Test: CLAT 2008 Past Year Paper - CLAT MCQ

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.   Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.

Q. How is she different from some of the other wildlife photographers she meets ? 

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.   Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.
Q. Which does 'them' refer to in the 7"' line in paragraph 3?

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.   Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.

Q. What the writer means by 'ignorance in people's behaviour' is 

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.   Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.
Q. The writer now finds it more difficult to photograph wild animals because

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

t's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.   Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.

Q. Wildlife  photography  is important because  it  can  make people realise that 

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving.  Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.

Q. Why is she more patient now ?   

MY LOVE OF NATURE, goes right back to my childhood, to the times when I stayed on,  my grandparents' farm in  Suffolk. My father  was in the  armed forces, so we were always moving and didn't have a home base for any length of time, but I loved going there. I think it was my grandmother who encouraged me more than anyone:  she taught  me the names of wild  flowers and got me interested  in looking  at the countryside,  so it seemed  obvious  to go  on to do Zoology at University.

I didn't get  my first camera until after I'd graduated, when I was due to go diving in Norway and needed a method of recording the sea creatures I would find there. My father didn't know anything about photography, but he bought me an Exacta, which was really quite a good camera for the time, and I went off to take my first pictures of sea anemones and starfish. I became keen very quickly, and learned how to develop and print; obviously I didn't have much money in those days, so I did more black and white photography than colour, but it was all still using the camera very much as a tool to record what I found both by diving and on the shore. I had no ambition at all to be a photographer then, or even for some years afterwards. Unlike many of the wildlife photographers of the time, I trained as a scientist and therefore my way of expressing myself is very different. I've tried from the beginning to produce pictures which are -always biologically correct. There are people who will alter things deliberately: you don't pick up sea creatures from the middle of the shore and take them down to attractive pools at the bottom of the shore without knowing you're doing it. In so doing you're actually falsifying the sort of seaweeds they live on and so on, which may seem unimportant, but it is actually  changing the natural surroundings to make   them   prettier. Unfortunately, many of the people who select pictures are looking for attractive images  and,  at the end  of the day, whether it's truthful or  not doesn't really matter to them.

It's important to think about the animal first, and there are many occasions when I've  not taken a picture because  it would have been too  disturbing. Nothing is so important that you have to get that shot; of course, there are cases when it would be very sad if you didn't, but it's not the end of the world. There can be a lot of ignorance in people's behaviour towards wild animals and it's a problem that more and more people are going to wild  places: while some animals may get used to cars, they won't get used to people suddenly rushing up to them. The sheer pressure of people, coupled with the fact that there are increasingly fewer places where no-one else has photographed, means that over the years, life has become much more difficult for the professional wildlife photographer. 
Nevertheless, wildlife photographs play a very important  part in educating people   about what is   out there   and what needs conserving. Although photography can be an enjoyable pastime, as it is to many people, it is also something that plays a very important part in educating young and old alike. Of the qualities it takes to make a good wildlife photographer, patience is perhaps the most obvious - you just have to be prepared to sit it out. I'm actually more patient now because I write more than ever before, and as long as I've got a bit of paper and a pencil, I don't feel I'm wasting my  time.  And because I photograph such a wide range of things, even if the main target doesn't appear I can probably find something else to concentrate on instead.

Q. which of the following describes the writer?   

Three of the four words given below are spelt wrongly. Select the word that is spelt correctly

Three of the four words given below are spelt wrongly. Select the word that is spelt correctly.

Three of the four words given below are spelt wrongly. Select the word that is spelt correctly.

Three of the four words given below are spelt wrongly. Select the word that is spelt correctly.

Three of the four words given below are spelt wrongly. Select the word that is spelt correctly.

Select the best option from the four alternatives given.  (For Question 16 to 25)

They live on a busy road……………….. a lot of noise from the traffic. 

The more electricity you use,………………………… 

Ben likes walking…………………………..

It's two years……………Sophy 

What was the problem ? Why………………..leave early ?  

Nobody believed Arun at first, but he…………. to be right. 

We can't……………     making a decision. We have to decide now.  

The accident was my fault, so I had to pay for the damage…...the other bar. 

I really object ___ people smoking at my house. 

 contract  may  be…………if  the  court   finds  there   has   been misinterpretation of the facts.'   

(For Question 26 to 30)

The five paragraphs given below have all had their constituent sentences jumbled.

UNIT I
i) The Supertag scanner could revolutionise the way people  shop, virtually eradicating supermarket queues;
ii) The face of retailing will change even more rapidly when the fibre optic networks being built by cable TV companies begin to be more widely used;
iii) The  scanner would  have  a double benefit  for  supermarkets   - removing   the bottleneck   which   causes   frustration  to most customers and reducing the number of checkout staff;
iv) An  electronic scanner which  can  read the  entire  contents  of a supermarket trolley at a glance has just been developed.
The best sequence is: 

UNIT II
i) Of   course,   modern   postal  services  now   are   much   more sophisticated and faster, relying as they do on motor vehicles and planes for delivery.
ii) Indeed,  the ancient  Egyptians  had a system  for sending  letters from about 2000 BC, as did the Zhou dynasty in China a thousand years later.
iii) Letters,  were,  and  are, sent by some form of postal  service,  the history of which goes back a long way.
iv) For centuries,  the only form of written correspondence was the letter.
The best sequence is: 

UNIT III

i) Converting  money into several currencies in the course  of one trip can also be quite expensive, given that banks and bureaux de change charge commission on the transaction. 
ii) Trying to work out the value of the various notes and .coins can be quite a strain, particularly if you are visiting more than one country.
iii) Travel can be very exciting, but it can also be rather complicated.
iv) One of these complications is, undoubtedly, foreign currency.
The best sequence is:   

UNIT IV
i) She  was  right  about  three-curiosity, freckles,   and   doubt-but wrong about love.

ii) "Four of the things I'd be better without: Love, curiosity, freckles,and doubt".

iii) Love is indispensable in life.

iv) So wrote Dorothy Parker, the American writer.
The best sequence is: 

UNIT V
i) This  clearly  indicates  that the brains of  men  and  women  are organised differently in the way they process speech.

ii) Difference  in  the way men and women process  language  is  of special interest to brain researchers.

iii) However,  women  are  more likely than men  to  suffer  aphasia when the front part of the brain is damaged.
iv) It has been known that aphasia  - a kind of speech  disorder  -  is more common in men than in women when the left side of the brain is damaged in an accident or after a stroke. The best sequence is: