Tu hi regularly paste karte reh...offer valid till stock lasts...
@miseera Bhai you a re doing a good job...Actually i could have shared your burden by posting rcs as well....but I have those GMAT rcs...that spectramind sir said not to use..
Tu hi regularly paste karte reh...offer valid till stock lasts...
Tu hi regularly paste karte reh...offer valid till stock lasts...
@saurav205 said:@miseera Bhai you a re doing a good job...Actually i could have shared your burden by posting rcs as well....but I have those GMAT rcs...that spectramind sir said not to use..Tu hi regularly paste karte reh...offer valid till stock lasts...
2012 tak ke mocks and old cat papers 
OAs RC 25/03/2013
32. b
The first paragraph carries the answer to this and G B
Shaw is not mentioned making choice (b) correct.
Shaw is not mentioned making choice (b) correct.
33. a
The answer is mentioned verbatim in the second
paragraph — “Because of the social … symbolic
weight”. This makes choice (a) correct.
weight”. This makes choice (a) correct.
34. d
The second paragraph mentions this event in history
— “Most estates were built on or near the ruins of
monasteries, whose antiquity seemed to offer historical
legitimacy to their upstart possessors …”. This makes
choice (d) correct.
— “Most estates were built on or near the ruins of
monasteries, whose antiquity seemed to offer historical
legitimacy to their upstart possessors …”. This makes
choice (d) correct.
35. b
The author mentions this in the third paragraph where
he states that the prevalent understanding was to
look at beauty in the work of art, but what had changed
by the end of the century was “Either the … chose the
second course”. This makes choice (b) correct.
he states that the prevalent understanding was to
look at beauty in the work of art, but what had changed
by the end of the century was “Either the … chose the
second course”. This makes choice (b) correct.
36. c
Associationism is the theory that advocates that
association is the basic principle of mental activity.
Also refer the paragraph 4.
association is the basic principle of mental activity.
Also refer the paragraph 4.
37. b
This aspect is broached by the author in the last
paragraph — “Thus from an … pavilions”. The rest of
the options are not verified by the content of the
passage. This makes choice (b) correct.
paragraph — “Thus from an … pavilions”. The rest of
the options are not verified by the content of the
passage. This makes choice (b) correct.
38. b
The third paragraph mentions this issue and the author
states — “The eighteenth century, though … Western
culture”. Also refer to paragraph 5. This makes choice
(b) correct.
states — “The eighteenth century, though … Western
culture”. Also refer to paragraph 5. This makes choice
(b) correct.
Happy CATing
RC of the Day 26//03/2013 
*The story of jazz is a miniature history of the modern mind. From the New Orleans jazz of King Oliver, Jelly
Roll Morton, and Bunk Johnson to be current divergent trends, one can trace a telescoped repetition of the
major developments in Western thought during the past two hundred years. To do this, one must concentrate
not on technical musicology but on what music expresses, i.e., the “content” of the music. After all, this is
he ultimately significant thing. Methods, forms and techniques are an indispensable means by which the
content is communicated, but they are nothing in themselves. Their whole importance lies in what they
succeed in expressing. Traditional New Orleans jazz provides a logical starting point. The first thing one
notices about this music is its immense vigour and vitality. Some people call it a childish vitality, belonging
only in the kindergarten of life and superseded by the sophistication of more recently developed types jazz.
Others welcome it as honest earthiness in contrast to the emotional apathy of some modern jazz. But
almost no one who knows the music will deny that, for better or worse, it expresses in abundance.
Roll Morton, and Bunk Johnson to be current divergent trends, one can trace a telescoped repetition of the
major developments in Western thought during the past two hundred years. To do this, one must concentrate
not on technical musicology but on what music expresses, i.e., the “content” of the music. After all, this is
he ultimately significant thing. Methods, forms and techniques are an indispensable means by which the
content is communicated, but they are nothing in themselves. Their whole importance lies in what they
succeed in expressing. Traditional New Orleans jazz provides a logical starting point. The first thing one
notices about this music is its immense vigour and vitality. Some people call it a childish vitality, belonging
only in the kindergarten of life and superseded by the sophistication of more recently developed types jazz.
Others welcome it as honest earthiness in contrast to the emotional apathy of some modern jazz. But
almost no one who knows the music will deny that, for better or worse, it expresses in abundance.
*There is another basic element in the content of New Orleans jazz — a proudly religious feeling. It is not
merely religious but specifically Judeo. Persons who question this will be found, in almost every instance,
unfamiliar with the music to be unreceptive to the communication feeling by any medium. The literature on
jazz doubtless reflects its under-emphasis on the view and critical standards of most of the writers of jazz.
merely religious but specifically Judeo. Persons who question this will be found, in almost every instance,
unfamiliar with the music to be unreceptive to the communication feeling by any medium. The literature on
jazz doubtless reflects its under-emphasis on the view and critical standards of most of the writers of jazz.
*If the reader accepts the existence of a strong religious element in New jazz, he may as well skip this
paragraph, which is intended to indicate the objective evidence of element. Among the several sources that
contributed to the creation of New Orleans jazz, church music including the spirituals is outstanding.
According to the late Bud Scott “Each Sunday, Bolden went to church and that's where he got his idea of
jazz music”. Scott added that he himself had derived the four beat jazz guitar style from the hand clapping
in church. The original repertory of the Negro country brass bands consisted entirely of church music;
these bands are known to have exercised a great influence on the New Orleans brass bands. The striking
similarities in both, between New Orleans jazz and gospel singing leads one to conclude either that there
is a strong religious element in both or in neither, and to deny it in the gospel singing would of course be
absurd. Most of the creators of New Orleans jazz have been believers, some of them including Oliver and
surprisingly, Morton with persistent faith even in time of extreme adversity. Such fundamental attitudes in
a musician are likely to get into the music he creates. The Reverend Alvin Kershaw, whose profundity of
insight is almost unparalleled among speakers and writers on jazz, finds a pronounced Christian element
in traditional jazz and has had George Lewis' New Orleans band play in his church. There is plenty of
additional evidence.
paragraph, which is intended to indicate the objective evidence of element. Among the several sources that
contributed to the creation of New Orleans jazz, church music including the spirituals is outstanding.
According to the late Bud Scott “Each Sunday, Bolden went to church and that's where he got his idea of
jazz music”. Scott added that he himself had derived the four beat jazz guitar style from the hand clapping
in church. The original repertory of the Negro country brass bands consisted entirely of church music;
these bands are known to have exercised a great influence on the New Orleans brass bands. The striking
similarities in both, between New Orleans jazz and gospel singing leads one to conclude either that there
is a strong religious element in both or in neither, and to deny it in the gospel singing would of course be
absurd. Most of the creators of New Orleans jazz have been believers, some of them including Oliver and
surprisingly, Morton with persistent faith even in time of extreme adversity. Such fundamental attitudes in
a musician are likely to get into the music he creates. The Reverend Alvin Kershaw, whose profundity of
insight is almost unparalleled among speakers and writers on jazz, finds a pronounced Christian element
in traditional jazz and has had George Lewis' New Orleans band play in his church. There is plenty of
additional evidence.
*The combination of abundant vitality and Christian feeling characterizes not only New Orleans jazz but also
certain music in the European tradition most notably that of Johann Sebastian Bach. The conspicuousness
of both elements in his music has been frequently remarked. As a consequence, several learned writers
have likened him to a preacher. Unlike a monk or a mere theologian, a preacher must have not only
religiousness but also vigour in order to put his message across and some degree of earthiness in order to
link a man's daily struggles with the Christian's eternal aspirations.
certain music in the European tradition most notably that of Johann Sebastian Bach. The conspicuousness
of both elements in his music has been frequently remarked. As a consequence, several learned writers
have likened him to a preacher. Unlike a monk or a mere theologian, a preacher must have not only
religiousness but also vigour in order to put his message across and some degree of earthiness in order to
link a man's daily struggles with the Christian's eternal aspirations.
*The Renaissance in Europe had introduced a respect for earthy vitality which, combined with an already
pervasively Christian ethos, gave rise to the state of mind or emotional attitude that could produce music
like Bach's. It has often been remarked that music lags behind the other arts in the reflection of successive
changes in prevailing attitudes or ways of thinking. Thus the Christian element had already been on the
wane in literature and the fine arts even before Bach's time. In an irregular way, and subject to occasional
reversals of direction, music since then has reflected the increasing secularization and the weakening of
Christian feeling.
pervasively Christian ethos, gave rise to the state of mind or emotional attitude that could produce music
like Bach's. It has often been remarked that music lags behind the other arts in the reflection of successive
changes in prevailing attitudes or ways of thinking. Thus the Christian element had already been on the
wane in literature and the fine arts even before Bach's time. In an irregular way, and subject to occasional
reversals of direction, music since then has reflected the increasing secularization and the weakening of
Christian feeling.
*What has this side-glance at history to do with jazz? Just about everything. For the Negroes who created
New jazz were part of an ethnic group to which Christianity had only recently been introduced. Their faith
has the fervour associated with earlier periods in the history of Christianity. Their music, like Bach's was
a sort of anachronism, an expression of old and to some extent, discarded (by others) attitudes. It is
interesting to observe that in New Orleans jazz the synthesis of Christian feeling and abundant human
vitality led to much the same optimism and healthful good humour and (in the blues) to the same miraculous
transformation of sadness into a source of rich comfort as in Bach. Writers have noted certain technical
resemblances between traditional jazz and Bach's music, but they have neglected the far more important
resemblance in emotional attitude.
New jazz were part of an ethnic group to which Christianity had only recently been introduced. Their faith
has the fervour associated with earlier periods in the history of Christianity. Their music, like Bach's was
a sort of anachronism, an expression of old and to some extent, discarded (by others) attitudes. It is
interesting to observe that in New Orleans jazz the synthesis of Christian feeling and abundant human
vitality led to much the same optimism and healthful good humour and (in the blues) to the same miraculous
transformation of sadness into a source of rich comfort as in Bach. Writers have noted certain technical
resemblances between traditional jazz and Bach's music, but they have neglected the far more important
resemblance in emotional attitude.
*As time moved on, however, jazz went the way of post Bach European music and of Western man. What
have been the dominant trends in modern European and American thought? One, amply attested, has
been a continuation of the movement away from a Judeo Christian orientation. In jazz, too, this tendency
is plainly discernible. It is a long road from the almost devout way in which a New Orleans jazz band
performs a spiritual to Dizzy Gillespie's rendition of “Swing Low, Sweet Chariot” or, as he has sung it,
“Swing Low, Sweet Cadillac.” A milestone on this road is Louis Armstrong, whose Reverend Satchelmouth
joshing, very significantly, marked the period in which he departed from the New Orleans norm.
have been the dominant trends in modern European and American thought? One, amply attested, has
been a continuation of the movement away from a Judeo Christian orientation. In jazz, too, this tendency
is plainly discernible. It is a long road from the almost devout way in which a New Orleans jazz band
performs a spiritual to Dizzy Gillespie's rendition of “Swing Low, Sweet Chariot” or, as he has sung it,
“Swing Low, Sweet Cadillac.” A milestone on this road is Louis Armstrong, whose Reverend Satchelmouth
joshing, very significantly, marked the period in which he departed from the New Orleans norm.
*The important change is in the content of the music. This change cannot be demonstrated with scientific
irrefutability, but it is nevertheless obvious. Not that the religious element has wholly disappeared in non-
traditional jazz. Along with the vitality of the old music, it is especially conspicuous in the blues, even when
played by a non-traditional group. The funkiness of the blues, and their association with the mood of
religious music, generally manage to come through. Even in Bird, who was closer to the tradition than
most moderns, the blues contain not only the traditional blues feeling but also undercurrents of despondence
and even, at times, of desperation, elements inimical to the fundamental confidence and optimism of the
Christian believer. In less blues minded moderns, the religious element generally becomes considerably
weaker. The tendency among modern jazz musicians to turn away from the Judeo-Christian tradition, to
turn from all religion in the conventional sense or to Mohammedanism or some other exotic religion is
consistent with the change in the content of the music.
irrefutability, but it is nevertheless obvious. Not that the religious element has wholly disappeared in non-
traditional jazz. Along with the vitality of the old music, it is especially conspicuous in the blues, even when
played by a non-traditional group. The funkiness of the blues, and their association with the mood of
religious music, generally manage to come through. Even in Bird, who was closer to the tradition than
most moderns, the blues contain not only the traditional blues feeling but also undercurrents of despondence
and even, at times, of desperation, elements inimical to the fundamental confidence and optimism of the
Christian believer. In less blues minded moderns, the religious element generally becomes considerably
weaker. The tendency among modern jazz musicians to turn away from the Judeo-Christian tradition, to
turn from all religion in the conventional sense or to Mohammedanism or some other exotic religion is
consistent with the change in the content of the music.
39. What does the author emphasize when he mentions the similarity between Jazz and Western
thought?
a. The technical musicology of Jazz should be ignored.
b. What the music expresses should be the point of concentration.
c. Content of the music in terms of the methods, forms etc. is the point of concentration.
d. Methods, forms and techniques affect and are affected by what the music expresses.
thought?
a. The technical musicology of Jazz should be ignored.
b. What the music expresses should be the point of concentration.
c. Content of the music in terms of the methods, forms etc. is the point of concentration.
d. Methods, forms and techniques affect and are affected by what the music expresses.
40. Which of these is not a trait of New Orleans Jazz?
a. It possesses a lot of vigour and vitality which is interpreted in a different manner.
b. Some people define it as childish vitality.
c. Most renowned critics consider it inferior to the sophisticated recent type of Jazz.
d. Some welcome it as honest earthiness.
a. It possesses a lot of vigour and vitality which is interpreted in a different manner.
b. Some people define it as childish vitality.
c. Most renowned critics consider it inferior to the sophisticated recent type of Jazz.
d. Some welcome it as honest earthiness.
41. What accounts for those who lack the “profoundly religious” feeling related to New Orleans Jazz?
a. Non familiarity with New Orleans Jazz.
b. Non receptivity to communication of Christian feeling by any medium.
c. Both (a) and (b)
d. Non familiarity with music
a. Non familiarity with New Orleans Jazz.
b. Non receptivity to communication of Christian feeling by any medium.
c. Both (a) and (b)
d. Non familiarity with music
42. What is the author's view on the similarities between New Orleans Jazz and gospel singing?
a. There is a strong religious element in both.
b. There is no religious element in either.
c. Either of the above
d. None of the above
a. There is a strong religious element in both.
b. There is no religious element in either.
c. Either of the above
d. None of the above
43. What are the qualities that justify the analogy of a preacher to be used for Johann Sebastian Bach?
a. Religiousness and Vigour
b. Religiousness, Vigour and Earthiness
c. Vigour and Earthiness
d. Religiousness and Melody
a. Religiousness and Vigour
b. Religiousness, Vigour and Earthiness
c. Vigour and Earthiness
d. Religiousness and Melody
44. What common belief is corroborated by the fact that the Christian element was declining before
Bach in arts except music and was manifested in music later?
a. Music lags behind other arts in reflecting prevailing attitudes.
b. Literature is the first art which sets the trend and music is the last.
c. Music takes more time to reflect the prevailing attitudes because it goes through reversals of
direction.
d. Music is increasingly getting secular and there is a weakening of the Christian feeling.
Bach in arts except music and was manifested in music later?
a. Music lags behind other arts in reflecting prevailing attitudes.
b. Literature is the first art which sets the trend and music is the last.
c. Music takes more time to reflect the prevailing attitudes because it goes through reversals of
direction.
d. Music is increasingly getting secular and there is a weakening of the Christian feeling.
45. What is the contribution of the fact that Negroes to whom Christianity was recently introduced
created New Orleans Jazz?
a. Their attitude was anachronistic and had to change quickly to adapt to the taste of the listeners.
b. The lyrics and the content heavily borrowed from Christian symbolism and facilitated it in becoming
popular with the older segment.
c. Their faith touched a chord with many other Negroes but did not appeal to mainstream US.
d. Their faith had more fervour than was prevalent and this combined with the vitality led to a striking
similarity with Bach's music.
created New Orleans Jazz?
a. Their attitude was anachronistic and had to change quickly to adapt to the taste of the listeners.
b. The lyrics and the content heavily borrowed from Christian symbolism and facilitated it in becoming
popular with the older segment.
c. Their faith touched a chord with many other Negroes but did not appeal to mainstream US.
d. Their faith had more fervour than was prevalent and this combined with the vitality led to a striking
similarity with Bach's music.
46. What is the important change in the “content” of music that the author is talking about?
a. The earlier religious feeling is replaced by undercurrents of despondence signalling a shift.
b. The earlier religious feeling is completely replaced by undercurrents of despondence and
desperation.
c. The content earlier referred to expression of religious feeling and now means suppression of that
feeling.
d. None of the above
a. The earlier religious feeling is replaced by undercurrents of despondence signalling a shift.
b. The earlier religious feeling is completely replaced by undercurrents of despondence and
desperation.
c. The content earlier referred to expression of religious feeling and now means suppression of that
feeling.
d. None of the above
Happy CATing
P.S- Again (*) indicates a new para and Wish you all a Colourful Holi
and Wish you all a Colourful Holi @saurav205 said:@miseera Bhai you a re doing a good job...Actually i could have shared your burden by posting rcs as well....but I have those GMAT rcs...that spectramind sir said not to use..Tu hi regularly paste karte reh...offer valid till stock lasts...
@miseera ..I too feel like sharing some RC's but frankly I only get chance to login and skim through the Forum..It had been long since i got time to study anything. Appreciate your effort Sumit..keep up the good work, so that guys like me can study at least for an hour. will surely contribute once I am done with my project.
@miseera said:RC of the Day 26//03/2013 *The story of jazz is a miniature history of the modern mind. From the New Orleans jazz of King Oliver, Jelly..............
39-b
40- c ( because no where it is mentioned "renowned
critics" also it is written it got superseded by new music,that doesn't necessarily mean it was inferior in quality to the new one.
41-c
42-c
43-a (vitality and christain feeling are close to religiousness and vigour)
44-a
46-d
@miseera In the penultimate para that u shared. 35th question it is given that the second course they choose impacted the western world, so can't the answer be D for 35 th question ?
@miseera Sir jee.....holi over..lets get back to business..
Please post the OA for RC for the day 26/03/2013 and also today's RC ..
OAs RC 26/03/2013 
39. b
The first paragraph mentions this point — “To do this
… of the music”. Statement (b) mentions it most
appropriately although the phrase “content” is not used,
and sentence (c) wrongly defines “content”. This
makes choice (b) correct.
… of the music”. Statement (b) mentions it most
appropriately although the phrase “content” is not used,
and sentence (c) wrongly defines “content”. This
makes choice (b) correct.
40. c
This issue is raised in the first paragraph and the
author lists many beliefs regarding New Orleans Jazz.
Sentence (c) mentions the belief of most critics, which
is not mentioned by the author. This makes choice (c)
correct.
author lists many beliefs regarding New Orleans Jazz.
Sentence (c) mentions the belief of most critics, which
is not mentioned by the author. This makes choice (c)
correct.
41. c
This is discussed by the author in the second line of
the second paragraph — “Persons who question …
to the communication feeling by any medium”. This
makes choice (c) correct.
the second paragraph — “Persons who question …
to the communication feeling by any medium”. This
makes choice (c) correct.
42. a
The third paragraph mentions this — “The striking …
course be absurd”. Using this logic, the author is making
the point that a religious element is present in both of
them. This makes choice (a) correct.
the point that a religious element is present in both of
them. This makes choice (a) correct.
43. b
The author mentions this aspect of music in the fourth
paragraph — “Unlike a monk … eternal aspirations”.
This makes choice (b) correct.
paragraph — “Unlike a monk … eternal aspirations”.
This makes choice (b) correct.
44. a
This is mentioned in the fifth paragraph — “It has often
… thinking”. This makes choice (a) correct.
… thinking”. This makes choice (a) correct.
45. d
This is mentioned in the sixth paragraph — “Their faith
… Christianity”, and further “It is interesting … as in
Bach”. This makes choice (d) correct.
… Christianity”, and further “It is interesting … as in
Bach”. This makes choice (d) correct.
46. a
The author mentions this in the last paragraph — “Not
that … non-traditional music” and further, “Even in
Bird … Christian believer”. This makes choice (a)
correct.
that … non-traditional music” and further, “Even in
Bird … Christian believer”. This makes choice (a)
correct.
Happy CATing 
RC of the Day 28/03/2013
*Warhol was one of the few artists of his time to acknowledge the capitalist nature of art capitalism. Fine art
used to be thought of as 'non-commercial' in contrast to the commercial or applied arts, but works of art
offered for sale in private galleries are commodities. Art galleries are simply upmarket shops selling luxury
goods. Furthermore, every 'priceless' masterpiece acquires a price in the auction room. (This is not to
say that works of art with exchange value have no use value. As far as the analyst is concerned, the
challenge is to show how the economic dimension inflects the form, content, aesthetic value and social
significance of modern works of art.)
used to be thought of as 'non-commercial' in contrast to the commercial or applied arts, but works of art
offered for sale in private galleries are commodities. Art galleries are simply upmarket shops selling luxury
goods. Furthermore, every 'priceless' masterpiece acquires a price in the auction room. (This is not to
say that works of art with exchange value have no use value. As far as the analyst is concerned, the
challenge is to show how the economic dimension inflects the form, content, aesthetic value and social
significance of modern works of art.)
*Just as the socialist realist artists of the Soviet Union used to affirm the official values of their regime, so
Warhol affirmed those of free-market America. Hence a legitimate description would have been 'capitalist
realist'. His lessons were eagerly learnt by the younger generation of American artists who came to
prominence in the mid 1980s; they either produced works of art about commoditisation and consumerism,
or they outdid Warhol in their self-promotion, blatant commercialism and appropriation of popular culture
and kitsch.
Warhol affirmed those of free-market America. Hence a legitimate description would have been 'capitalist
realist'. His lessons were eagerly learnt by the younger generation of American artists who came to
prominence in the mid 1980s; they either produced works of art about commoditisation and consumerism,
or they outdid Warhol in their self-promotion, blatant commercialism and appropriation of popular culture
and kitsch.
*There was critical value in Warhol's brutal honesty. There was also critical content in certain of his artworks
despite the fact that examples with a directly political message were rare. Some silk-screened canvases
recorded white police with dogs in the southern states beating blacks demonstrating for civil rights. Although
Warhol was probably more interested in the media representations of such events rather than the events
themselves, such paintings were not exactly positive propaganda for the American way of life. Warhol's
'Thirteen Most Wanted Men' paintings for the 1964 New York World Fair were censored for this very
reason. The amoral and 'immoral' content of his films, drugs, transvestism, homosexuality, erotic antics
also espoused values associated with a camp, New York sub-culture that were far removed from those of
middle America. Some screenings of his films were banned outside of New York. In Britain even TV
documentaries about him were subject to censorship attempts. Assessing the pop art movement as a whole, even with the advantage of hindsight, is problematic because
of its heterogeneity, and because critics and historians have differed so widely in their interpretations and
evaluations. **** Hebdige, in a 1983 article taking a fresh look at pop, argued that its celebration of
consumerism was justified by historical circumstances because there was a significant improvement in
living standards in Europe and the United States during the 1950s and 1960s. He also claimed that pop
was iconoclastic.
despite the fact that examples with a directly political message were rare. Some silk-screened canvases
recorded white police with dogs in the southern states beating blacks demonstrating for civil rights. Although
Warhol was probably more interested in the media representations of such events rather than the events
themselves, such paintings were not exactly positive propaganda for the American way of life. Warhol's
'Thirteen Most Wanted Men' paintings for the 1964 New York World Fair were censored for this very
reason. The amoral and 'immoral' content of his films, drugs, transvestism, homosexuality, erotic antics
also espoused values associated with a camp, New York sub-culture that were far removed from those of
middle America. Some screenings of his films were banned outside of New York. In Britain even TV
documentaries about him were subject to censorship attempts. Assessing the pop art movement as a whole, even with the advantage of hindsight, is problematic because
of its heterogeneity, and because critics and historians have differed so widely in their interpretations and
evaluations. **** Hebdige, in a 1983 article taking a fresh look at pop, argued that its celebration of
consumerism was justified by historical circumstances because there was a significant improvement in
living standards in Europe and the United States during the 1950s and 1960s. He also claimed that pop
was iconoclastic.
*Most mass culture is the output of cultural industries and businesses owned by powerful individual
entrepreneurs, corporations or groups of shareholders. They employ teams of specialists to devise the
contents of the mass media. In order to succeed commercially, the cultural industries have to appeal to
large audiences, and consequently they have to appeal to the working and lower middle classes. However,
there is embarrassment on the part of those who control and manufacture certain kinds of material designed
for mass markets. Can one imagine the publishers of violent war comics admitting to their peers that such
comics were their genuine culture? Can one envisage the trustees of the Tate Gallery or members of the
Arts Council of Great Britain acknowledging the bondage and porn magazines Allen Jones used as their
true culture?
entrepreneurs, corporations or groups of shareholders. They employ teams of specialists to devise the
contents of the mass media. In order to succeed commercially, the cultural industries have to appeal to
large audiences, and consequently they have to appeal to the working and lower middle classes. However,
there is embarrassment on the part of those who control and manufacture certain kinds of material designed
for mass markets. Can one imagine the publishers of violent war comics admitting to their peers that such
comics were their genuine culture? Can one envisage the trustees of the Tate Gallery or members of the
Arts Council of Great Britain acknowledging the bondage and porn magazines Allen Jones used as their
true culture?
*In public, at least, what the cultured fraction of the bourgeoisie admires and patronizes is high culture. To
cite just one example, Charles Saatchi, a major British collector of contemporary art during the 1980s
obtained millions of pounds from advertising agency profits but, unlike the pop artists, he did not collec
ads. He established a gallery to display his art collection; he did not found a museum of advertising.
cite just one example, Charles Saatchi, a major British collector of contemporary art during the 1980s
obtained millions of pounds from advertising agency profits but, unlike the pop artists, he did not collec
ads. He established a gallery to display his art collection; he did not found a museum of advertising.
*Appreciation and knowledge of high culture is one of the things that distinguishes the upper classes from
their social 'inferiors'. We are now in a position to understand one of the crucial aspects of pop art. Most
pop artists came from petty bourgeois and working class backgrounds. Access to art colleges facilitated
upward social mobility. They truly enjoyed popular culture but to raise it to the level of fine art often meant
that a connoisseurs' camp or ironic attitude towards it had to be adopted. Once war comics had been
transmuted into paintings and sculptures, and those works approved by high-cultural institutions such as
the Tate Gallery, it became acceptable for the bourgeoisie to enjoy them and to be seen enjoying them.
Miraculously, the despised material had been transformed from cheap, commonplace trash into expensive,
rare art.
their social 'inferiors'. We are now in a position to understand one of the crucial aspects of pop art. Most
pop artists came from petty bourgeois and working class backgrounds. Access to art colleges facilitated
upward social mobility. They truly enjoyed popular culture but to raise it to the level of fine art often meant
that a connoisseurs' camp or ironic attitude towards it had to be adopted. Once war comics had been
transmuted into paintings and sculptures, and those works approved by high-cultural institutions such as
the Tate Gallery, it became acceptable for the bourgeoisie to enjoy them and to be seen enjoying them.
Miraculously, the despised material had been transformed from cheap, commonplace trash into expensive,
rare art.
*Since the zenith of pop, thousands of artists have responded favourably to the existence of mass culture.
Take into account this interesting example: a highly respected modern painter whose work was rejuvenated,
in part, by the influence of mass culture was Philip Guston. Guston had been one of the principal figures of
the abstract expressionist movement, but by the mid 1960s he had become dissatisfied with the kind of
hesitant, gestural abstraction that had made him famous. He wanted the freedom to paint badly, to depict
everyday objects and activities again, and to re-introduce figuration, storytelling and raw feelings. Despite
the risk of failure and the risk to his career, Guston followed his instincts. The iconography of his new
pictures was inspired partly by comic strips — a Cyclopean head was derived from Bald Iggle, a character
in Al Capp's 1940s strip Li'l Abner and other elements were borrowed from Gottredson's version of Disney's
Mickey Mouse. Perhaps he recalled the year-long correspondence course in cartooning he had taken at
the age of twelve. When Guston's new work was shown in New York in 1970 many critics were shocked at the drastic
change of style and their responses were negative. He was described as 'a mandarin pretending to be a
stumblebum'. Subsequently, his late work came to be seen as a majestic flowering. What was remarkable
about these canvases was that they retained all the painterly bravura of the old Guston but they also had
a new, absurd and at the same time funny aspect. Guston once remarked that he wanted people who saw
his pictures to burst out laughing. His aim, in other words, was the same as those in the realm of mass
culture who draw comic strips or who make comedy and animated cartoon films.
Take into account this interesting example: a highly respected modern painter whose work was rejuvenated,
in part, by the influence of mass culture was Philip Guston. Guston had been one of the principal figures of
the abstract expressionist movement, but by the mid 1960s he had become dissatisfied with the kind of
hesitant, gestural abstraction that had made him famous. He wanted the freedom to paint badly, to depict
everyday objects and activities again, and to re-introduce figuration, storytelling and raw feelings. Despite
the risk of failure and the risk to his career, Guston followed his instincts. The iconography of his new
pictures was inspired partly by comic strips — a Cyclopean head was derived from Bald Iggle, a character
in Al Capp's 1940s strip Li'l Abner and other elements were borrowed from Gottredson's version of Disney's
Mickey Mouse. Perhaps he recalled the year-long correspondence course in cartooning he had taken at
the age of twelve. When Guston's new work was shown in New York in 1970 many critics were shocked at the drastic
change of style and their responses were negative. He was described as 'a mandarin pretending to be a
stumblebum'. Subsequently, his late work came to be seen as a majestic flowering. What was remarkable
about these canvases was that they retained all the painterly bravura of the old Guston but they also had
a new, absurd and at the same time funny aspect. Guston once remarked that he wanted people who saw
his pictures to burst out laughing. His aim, in other words, was the same as those in the realm of mass
culture who draw comic strips or who make comedy and animated cartoon films.
47. What does the author mention as one of the distinct contributions of Warhol?
a. He single-handedly made art commercial by promoting its sales in art galleries.
b. He established the fact that fine art hitherto regarded as non-commercial was actually commercial
since it was sold in art galleries.
c. He started the process of auction of fine art, which was till then confined to sales in art galleries.
d. He popularized the sale of commercial art in galleries and auction houses.
a. He single-handedly made art commercial by promoting its sales in art galleries.
b. He established the fact that fine art hitherto regarded as non-commercial was actually commercial
since it was sold in art galleries.
c. He started the process of auction of fine art, which was till then confined to sales in art galleries.
d. He popularized the sale of commercial art in galleries and auction houses.
48. What were the visible signs of the younger generation of artistes learning from Warhol?
a. Production of works of art that dealt with themes of commoditisation and consumerism.
b. They were blatant in their self promotion and blatant commercialism.
c. Both (a) and (b)
d. They adopted the 'capitalist realist' theme in their works.
a. Production of works of art that dealt with themes of commoditisation and consumerism.
b. They were blatant in their self promotion and blatant commercialism.
c. Both (a) and (b)
d. They adopted the 'capitalist realist' theme in their works.
49. What is an interesting paradox mentioned in the passage regarding Warhol?
a. Although he was a formidable force on the art scene in America, he always supported the
viewpoint of the socialist realist.
b. Although he was credited with affirming the values of free-market America, he was also an
influence on the socialist realist artistes in Soviet Union.
c. Although he was credited with affirming the values of free-market America, in his work he showed
messages which were negative propaganda for the American way of life.
d. Although he was credited with affirming the values of free-market America, he was born and
brought up in the socialist regime in Europe.
a. Although he was a formidable force on the art scene in America, he always supported the
viewpoint of the socialist realist.
b. Although he was credited with affirming the values of free-market America, he was also an
influence on the socialist realist artistes in Soviet Union.
c. Although he was credited with affirming the values of free-market America, in his work he showed
messages which were negative propaganda for the American way of life.
d. Although he was credited with affirming the values of free-market America, he was born and
brought up in the socialist regime in Europe.
50. Which one of these is true regarding the values espoused in Warhol's works?
a. They were immoral in that they were associated with the New York culture which was on the
decline.
b. They were immoral in that they were associated with the New York culture whereas middle
America's values were placed on the other extreme.
c. They were negative and were adopted purely for the reason of provoking extreme reactions and to
make his works into 'events'.
d. They were immoral in that they only focused on the negative aspects of the human condition.
a. They were immoral in that they were associated with the New York culture which was on the
decline.
b. They were immoral in that they were associated with the New York culture whereas middle
America's values were placed on the other extreme.
c. They were negative and were adopted purely for the reason of provoking extreme reactions and to
make his works into 'events'.
d. They were immoral in that they only focused on the negative aspects of the human condition.
51. Which one of these is false with reference to **** Hebdige's article on the pop art movement?
a. It was justified by historical circumstances.
b. It was iconoclastic.
c. The historical circumstances connected to the movement were the improvement in the living
standards in Europe and the US.
d. The historical circumstances connected to the movement were the decline in the living standards
in Europe and the US.
a. It was justified by historical circumstances.
b. It was iconoclastic.
c. The historical circumstances connected to the movement were the improvement in the living
standards in Europe and the US.
d. The historical circumstances connected to the movement were the decline in the living standards
in Europe and the US.
52. The instance of Charles Saatchi has been used to highlight:
a. The cultured fraction of the bourgeoisie admires high culture in public.
b. The cultured fraction of the bourgeoisie, in spite of its affinities, admires high culture in public.
c. The cultured fraction of the bourgeoisie spends highly on art.
d. None of the above
a. The cultured fraction of the bourgeoisie admires high culture in public.
b. The cultured fraction of the bourgeoisie, in spite of its affinities, admires high culture in public.
c. The cultured fraction of the bourgeoisie spends highly on art.
d. None of the above
53. How does the petty bourgeoisie and working class background of most pop artists affect the
movement?
a. For them to work on popular culture, which they enjoy, they have to adopt an ironic attitude to it.
b. Although they enjoy popular culture, they have to change their preference in order to be accepted
by the high cultural institutions.
c. This culture is sidelined by the minority culture which dictates the tastes of the bourgeoisie and
the high cultural institutions.
d. They have to shed their working class sensibilities and adopt a high culture platform.
movement?
a. For them to work on popular culture, which they enjoy, they have to adopt an ironic attitude to it.
b. Although they enjoy popular culture, they have to change their preference in order to be accepted
by the high cultural institutions.
c. This culture is sidelined by the minority culture which dictates the tastes of the bourgeoisie and
the high cultural institutions.
d. They have to shed their working class sensibilities and adopt a high culture platform.
54. What are the levels on which one can draw similarities between Guston's later work and comic
strips?
a. The iconography of his paintings drew upon comic strips.
b. He professed the aim of his work was to make people laugh, the same as that of comic strips.
c. Both (a) and (b)
d. He had used Disney's Mickey Mouse and a character with a Cyclopean head which was derived
from a character in Li'l Abner strips.
strips?
a. The iconography of his paintings drew upon comic strips.
b. He professed the aim of his work was to make people laugh, the same as that of comic strips.
c. Both (a) and (b)
d. He had used Disney's Mickey Mouse and a character with a Cyclopean head which was derived
from a character in Li'l Abner strips.
55. What does the word “stumblebum” mean in the context of the passage?
a. Someone who stumbles
b. A bee that stings
c. An awkward, stupid person
d. None of the above
a. Someone who stumbles
b. A bee that stings
c. An awkward, stupid person
d. None of the above
Happy CATing
P.S- You know what (*) thing is.
RC of the day 28/3/2013
47. B
48. C
49. C
50. B
51. D
52. B
53. A
54. C
55. C
@miseera RC for the day 28/03/2013 :
B
C
C
B
D
A
A
C
D
P.S.- Good one bhai...check if you have a few old ones on philosophy/literature...
B
C
C
B
D
A
A
C
D
P.S.- Good one bhai...check if you have a few old ones on philosophy/literature...
@miseera
@saurav205 RC of the day 26/3/2013
For 42 question " The striking
similarities in both, between New Orleans jazz and gospel singing leads one to conclude either that there is a strong religious element in both or in neither"
it is written either there is a strong religious element in both or in neither.so shouldn't the answer be C here?
For 46 the line "the blues contain not only the traditional blues feeling but also undercurrents of despondence" hints that both religious elements and undercurrent of despondence is there. can anyone explain how the answer is A for this one ?
@saurav205 RC of the day 26/3/2013
For 42 question " The striking
similarities in both, between New Orleans jazz and gospel singing leads one to conclude either that there is a strong religious element in both or in neither"
it is written either there is a strong religious element in both or in neither.so shouldn't the answer be C here?
For 46 the line "the blues contain not only the traditional blues feeling but also undercurrents of despondence" hints that both religious elements and undercurrent of despondence is there. can anyone explain how the answer is A for this one ?