Practice Test for NMAT - 1 - CAT MCQ
30 Questions MCQ Test - Practice Test for NMAT - 1
Read the passages carefully and answer the questions that follow:
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood apart. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted. He marketed Rembrandt.
Although there may be some truth in the view that Rembrandt was an entrepreneur who made some aesthetic decisions on the basis of what he knew the market wanted, Alpers' emphasis on economic factors sacrifices discussions of the aesthetic qualities that make Rembrandt's work unique. For example, Alpers asserts that Rembrandt deliberately left his works unfinished so as to get more money for their revision and completion. She implies that Rembrandt actually wished the Council of Amsterdam to refuse the great Claudius Civilis, which they had commissioned for their new town hall, and she argues that he must have calculated that he would be able to get more money by retouching the painting. Certainly the picture is painted with very broad strokes but there is no evidence that it was deliberately left unfinished. The fact is that the look of a work like Claudius Civilis must also be understood as the consequence of Rembrandt's powerful and profound meditations on painting itself. Alpers makes no mention of the pictorial dialectic that can be discerned between, say, the lessons Rembrandt absorbed from the Haarlem school of paintings and the styles of his native Leiden. The trouble is that while Rembrandt's artistic enterprise may indeed not be reducible to the works he himself painted, it is not reducible to marketing practices either.
Q. Which one of the following best summarizes the main conclusion of the author of the passage?
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Read the passages carefully and answer the questions that follow:
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood apart. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted. He marketed Rembrandt.
Although there may be some truth in the view that Rembrandt was an entrepreneur who made some aesthetic decisions on the basis of what he knew the market wanted, Alpers' emphasis on economic factors sacrifices discussions of the aesthetic qualities that make Rembrandt's work unique. For example, Alpers asserts that Rembrandt deliberately left his works unfinished so as to get more money for their revision and completion. She implies that Rembrandt actually wished the Council of Amsterdam to refuse the great Claudius Civilis, which they had commissioned for their new town hall, and she argues that he must have calculated that he would be able to get more money by retouching the painting. Certainly the picture is painted with very broad strokes but there is no evidence that it was deliberately left unfinished. The fact is that the look of a work like Claudius Civilis must also be understood as the consequence of Rembrandt's powerful and profound meditations on painting itself. Alpers makes no mention of the pictorial dialectic that can be discerned between, say, the lessons Rembrandt absorbed from the Haarlem school of paintings and the styles of his native Leiden. The trouble is that while Rembrandt's artistic enterprise may indeed not be reducible to the works he himself painted, it is not reducible to marketing practices either.
Q. According to the passage, Alpers and Schwartz disagree about which one of the following?
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
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Read the passages carefully and answer the questions that follow:
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood apart. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted. He marketed Rembrandt.
Although there may be some truth in the view that Rembrandt was an entrepreneur who made some aesthetic decisions on the basis of what he knew the market wanted, Alpers' emphasis on economic factors sacrifices discussions of the aesthetic qualities that make Rembrandt's work unique. For example, Alpers asserts that Rembrandt deliberately left his works unfinished so as to get more money for their revision and completion. She implies that Rembrandt actually wished the Council of Amsterdam to refuse the great Claudius Civilis, which they had commissioned for their new town hall, and she argues that he must have calculated that he would be able to get more money by retouching the painting. Certainly the picture is painted with very broad strokes but there is no evidence that it was deliberately left unfinished. The fact is that the look of a work like Claudius Civilis must also be understood as the consequence of Rembrandt's powerful and profound meditations on painting itself. Alpers makes no mention of the pictorial dialectic that can be discerned between, say, the lessons Rembrandt absorbed from the Haarlem school of paintings and the styles of his native Leiden. The trouble is that while Rembrandt's artistic enterprise may indeed not be reducible to the works he himself painted, it is not reducible to marketing practices either.
Q. In the third paragraph, the author of the passage discusses aesthetic influences on Rembrandt's work most probably in order to
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Read the passages carefully and answer the questions that follow:
It has recently been discovered that many attributions of paintings to the seventeenth-century Dutch artist Rembrandt may be false. The contested paintings are not minor works, whose removal from the Rembrandt corpus would leave it relatively unaffected: they are at its very center. In her recent book, Svetlana Alpers uses these cases of disputed attribution as a point of departure for her provocative discussion of the radical distinctiveness of Rembrandt's approach to painting.
Alpers argues that Rembrandt exercised an unprecedentedly firm control over his art, his students, and the distribution of his works. Despite Gary Schwartz's brilliant documentation of Rembrandt's complicated relations with a wide circle of patrons, Alpers takes the view that Rembrandt refused to submit to the prevailing patronage system. He preferred, she claims, to sell his works on the open market and to play the entrepreneur. At a time when Dutch artists were organizing into professional brotherhoods and academies, Rembrandt stood apart. In fact, Alpers portrait of Rembrandt shows virtually every aspect of his art pervaded by economic motives. Indeed, so complete was Rembrandt's involvement with the market, she argues, that he even presented himself as commodity, viewing his studio's products as extensions of himself, sent out into the world to earn money. Alpers asserts that Rembrandt's enterprise is found not just in his paintings, but in his refusal to limit his enterprise to those paintings he actually painted. He marketed Rembrandt.
Although there may be some truth in the view that Rembrandt was an entrepreneur who made some aesthetic decisions on the basis of what he knew the market wanted, Alpers' emphasis on economic factors sacrifices discussions of the aesthetic qualities that make Rembrandt's work unique. For example, Alpers asserts that Rembrandt deliberately left his works unfinished so as to get more money for their revision and completion. She implies that Rembrandt actually wished the Council of Amsterdam to refuse the great Claudius Civilis, which they had commissioned for their new town hall, and she argues that he must have calculated that he would be able to get more money by retouching the painting. Certainly the picture is painted with very broad strokes but there is no evidence that it was deliberately left unfinished. The fact is that the look of a work like Claudius Civilis must also be understood as the consequence of Rembrandt's powerful and profound meditations on painting itself. Alpers makes no mention of the pictorial dialectic that can be discerned between, say, the lessons Rembrandt absorbed from the Haarlem school of paintings and the styles of his native Leiden. The trouble is that while Rembrandt's artistic enterprise may indeed not be reducible to the works he himself painted, it is not reducible to marketing practices either.
Q. Which one of the following, if true, would provide the most support for Alpers' argument about Claudius Civilis?
Read the passages carefully and answer the questions that follow :
Time has many dimensions, is a concept often advanced to account for certain inexplicable happenings. The gist of the idea is that time - which seems to unfold in a linear way, with the past coming before the present and the present before the future - might, in another dimension, not be experienced sequentially. The past, present and future could exist simultaneously.
The concept that there are unfamiliar dimensions of time is most easily approached by way of those dimensions with which we are already familiar, those of length, height and breadth. These, in turn, are best approached, quite literally, from a starting point, which, geometrically speaking, has a location but no dimensions. It does, however, relate to figures with dimensions in the following way: If a point is moved through space, it marks a line, with the one dimension of length. If a line is moved through space, it traces the figure of a plane with the two dimensions of length and breadth. And, if a plane is moved in space, it traces a figure with the three dimensions of length, breadth and height.
We can also work backward to form a three-dimensional body and find that the cross section of the three-dimensional cube is a two-dimensional plane, the cross section of the two-dimensional plane is a one-dimensional line and that the cross section of the line is a dimensionless point. From this, we can infer that a body of three dimensions is the cross section of a body, when moved in a certain way, of four dimensions. Then comes the question, of what sort of body could a three-dimensional shape be the cross section? And, in what sort of new direction could a three-dimensional shape be moved to produce one of four dimensions, since a movement other than up and down, backward and forward or side to side would simply produce a larger figure, not one of a different dimension. The answer, of course, is the feature duration. For, as soon as something ceases to endure, it ceases to exit. To the three familiar dimensions, then, we should add duration in time as a fourth dimension. Ordinary, three-dimensional bodies should, therefore, be properly described as having only length, breadth and height but no duration. Is such a thing possible? It is, but only hypothetically. For in fact, the point, line and plane do not truly exist as such. Any line that can be seen has breadth as well as length (and duration), just as any physical plane has a certain thickness as well as length and breadth. What movement, then, must a figure of three dimensions undergo to produce a body of four dimensions?
We moved a plane in the dimension of height to produce a cube, so the movement of a (hypothetical) cube in the dimension of time should produce a (real) figure of four dimensions. What does movement in the dimension of time mean? As we said, it must mean movement in a new direction, not up, down or sideways. Are there any other kinds of movement? For a start, there is the movement that the Earth's rotation imparts to everything upon it and that puts even apparently motionless bodies in motion. Thus, we may say that the cross section of a real body, whose fourth dimension is duration, is inseparable from the motion that the turning world inevitably imparts to everything. Further, inevitable motions are that of the Earth around the Sun, of the Sun around the centre of the galaxy, and, perhaps, of the galaxy itself around some unknown point. Since any perceptible body is, in fact, undergoing all these motions simultaneously, we can say that it is ordinarily imperceptible. Because, motions and the dimensions, they imply, are only perceptible in a framework of time, they can be referred to as dimensions of time.
If duration is one aspect of time, what might the others be? Among several possibilities, we can suggest appearance and disappearance, change and recurrence. Of all possibilities, only duration is perceptible. When we say that something is perceptible, we mean that we suddenly note its existence, when something disappears we note its lack of existence. We perceive no intermediate condition of appearing or disappearing. In the same way, we talk of change, but actually only develop the concept, as we perceive aggregates of characteristics that exist or cease to exist. And so we infer, but do not observe, the recurrence of sunset and sunrise, the passage of seasons, the growth of a child. And yet, things really do appear and disappear, change and recur, although not actually perceived to do so. They are, so to speak, hypothetical to us and must have their reality in other dimensions of time, just as the hypothetical three-dimensional body becomes real, that is, perceptible, in the dimension of time we call duration.
If access to higher dimensions of time belongs to one body, it is at least theoretically possible that it belongs, though invisibly, to all bodies. We can further assume that such access is by way of unfamiliar modes or levels of consciousness – and that the name we give to one of these is prophecy.
Q. To understand the 'dimensions' of time, we have to
Read the passages carefully and answer the questions that follow :
Time has many dimensions, is a concept often advanced to account for certain inexplicable happenings. The gist of the idea is that time - which seems to unfold in a linear way, with the past coming before the present and the present before the future - might, in another dimension, not be experienced sequentially. The past, present and future could exist simultaneously.
The concept that there are unfamiliar dimensions of time is most easily approached by way of those dimensions with which we are already familiar, those of length, height and breadth. These, in turn, are best approached, quite literally, from a starting point, which, geometrically speaking, has a location but no dimensions. It does, however, relate to figures with dimensions in the following way: If a point is moved through space, it marks a line, with the one dimension of length. If a line is moved through space, it traces the figure of a plane with the two dimensions of length and breadth. And, if a plane is moved in space, it traces a figure with the three dimensions of length, breadth and height.
We can also work backward to form a three-dimensional body and find that the cross section of the three-dimensional cube is a two-dimensional plane, the cross section of the two-dimensional plane is a one-dimensional line and that the cross section of the line is a dimensionless point. From this, we can infer that a body of three dimensions is the cross section of a body, when moved in a certain way, of four dimensions. Then comes the question, of what sort of body could a three-dimensional shape be the cross section? And, in what sort of new direction could a three-dimensional shape be moved to produce one of four dimensions, since a movement other than up and down, backward and forward or side to side would simply produce a larger figure, not one of a different dimension. The answer, of course, is the feature duration. For, as soon as something ceases to endure, it ceases to exit. To the three familiar dimensions, then, we should add duration in time as a fourth dimension. Ordinary, three-dimensional bodies should, therefore, be properly described as having only length, breadth and height but no duration. Is such a thing possible? It is, but only hypothetically. For in fact, the point, line and plane do not truly exist as such. Any line that can be seen has breadth as well as length (and duration), just as any physical plane has a certain thickness as well as length and breadth. What movement, then, must a figure of three dimensions undergo to produce a body of four dimensions?
We moved a plane in the dimension of height to produce a cube, so the movement of a (hypothetical) cube in the dimension of time should produce a (real) figure of four dimensions. What does movement in the dimension of time mean? As we said, it must mean movement in a new direction, not up, down or sideways. Are there any other kinds of movement? For a start, there is the movement that the Earth's rotation imparts to everything upon it and that puts even apparently motionless bodies in motion. Thus, we may say that the cross section of a real body, whose fourth dimension is duration, is inseparable from the motion that the turning world inevitably imparts to everything. Further, inevitable motions are that of the Earth around the Sun, of the Sun around the centre of the galaxy, and, perhaps, of the galaxy itself around some unknown point. Since any perceptible body is, in fact, undergoing all these motions simultaneously, we can say that it is ordinarily imperceptible. Because, motions and the dimensions, they imply, are only perceptible in a framework of time, they can be referred to as dimensions of time.
If duration is one aspect of time, what might the others be? Among several possibilities, we can suggest appearance and disappearance, change and recurrence. Of all possibilities, only duration is perceptible. When we say that something is perceptible, we mean that we suddenly note its existence, when something disappears we note its lack of existence. We perceive no intermediate condition of appearing or disappearing. In the same way, we talk of change, but actually only develop the concept, as we perceive aggregates of characteristics that exist or cease to exist. And so we infer, but do not observe, the recurrence of sunset and sunrise, the passage of seasons, the growth of a child. And yet, things really do appear and disappear, change and recur, although not actually perceived to do so. They are, so to speak, hypothetical to us and must have their reality in other dimensions of time, just as the hypothetical three-dimensional body becomes real, that is, perceptible, in the dimension of time we call duration.
If access to higher dimensions of time belongs to one body, it is at least theoretically possible that it belongs, though invisibly, to all bodies. We can further assume that such access is by way of unfamiliar modes or levels of consciousness – and that the name we give to one of these is prophecy.
Q. In the passage, the author has
Read the passages carefully and answer the questions that follow :
Time has many dimensions, is a concept often advanced to account for certain inexplicable happenings. The gist of the idea is that time - which seems to unfold in a linear way, with the past coming before the present and the present before the future - might, in another dimension, not be experienced sequentially. The past, present and future could exist simultaneously.
The concept that there are unfamiliar dimensions of time is most easily approached by way of those dimensions with which we are already familiar, those of length, height and breadth. These, in turn, are best approached, quite literally, from a starting point, which, geometrically speaking, has a location but no dimensions. It does, however, relate to figures with dimensions in the following way: If a point is moved through space, it marks a line, with the one dimension of length. If a line is moved through space, it traces the figure of a plane with the two dimensions of length and breadth. And, if a plane is moved in space, it traces a figure with the three dimensions of length, breadth and height.
We can also work backward to form a three-dimensional body and find that the cross section of the three-dimensional cube is a two-dimensional plane, the cross section of the two-dimensional plane is a one-dimensional line and that the cross section of the line is a dimensionless point. From this, we can infer that a body of three dimensions is the cross section of a body, when moved in a certain way, of four dimensions. Then comes the question, of what sort of body could a three-dimensional shape be the cross section? And, in what sort of new direction could a three-dimensional shape be moved to produce one of four dimensions, since a movement other than up and down, backward and forward or side to side would simply produce a larger figure, not one of a different dimension. The answer, of course, is the feature duration. For, as soon as something ceases to endure, it ceases to exit. To the three familiar dimensions, then, we should add duration in time as a fourth dimension. Ordinary, three-dimensional bodies should, therefore, be properly described as having only length, breadth and height but no duration. Is such a thing possible? It is, but only hypothetically. For in fact, the point, line and plane do not truly exist as such. Any line that can be seen has breadth as well as length (and duration), just as any physical plane has a certain thickness as well as length and breadth. What movement, then, must a figure of three dimensions undergo to produce a body of four dimensions?
We moved a plane in the dimension of height to produce a cube, so the movement of a (hypothetical) cube in the dimension of time should produce a (real) figure of four dimensions. What does movement in the dimension of time mean? As we said, it must mean movement in a new direction, not up, down or sideways. Are there any other kinds of movement? For a start, there is the movement that the Earth's rotation imparts to everything upon it and that puts even apparently motionless bodies in motion. Thus, we may say that the cross section of a real body, whose fourth dimension is duration, is inseparable from the motion that the turning world inevitably imparts to everything. Further, inevitable motions are that of the Earth around the Sun, of the Sun around the centre of the galaxy, and, perhaps, of the galaxy itself around some unknown point. Since any perceptible body is, in fact, undergoing all these motions simultaneously, we can say that it is ordinarily imperceptible. Because, motions and the dimensions, they imply, are only perceptible in a framework of time, they can be referred to as dimensions of time.
If duration is one aspect of time, what might the others be? Among several possibilities, we can suggest appearance and disappearance, change and recurrence. Of all possibilities, only duration is perceptible. When we say that something is perceptible, we mean that we suddenly note its existence, when something disappears we note its lack of existence. We perceive no intermediate condition of appearing or disappearing. In the same way, we talk of change, but actually only develop the concept, as we perceive aggregates of characteristics that exist or cease to exist. And so we infer, but do not observe, the recurrence of sunset and sunrise, the passage of seasons, the growth of a child. And yet, things really do appear and disappear, change and recur, although not actually perceived to do so. They are, so to speak, hypothetical to us and must have their reality in other dimensions of time, just as the hypothetical three-dimensional body becomes real, that is, perceptible, in the dimension of time we call duration.
If access to higher dimensions of time belongs to one body, it is at least theoretically possible that it belongs, though invisibly, to all bodies. We can further assume that such access is by way of unfamiliar modes or levels of consciousness – and that the name we give to one of these is prophecy.
Q. The author mainly agrees with the idea that
Read the passages carefully and answer the questions that follow :
Time has many dimensions, is a concept often advanced to account for certain inexplicable happenings. The gist of the idea is that time - which seems to unfold in a linear way, with the past coming before the present and the present before the future - might, in another dimension, not be experienced sequentially. The past, present and future could exist simultaneously.
The concept that there are unfamiliar dimensions of time is most easily approached by way of those dimensions with which we are already familiar, those of length, height and breadth. These, in turn, are best approached, quite literally, from a starting point, which, geometrically speaking, has a location but no dimensions. It does, however, relate to figures with dimensions in the following way: If a point is moved through space, it marks a line, with the one dimension of length. If a line is moved through space, it traces the figure of a plane with the two dimensions of length and breadth. And, if a plane is moved in space, it traces a figure with the three dimensions of length, breadth and height.
We can also work backward to form a three-dimensional body and find that the cross section of the three-dimensional cube is a two-dimensional plane, the cross section of the two-dimensional plane is a one-dimensional line and that the cross section of the line is a dimensionless point. From this, we can infer that a body of three dimensions is the cross section of a body, when moved in a certain way, of four dimensions. Then comes the question, of what sort of body could a three-dimensional shape be the cross section? And, in what sort of new direction could a three-dimensional shape be moved to produce one of four dimensions, since a movement other than up and down, backward and forward or side to side would simply produce a larger figure, not one of a different dimension. The answer, of course, is the feature duration. For, as soon as something ceases to endure, it ceases to exit. To the three familiar dimensions, then, we should add duration in time as a fourth dimension. Ordinary, three-dimensional bodies should, therefore, be properly described as having only length, breadth and height but no duration. Is such a thing possible? It is, but only hypothetically. For in fact, the point, line and plane do not truly exist as such. Any line that can be seen has breadth as well as length (and duration), just as any physical plane has a certain thickness as well as length and breadth. What movement, then, must a figure of three dimensions undergo to produce a body of four dimensions?
We moved a plane in the dimension of height to produce a cube, so the movement of a (hypothetical) cube in the dimension of time should produce a (real) figure of four dimensions. What does movement in the dimension of time mean? As we said, it must mean movement in a new direction, not up, down or sideways. Are there any other kinds of movement? For a start, there is the movement that the Earth's rotation imparts to everything upon it and that puts even apparently motionless bodies in motion. Thus, we may say that the cross section of a real body, whose fourth dimension is duration, is inseparable from the motion that the turning world inevitably imparts to everything. Further, inevitable motions are that of the Earth around the Sun, of the Sun around the centre of the galaxy, and, perhaps, of the galaxy itself around some unknown point. Since any perceptible body is, in fact, undergoing all these motions simultaneously, we can say that it is ordinarily imperceptible. Because, motions and the dimensions, they imply, are only perceptible in a framework of time, they can be referred to as dimensions of time.
If duration is one aspect of time, what might the others be? Among several possibilities, we can suggest appearance and disappearance, change and recurrence. Of all possibilities, only duration is perceptible. When we say that something is perceptible, we mean that we suddenly note its existence, when something disappears we note its lack of existence. We perceive no intermediate condition of appearing or disappearing. In the same way, we talk of change, but actually only develop the concept, as we perceive aggregates of characteristics that exist or cease to exist. And so we infer, but do not observe, the recurrence of sunset and sunrise, the passage of seasons, the growth of a child. And yet, things really do appear and disappear, change and recur, although not actually perceived to do so. They are, so to speak, hypothetical to us and must have their reality in other dimensions of time, just as the hypothetical three-dimensional body becomes real, that is, perceptible, in the dimension of time we call duration.
If access to higher dimensions of time belongs to one body, it is at least theoretically possible that it belongs, though invisibly, to all bodies. We can further assume that such access is by way of unfamiliar modes or levels of consciousness – and that the name we give to one of these is prophecy.
Q. As per the passage, it is not possible to have a true line.
Instructions: Select one sentence to complete the given statement in the form of a small paragraph. For each item you are given the frame of a 3-sentence paragraph. The middle sentence has been removed. Three possible fillers (A, B, C) are provided for this gap (…). Any one of them, OR more than one OR none of them might fit. The completed statement must be a compact and well organised presentation of the idea indicated by the first and third sentence. Select the appropriate answer option from (A) to (D) and indicate it.
Most people have certain prejudices against certain types or styles of writing.(…) But these are common and meaningful modes of communication that we need to study and understand.
(A) For example, popular science and children’s fiction are considered unintellectual
(B) Some of us would regard ‘Sunday magazine’ journalism and advertising as cheap and even improper.
(C) Great essayists have always been a source of inspiration to young writers
The blank can be filled by –
Instructions: Select one sentence to complete the given statement in the form of a small paragraph. For each item you are given the frame of a 3-sentence paragraph. The middle sentence has been removed. Three possible fillers (A, B, C) are provided for this gap (…). Any one of them, OR more than one OR none of them might fit. The completed statement must be a compact and well organised presentation of the idea indicated by the first and third sentence. Select the appropriate answer option from (A) to (D) and indicate it.
Teachers and professionals imparting technical training use speech, writing and diagrams in various combinations (…) Responding to this the Technical Education Council has recommended a course on “communication theory” as common core item.
(A) Yet technical students receive no instruction in the theory and use of information structures in communication
(B) Soon interactive video will be a common feature of technical education
(C) Steadily failing costs have brought sophisticated information technology to the door of the typical classroom
The blank can be filled by –
Instructions: Select one sentence to complete the given statement in the form of a small paragraph. For each item you are given the frame of a 3-sentence paragraph. The middle sentence has been removed. Three possible fillers (A, B, C) are provided for this gap (…). Any one of them, OR more than one OR none of them might fit. The completed statement must be a compact and well organised presentation of the idea indicated by the first and third sentence. Select the appropriate answer option from (A) to (D) and indicate it.
I am pleased that you have published my article ‘Managing Publicity. (…) As I have used company materials this omission has caused me some embarrassment.
(A) However, you have failed to indicate my company affiliation along with my name
(B) The editor has done a good job as shortening my rather long original text
(C) But there is no reference to my position as HRD head at AA Consultants
The blank can be filled by –
Instructions: Select one sentence to complete the given statement in the form of a small paragraph. For each item you are given the frame of a 3-sentence paragraph. The middle sentence has been removed. Three possible fillers (A, B, C) are provided for this gap (…). Any one of them, OR more than one OR none of them might fit. The completed statement must be a compact and well organised presentation of the idea indicated by the first and third sentence. Select the appropriate answer option from (A) to (D) and indicate it.
The new telecom companies take a radical approach to product development (..) They think instead of what consumers want and then develop the needed technology
(A) They invest very heavily in state-of-art technology
(B) They do not rely primarily on simulated studies product acceptability
(C) They do not invent a product with old technology and ask Marketing to sell it
The blank can be filled by –
Instructions: Select one sentence to complete the given statement in the form of a small paragraph. For each item you are given the frame of a 3-sentence paragraph. The middle sentence has been removed. Three possible fillers (A, B, C) are provided for this gap (…). Any one of them, OR more than one OR none of them might fit. The completed statement must be a compact and well organised presentation of the idea indicated by the first and third sentence. Select the appropriate answer option from (A) to (D) and indicate it.
Herbal medicines worth Rs. 900 crores are produced annually in India (…) Even the office of the Drugs Controller of India acts only in response to specific complaints.
(A) However the investment in R & D across the industry is low
(B) The present rules for ensuring quality are reasonably comprehensive and effective
(C) The competition to corner the market has however led to some questionable practices that are to the consumer’s disadvantage
The blank can be filled by –
Select the appropriate meaning of the phrase given in the question.
Q. Of the first water
Select the appropriate meaning of the phrase given in the question.
Q. To fit the bill
Select the appropriate meaning of the phrase given in the question.
Q. A wild goose chase
Select the appropriate meaning of the phrase given in the question.
Q. To kick the bucket
Select the option that most suitably fills ups the blanks
Q. Traffic signals in the country X operate in a reverse fashion : people move when it is ___ and have to stop when it is ___.
Select the option that most suitably fills ups the blanks
Q. Can you call a ___ seeker of personal goals an ___? I doubt whether you can.
In the following questions, a related pair of words or phrases is followed by four lettered pair of words or phrases. Select by lettered pair that best expresses a relationship DISSIMILAR to that expressed in the original pair.
MIGRANT : SETTLED
In the following questions, a related pair of words or phrases is followed by four lettered pair of words or phrases. Select by lettered pair that best expresses a relationship DISSIMILAR to that expressed in the original pair.
URSINE : BEAR
In the following questions, a related pair of words or phrases is followed by four lettered pair of words or phrases. Select by lettered pair that best expresses a relationship DISSIMILAR to that expressed in the original pair.
BUVETTE : TAVERN
In the following questions, a related pair of words or phrases is followed by four lettered pair of words or phrases. Select by lettered pair that best expresses a relationship DISSIMILAR to that expressed in the original pair.
ASTROLATRY : CELESTIAL BODIES
For each of the following questions mark the appropriate choice.
Q. Amit can set questions for MBA exams because he has experience to set questions for Bank exams. This statement is based on the assumption that
For each of the following questions mark the appropriate choice.
Q. My TV has an electronic child lock with an optional pass–word and cannot be opened in my absence. It therefore follows.
Which of the words/phrases (1), (2), and (3) given below should replace the phrase underlined in the given sentence to make the sentence grammatically correct ? If the sentence is correct as it is and no correction is required, mark (4) as the answer.
Q. Bad movies affect people living in today’s society more than they did in previous years.
Which of the words/phrases (1), (2), and (3) given below should replace the phrase underlined in the given sentence to make the sentence grammatically correct ? If the sentence is correct as it is and no correction is required, mark (4) as the answer.
Q. The reason he has been so fat is because he never takes exercise.
Instructions: In each of these questions, two sentences are given, one is complete and the other has a blank space in it. This pair of sentences is followed by five words/groups of words. You have to read these two sentences together and find out the word/group of words that best fits in the blank to make the pair of sentences meaningfully complete:—
Q. Now-a-days there exists a spirit of ______among the various departments of the University. This has led to a number of interdisciplinary research publications due to interaction of various research groups which might not otherwise have been published.
Instructions: In each of these questions, two sentences are given, one is complete and the other has a blank space in it. This pair of sentences is followed by five words/groups of words. You have to read these two sentences together and find out the word/group of words that best fits in the blank to make the pair of sentences meaningfully complete:—
Q. When people around you are losing their heads, it is very difficult to remain serene. It needs a lot of______
Pick out the most appropriate word from amongst the words given below each sentence to complete it meaningfully.
Q. He quickly glanced ______ the book to find what it said about the Indian economy
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