites. From there disgust expanded to the social realm—people became repelled by the idea of contact with the defiled or by behaviors that seemed to belong to lower people. “Disgust is probably the most powerful emotion that separates your group from other groups.” Haidt says disgust is the bottom floor of a vertical continuum of emotion; hit the up button, and you arrive at elevation. Another response to something extraordinary in another person can be envy, with all its downsides. Envy is unlikely, however, when the extraordinary aspect of another person is a moral virtue (such as acting in a just way, bravery and self-sacrifice, and caring for others).

Read the following statements and answer the question that follows:
Empirical observation told us years ago that goats were slowly becoming the new dog, and according to a new study, they are truly qualified to be man’s best friend. The Royal Society released heart-warming research showing that just like humans, goats have no desire to interact with people who come off as angry or upset, and that they’re much more attracted to those with big smiles plastered across their faces. When 12 males and 8 females were released into a pen decorated with images of happy and angry humans, the scientists learned that goats can “distinguish between happy and angry images of the same person,” and in general, they prefer their humans to be happy.

Read the following statements and answer the question that follows:
An accurate measure of drug efficacy would require comparing the response of patients taking it with that of patients taking placebos; the drug effect could then be calculated by subtracting the placebo response from the overall response, much as a deli-counter worker subtracts the weight of the container to determine how much lobster salad you’re getting. In the last half of the 1950s, this calculus gave rise to a new way to evaluate drugs: the double-blind, placebo-controlled clinical trial, in which neither patient nor clinician knew who was getting the active drug and who the placebo.

Read the following statements and answer the question that follows:
Alligators are freshwater reptiles. However, people have come face to face with them in mud in a salt marsh in Georgia. Finding alligators in the salt marsh is not a mystery or a miracle. At least 23 species of predator have been spotted living in surprising habitats. Predators such as alligators, otters, mountain lions, wolves and raptors are thriving in places they shouldn't, revealing some serious misunderstandings about their behaviour and how to protect them. Scientific literature divulges that these creatures are actually returning to places they once occupied. It gives us astonishing insights into the lives of animals and helps conservationists improve the old stomping grounds of these creatures.

Study the text given below and answer the question that follows it:
Dense, dirty air laced with grease best describes the atmosphere of most Lagos streets. Drive from one corner of this great west African city to another and in no time you will find surfaces lightly dusted, like a soft sprinkling of icing on cakes. Under the half-moons of fingernails, thick grime settles. It’s a scene taken as typically African: polluted, bedraggled, unhealthy. This has only ever been made possible by the exploitation of Africa’s people. This week five west African countries, Nigeria included, announced plans to end the practice of European oil companies and traders exporting “African quality” diesel. “Dirty fuel” has earned the name because it is imported diesel with sulphur levels as high as 3,000 parts per million when the European maximum is 10ppm. To be clear, “African quality” fuel, is fuel not fit for European humans.