Choose the option that is most appropriate line for the missing line in the paragraph:
Rudimentary education may perhaps make us capable of having one idea, it certainly renders us incapable of having two. The man of rudimentary education is always the man of one single idea and of one fixed idea. He has few doubts. Now the wise man doubts often, the ignorant man seldom, the fool never. The man of one idea is more or less impermeable to any process of reasoning that is foreign to this idea. An Indian author has said: "____________."
hey guys....if I am not so good at VA section and only relying on LR questions and to some extent on RC questions, then when should I attempt ( at which particular moment in the test) RC questions?????
Art historians often view the Renaissance as beginning as early as the 13th century, with the art of Giotto and Cimabue, and ending in the late 16th century with the work of Michelangelo and Venetian painters like Titian. Literary scholars in the Anglo-American world take a very different perspective, focusing on the rise of vernacular English literature in the 16th and 17th centuries in the poetry and drama of Spenser, Shakespeare, and Milton. Historians take a different approach again, labelling the period c.1500–1700 as 'early modern', rather than 'Renaissance'. These differences in dating and even naming the Renaissance have become so intense that the validity of the term is now in doubt. Does it have any meaning any more?
(a) Does it underpin a belief in European cultural superiority? (b) Today, there is a popular consensus that the term 'Renaissance' refers to a profound and enduringupheaval and transformation in culture, politics, art, and society in Europe between the years 1400and 1600. (c) Is it possible to separate the Renaissance from the Middle Ages that preceded it, and themodern world that came after it? (d) The word describes both a period in history and a more general ideal of cultural renewal.
Pardon me for posting this sort of stuff on this thread, but considering the staggering number of followers that this thread has, it makes perfect sense to do so.
I have been preparing for CAT 2014 for while a while now (around 9 months or so). Have been scoring decent marks, not great though. Apparently, since the last month I have lost of the motivation that drove me, I have lost interest, I have developed an aversion towards Mocks. Everything seems so repetitive.
People tell me that mine is a classic case of 'Burn-out'. Most of the enthusiasm that I had initially has waned off. I look forward to things / activities that most of the CAT aspirants avoid doing at this time. I have already revised most of my notes, and going through the same notes over and over again depresses me. People usually pick up speed at this time, on the other hand, I am slacking. This bothers me, I should be studying, practicing and revising and I sometimes do but the bout of motivation is lost in midst of the toil. AIMCATs demoralize me and sitting for a mock seems to be such a difficult task now.
Just wanted to know if there are people like me, who have also faced or facing such an issue. What should I do? Aren't you guys bored? How do you manage to keep adrenaline pumping?
PS: I have put a temporary moratorium on mocks. Would start appearing for them from the weekend.
Kiton - which employs 330 tailors who create its garments by hand - produces only a few thousand pieces a year. It takes 25 hours to make a jacket. Fans of Kiton clothes, and it is a devoted cult, say the garments are soft, light and exquisitely made. __________
A.Small and fine details of sartorial workmanship mark this brand.
B.They are absolutely wrinkle-free and can be crushed into the crevice of an airline seat
C.They are said to fit like a second skin.
D.Once you start wearing it you won't feel like switching over to anything else.
E.Customers searching for value end up buying Kiton clothes.
Mattancherry is Indian Jewry's most famous settlement. Its pretty streets of pastel coloured houses,connected by first-floor passages and home to the last twelve saree-and-sarong-wearing, whiteskinned Indian Jews are visited by thousands of tourists each year. Its synagogue, built in 1568,with a floor of blue-and-white Chinese tiles, a carpet given by Haile Selassie and the frosty Yaheh selling tickets at the door, stands as an image of religious tolerance.
(1) Mattancherry represents, therefore, the perfect picture of peaceful co-existence.
(2) India's Jews have almost never suffered discrimination, except for European colonizers and
each other.
(3) Jews in India were always tolerant.
(4) Religious tolerance has always been only a façade and nothing more.
(5) The pretty pastel streets are, thus, very popular with the tourists.
1. Tourism to Egypt has always been stimulated by the wonders of its past.
(a) A similar situation occurred during the early 19th century. (b) The discovery of Tutankhamun's tomb in the 1920s and the display of his treasures in London during the 1970s stimulated many tourists to cross the Mediterranean. (c) Subsequently, by the close of the 1820s, there were enough tourists on the Nile, and enough information available to them, to justify the Egyptologist Sir John Gardner Wilkinson publishing the first modern guidebook to the sites, Egypt and Thebes. (d) In 1812-13 the Swiss traveller Jean Louis Burckhardt 'discovered' Ramses II's great temples at Abu Sombel; in 1822, Jean Francoi's Champollion announced his system for deciphering hieroglyphs. (e) The golden age of tourism in Egypt had begun.a)bedca b)badcec)ebadc d)dacbe
Critics often argue that the ability to effect structural change is limited in ethical consumerism. They cite the preponderance of niche markets as the actual effects of ethical consumerism. Critics also argue that ethical consumerism is fundamentally anti-democratic. In their view, the act of buying is considered as a vote, and the number of votes does not equal one per individual. Instead, the more money an individual (corporation, government, university etc.) has, the more votes they have in the market place. ________________________________________
Many
of us live one-eyed lives. We rely largely on the eye of the mind to
form our images of reality. It is a mechanical world based on fact and
reason. (_______). So today more and more of us are opening the other
eye, the eye of the heart, looking for realities to which the mind’s eye
is blind. This is a world warmed and transformed by the power of love, a
vision of community beyond the mind’s capacity to see. Either eye alone
is not enough. We need “wholesight”, a vision of the world in which
mind and heart unite.
Aristotle’s greatest contribution to philosophy lies in the realm of logic. Aristotle viewed
logic as an instrument (or organon) which was a preliminary requirement for the
study of every branch of knowledge. His own name for logic was “analytics” and his
logical treatises include Categories, Interpretation, Prior Analytics, Posterior Analytics,
and Topics. These works came to be referred to collectively by Aristotle’s followers
(known as Peripatetics) as the Organon.
Hie puys and pirls. I actually needed some advice or rather you can say motivation. I actually am at a place where I have no clue about the level of my VA compared to Quant. My marks in this section vary vaguely. So the basic question is how to increase confidence in an area where everything you click seems like the right answer at that point of time
The Failure of Conservatism in Modern British Poetry
appears to be organised chronologically. For example, Chapter Four is called ‘Blowing Your Mind: Immediacy in the Sixties’ and Chapter Eight is called ‘An era of rising property values: Conservatism 1979-97’. However, throughout Duncan’s book something curious is happening with dates in the discussion. The first two chapters of the book sketch a post-war background and contain 34 dates of which 67% are in the 1960s and 1970s. The last chapter of the book, ‘Poetry in the 1990s’, contains 27 dates: 52% of them are in the 1960s and 1970s and only 30% of them are in the 1990s.
In some ways, this is perfectly understandable because what Eric Mottram called ‘The British Poetry Revival 1960-1975’ continues to function as the return of the repressed. For example, Neil Corcoran’s apparently inclusive survey,
English Poetry since 1940
, devotes only one page to it. The dominance of books like Corcoran’s means that any genuinely alert and representative account of post-war British poetry is obliged to go on rewriting and re-righting literary history. Critical accounts of avant-garde poetry are therefore condemned to mirror black, feminist or gay narratives, perpetually reinscribing the struggle to overcome being silenced, to come to consciousness, to come out or to gain rights and recognition. Reinscription remains the paradigm in what might be termed ‘identity narratives’ not only because they are ‘happy ever after’ stories but more importantly because the priorities of the system in which such individual stories are constructed remain unchanged. And, of course, because no-one can imagine what happens after recognition has been achieved.
In other ways, Duncan’s focus on the 1960s and 1970s is less desirable because it is has a curious effect. It shuts British poetry — modernist-derived or otherwise — into a kind of pastness. Consequently, it risks imprisoning latter-day practitioners in an aftermath where, like nineteenth-century prisoners, they are obliged to walk the treadmills and pick the oakum of old dissatisfactions and disputes. Revisiting the past also risks allowing the priorities of the system in which those dissatisfactions and disputes occurred to continue to dominate. Duncan raises the issue in his introduction — “If poetry is sold and publicised on the basis of what was happening thirty years ago, what is there for new poets? What do they plug into?” — but he seems to think that only what he terms the ‘pop-conservative mainstream’ is guilty of it.
Which one of the following best describes the organization of the passage?
The Failure of Conservatism in Modern British Poetry
appears to be organised chronologically. For example, Chapter Four is called ‘Blowing Your Mind: Immediacy in the Sixties’ and Chapter Eight is called ‘An era of rising property values: Conservatism 1979-97’. However, throughout Duncan’s book something curious is happening with dates in the discussion. The first two chapters of the book sketch a post-war background and contain 34 dates of which 67% are in the 1960s and 1970s. The last chapter of the book, ‘Poetry in the 1990s’, contains 27 dates: 52% of them are in the 1960s and 1970s and only 30% of them are in the 1990s.
In some ways, this is perfectly understandable because what Eric Mottram called ‘The British Poetry Revival 1960-1975’ continues to function as the return of the repressed. For example, Neil Corcoran’s apparently inclusive survey,
English Poetry since 1940
, devotes only one page to it. The dominance of books like Corcoran’s means that any genuinely alert and representative account of post-war British poetry is obliged to go on rewriting and re-righting literary history. Critical accounts of avant-garde poetry are therefore condemned to mirror black, feminist or gay narratives, perpetually reinscribing the struggle to overcome being silenced, to come to consciousness, to come out or to gain rights and recognition. Reinscription remains the paradigm in what might be termed ‘identity narratives’ not only because they are ‘happy ever after’ stories but more importantly because the priorities of the system in which such individual stories are constructed remain unchanged. And, of course, because no-one can imagine what happens after recognition has been achieved.
In other ways, Duncan’s focus on the 1960s and 1970s is less desirable because it is has a curious effect. It shuts British poetry — modernist-derived or otherwise — into a kind of pastness. Consequently, it risks imprisoning latter-day practitioners in an aftermath where, like nineteenth-century prisoners, they are obliged to walk the treadmills and pick the oakum of old dissatisfactions and disputes. Revisiting the past also risks allowing the priorities of the system in which those dissatisfactions and disputes occurred to continue to dominate. Duncan raises the issue in his introduction — “If poetry is sold and publicised on the basis of what was happening thirty years ago, what is there for new poets? What do they plug into?” — but he seems to think that only what he terms the ‘pop-conservative mainstream’ is guilty of it.
Based on the information in the passage, it can be inferred that which one of the following would most logically begin a paragraph immediately following the passage?
Arrange the sentences A, B, C and D to form a logical sequence between sentences 1 and 6.
1. Meeting people after nine to ten years, almost to the day, is a very weird experience.
A. It genuinely felt awkward to meet people, some married and some with children, others married but who forgot to send out 200 cards to school friends, others, divorced.
B. I did find out that the marriage was unhappy for all the wrong reasons, none because of the obnoxious twit that he is.
C. I actually felt sorry for one of those guys, because, and if you knew equation with him in the school bus where we almost killed each other a few times, I would not have wished a divorce on him - though, I would not have wished any woman on him either.
D. I am in close touch with a couple of school friends - Doc, for example is an ass I can still call my best friend after twenty years - but my god, did he (or rather his overheating BMW) push my patience on Saturday night.
6. Everybody was fatter/ balder and in some cases both.
Arrange the sentences A, B, C and D to form a logical sequence between sentences 1 and 6.
1. Even though dance starts a bit later than school does during the week, Saturday morning is still pretty chaotic around here. A. More so if John is leaving for an auction that day, because it means I have to truck Kristen and Alex with me and get them ready too. B. This is one of those mornings where John was rushing to leave too. C. There are buns to be done, bodysuits to find, tights to mend (because they’re always ripped somewhere) and a good breakfast to be had. D. His work van has been giving him some problems, so he was nervous about travelling with it (not to mention what it’s costing us to fix it). 6. He couldn’t find his cell and even though he had woken up in a general good mood, I could see it going downhill from there.