hello puys ,any suggestion on how to improve the central idea questions and inference based ones ?I usually get stuck between 2 options and end up choosing the wrong one.TIA 😃
According to the influential mid-19th-century Swiss historian Jacob Burckhardt, the Renaissance was the moment when the modern notion of 'individuality', indeed, the very concept of the self as an autonomous entity, first fully manifested itself, eventually giving rise to an ideal, multi-talented 'Renaissance man' or uomo universale. Since the publication of Burckhardt's The Civilization of the Renaissance in Italy in 1860, scholars have vigorously debated the merit of such broad and sweeping claims and have pointed out that well-rounded, self-aware individuals can be found in earlier periods as well. Although it is notoriously difficult to prove or disprove theories about a paradigm shift in the Weltanshauung, or 'world view', of a particular age, there is no doubt that the Renaissance did see an explosion in the production of painted and sculpted portraits of recognizable individuals. Of course, independent painted portraits of a very small number of kings and pontiffs had existed long before the Renaissance, with even some slightly lowerranked members of the elite, such as bishops or high nobles, portrayed in effigy on their tombs. Likewise, donor portraits, in which the wealthy and powerful patron of a work, such as an altarpiece, would be depicted within or at the edge of a sacred scene, had also existed since the Middle Ages .Similar portrayals of the sacred and secular elite certainly continued to be produced throughout the 15th and 16th centuries. But beginning in the early 1400s, other categories of sitters, such as women, well-to-do merchants, and even artists, also began to be represented in ever-greater numbers in independent portraits. And even in portraits of the traditional elite, a growing interest in individual psychology and physiology is evident, thereby reflecting the period's new approaches to depicting space, nature, and human anatomy increasingly naturalistically. The very interest in individual portraiture also reflected the Renaissance revival of Classical
antiquity, since ancient writers had focused on the biographies of famous individuals, while ancient coins and marble busts of Roman emperors and their less exalted citizen-subjects still existed to be studied, admired, and used as models for new commissions by Renaissance patrons, collectors, and artists.
Q. 1. What is the primary purpose of the author in the passage?
(a) To show that it is difficult to prove or disprove theories about a shift in the world view of a particular age.
(b) To compare the renaissance period with the pre Renaissance period.
(c) To trace the revival of classical antiquity during the Renaissance period.
(d) To discuss how the concept of individuality manifested itself in Renaissance art.
Q. 2.
Jacob Buckhardt's theory that Renaissance gave rise to the multi talented Renaissance Man is best supported by which of the following?
(a) A Renaissance portrait, assiduously considered for their visual and symbolic significance, is a straightforward depiction of what the person portrayed really looked like.
(b) In a Renaissance portrait of a Duke, his steady, steely gaze peering out from a light-coloured face that stands out against a generally dark background is clearly meant to attest to his courage and determination.
(c) In a Renaissance portrait Isabella d'Este, a 60 year old patron and collector, was depicted as a teenage girl.
(d) Art should strive to show the 'movements of the soul' through the 'movements of the body'.
According to the influential mid-19th-century Swiss historian Jacob Burckhardt, the Renaissance was the moment when the modern notion of 'individuality', indeed, the very concept of the self as an autonomous entity, first fully manifested itself, eventually giving rise to an ideal, multi-talented 'Renaissance man' or uomo universale. Since the publication of Burckhardt's The Civilization of the Renaissance in Italy in 1860, scholars have vigorously debated the merit of such broad and sweeping claims and have pointed out that well-rounded, self-aware individuals can be found in earlier periods as well. Although it is notoriously difficult to prove or disprove theories about a paradigm shift in the Weltanshauung, or 'world view', of a particular age, there is no doubt that the Renaissance did see an explosion in the production of painted and sculpted portraits of recognizable individuals. Of course, independent painted portraits of a very small number of kings and pontiffs had existed long before the Renaissance, with even some slightly lowerranked members of the elite, such as bishops or high nobles, portrayed in effigy on their tombs. Likewise, donor portraits, in which the wealthy and powerful patron of a work, such as an altarpiece, would be depicted within or at the edge of a sacred scene, had also existed since the Middle Ages .Similar portrayals of the sacred and secular elite certainly continued to be produced throughout the 15th and 16th centuries. But beginning in the early 1400s, other categories of sitters, such as women, well-to-do merchants, and even artists, also began to be represented in ever-greater numbers in independent portraits. And even in portraits of the traditional elite, a growing interest in individual psychology and physiology is evident, thereby reflecting the period's new approaches to depicting space, nature, and human anatomy increasingly naturalistically. The very interest in individual portraiture also reflected the Renaissance revival of Classical
antiquity, since ancient writers had focused on the biographies of famous individuals, while ancient coins and marble busts of Roman emperors and their less exalted citizen-subjects still existed to be studied, admired, and used as models for new commissions by Renaissance patrons, collectors, and artists.
Q. 1. What is the primary purpose of the author in the passage?
(a) To show that it is difficult to prove or disprove theories about a shift in the world view of a particular age.
(b) To compare the renaissance period with the pre Renaissance period.
(c) To trace the revival of classical antiquity during the Renaissance period.
(d) To discuss how the concept of individuality manifested itself in Renaissance art.
Q. 2.
Jacob Buckhardt's theory that Renaissance gave rise to the multi talented Renaissance Man is best supported by which of the following?
(a) A Renaissance portrait, assiduously considered for their visual and symbolic significance, is a straightforward depiction of what the person portrayed really looked like. (b) In a Renaissance portrait of a Duke, his steady, steely gaze peering out from a light-coloured face that stands out against a generally dark background is clearly meant to attest to his courage and determination. (c) In a Renaissance portrait Isabella d'Este, a 60 year old patron and collector, was depicted as a teenage girl. (d) Art should strive to show the 'movements of the soul' through the 'movements of the body'.
×
my take
1-d
2-b
Perhaps the most important part of criticism is the fact that it presents to the creator a problem which is never solved. Criticism is to him a perpetual presence. If he could satisfy his mind that criticism was a certain thing: a good thing or a bad, a proper presence or an irrelevant, he could psychologically dispose of it. But he cannot. For criticism is a configuration of responses and reactions so intricate, so kaleidoscopic, that it would be as simple to categorize life itself. The artist remains the artist precisely in so far as he rejects the simplifying and reducing process of the average man who at an early age puts life away into some snug conception of his mind and race. Not so, the artist. In the moment when he elects to avoid by whatever makeshift the raw agony of life, he ceases to be fit to create. He must face experience forever freshly: reduce life each day anew to chaos and remould it into order. Thus only may he retain and record that pure surprise whose earliest voicing is the first cry of the infant. The unresolved expectancy of the creator toward life should be his response to criticism also. He should hold it as part of his adventure. He should understand in it, particularly when it is impertinent, stupid and cruel, the ponderable weight of life itself, reacting upon his search for a fresh conquest over it. Though it persists unchanged in its role of purveying misinformation and absurdity to the public, he should know it for himself a blessed dispensation. With his maturity, the creator's work goes out into the world. And in this act, he puts the world away. For the artist's work defines: and definition means apartness: and the average man is undefined in the social body. Here is a danger for the artist within the very essence of his artistic virtue. During the years of his apprenticeship, he has struggled to create for himself an essential world out of experience. Now he begins to succeed: and he lives too fully in his own selection: he lives too simply in the effects of his effort. The gross and fumbling impact of experience is eased. The rawness of Family and Business is refined or removed. But now once more the world comes in to him, in the form of the Critic. Here again, in a sharp concentrated sense, the world moves on him: its complacency, its hysteria, its down-tending appetites and fond illusions, its pathetic worship of yesterdays and hatred of tomorrows, its fear-dogmas and its blood-avowals. The artist shall leave the world only to find it, hate it only because he loves, attack it only if he serves. At that epoch of his life when the world's gross sources may grow dim, Criticism brings them back. Wherefore, the function of the Critic is a blessing and a need.
1. According to the passage, the essential difference between an artist and an average man is:
(a) The average man has simplistic, preconceived notions about life while the artist looks at every moment in a new and different way.
(b) The average man simplifies and reduces the process of criticism while an artist rejects it.
(c) The artist rejects the process of criticism while the average man simplifies and reduces the process as dictated by his mind and race.
(d) The artist rejects snug conceptions of race and mind while the average man welcomes them
2. According to the author, what is the function of criticism in an artist's life?
(a) Criticism is either a boon or a curse depending on how the author overcomes it.
(b) Criticism is either a blessing or a need in that it creates or destroys an artist.
(c) Criticism is both a need and a blessing as it brings the mundane features of life to an artist.
(d) Criticism can become a blessing and a need if an artist is successful in handling it.
why this thread so silent 😐😐
I know all of you are well read individuals,100% accuracy naturally comes to you irrespective of position of stars in your horoscope. So take my gibberish with a pinch of salt. This is an attempt to let you know(in case you are interested to read through) what I have been following this year, where I used to get entangled, how I have improved a bit. Today, just before writing this post, I have picked up two LOD 4 passages from Sujit Kumar. I see except one I got all other correct out of 8 questions. Which used to happen in dream in previous years, and in reality RC turned out to be nightmares(I had a record,yes an unbeatable record, of getting 1/8 questions correct in one of the CL PMs taken last year.) I used to read passages as a whole without even knowing about what to read, neglecting minute details and concentrating on junk ideas or examples used to be regular affairs. But on a fine morning I had a chance to attend a free class of Santosh Sir(No!!!it's not an advertisement) , where for the first time I learnt how to read a passage......This is the primary purpose of my today's post...How to read a passage?
Rule 1: Use the highlighter to underline geography of a passage.
Rule 2: Concentrate on main clauses. Neglect examples unless you have not deciphered anything from the aforementioned sentence.
Rule 3:Always notice what is stated after "that".[The Satrean man realizes THAT there is more existence than mere existing, and THAT there is more to life than mere living. ‚Ź €š]
Rule 4: Give emphasis on what author is going to convey rather than not to(both can be presented simultaneously in a passage)
Rule 5: Be ultra cautious when there is a switching word like "but" , "however" etal.(mostly you can expect a question from here.)
Rule 6: The most important lines are 1st para 1st, 1st para last,2nd para 1st,last para last lines. In most of the cases these sentences convey the main idea of the excerpt.
Rule 7:You can even scribble on your paper to jot down the main ideas(use sms language) And then "connect the dots". You are done!!!
I have been following this rules while reading a passage,trying to inculcate these methodologies in day to day reading, results are nothing great around 65-75% accuracy in few mocks I have taken but nonetheless better than 12.5% once achieved In my next post I will try to write about the nature of questions, though in any case I will leave the recently popular "if you get a chance to interview the author"question. Not that I know I will not get that chance, but I have started believing accuracy matters in CAT!!
The classical realist theory of international relations has long
dominated both academic institutions and the American government.
Even at the birth of the nation, early political thinkers, such as
Alexander Hamilton, promoted a realist view of international relations
and sought to influence the actions of the government based
on this perspective. While the classical realist school of international
relations is not entirely homogeneous in nature, there are certain
premises that all classical realists share.
The primary principle underlying classical realism is a concern
with issues of war and peace. Specifically, classical realists ask, what
are the causes of war and what are the conditions of peace? The members
of the classical realist school mainly attribute war and conflict to
what is termed the security dilemma. In the absence of any prevailing
global authority, each nation is required to address its own security
needs. However, each nation's quest for security—through military
buildups, alliances, or territorial defenses—necessarily unsettles
other nations. These nations react to feelings of insecurity by
engaging in their own aggressive actions, which leads other nations
to react similarly, perpetuating the cycle.
It is important to note that for realists, unlike idealists or liberal
internationalists, international conflict is a necessary consequence of
the structural anarchy that nations find themselves in. Whereas other
schools may see international conflict as the result of evil dictators,
historical chance, flawed sociopolitical systems, or ignorance of world
affairs, classical realists see war as the logical result of a system that
by its nature lacks a true central authority.
Hand in hand with this view of conflict as an inevitable condition
of the global power structure is the realists' view of the nation as a
unitary actor. Because classical realists see international relations as
a continuing struggle for dominance, the nation can not be viewed
as a collection of individuals with disparate wants, goals, and ideologies.
The realist view requires the formulation of a national interest,
which in its simplest terms refers to the nation's ability to survive,
maintain its security, and achieve some level of power relative to its
competitors.
Realism is not without its critics, many of whom challenge the
premise that war is the natural condition of international relations or
that there can be a truly national interest. However, the realist school
of international relations continues to shape foreign policy because of
the successes it has had in describing real world interactions between
nations.
1. It can be inferred from the passage that members of the classical
realist school would be LEAST likely to support
A. an international policy based on building a strong military force
to deter threats
B. an international policy that seeks to reduce threats of war by
providing humanitarian aid to potential aggressor countries
C. a domestic policy that attempts to unify the nation's citizens
behind a common cause
D. a domestic policy that allocates a majority of the country's budget
for defense spending
E. an international policy based on joining a common defense
contract with other nations
2. Which of the following, if true, would best support the classical realist
theory of international conflict as it is described in the passage?
A. Some countries ruled by dictators maintain peaceful relations with
their neighbors.
B. Despite the presence of a world superpower, many countries
continue to fight wars with their neighbors.
C. War has existed from the beginning of recorded history.
D. After the nations of the world form an authoritative world court,
wars decrease dramatically.
E. Some countries are able to capture territories from other countries
without fear of international consequences.
3. According to the passage, the formation of a national interest serves
what function in the classical realist theory of war and peace?
A. It is a convenience used by theorists to describe national interests
where none exist.
B. It provides the necessary justification for the classical realist view
of a continuous global power struggle.
C. It is less important to the theory than is the idea of the nation as
a unitary actor.
D. It is a description of the policies used by world leaders to convince
their citizens that war is necessary.
E. It is the part of the theory that receives the most criticism from
opponents.
4. The author most likely regards the classical realist theory of international
relations with
A. general apathy
B. skeptical dismissal
C. veiled disapproval
D. glowing approval
E. qualified acceptance
Love_CAT@Love_CAT
HI Buddy. I have a question about inference kind of questions like " What can be inferred from given passage". I always get stuck between 2 ans options and end up selecting wrong one.
Can you please share your approach for solving such question type?
Thanks!!!
Perhaps the most important part of criticism is the fact that it presents to the creator a problem which is never solved. Criticism is to him a perpetual presence. If he could satisfy his mind that criticism was a certain thing: a good thing or a bad, a proper presence or an irrelevant, he could psychologically dispose of it. But he cannot. For criticism is a configuration of responses and reactions so intricate, so kaleidoscopic, that it would be as simple to categorize life itself. The artist remains the artist precisely in so far as he rejects the simplifying and reducing process of the average man who at an early age puts life away into some snug conception of his mind and race. Not so, the artist. In the moment when he elects to avoid by whatever makeshift the raw agony of life, he ceases to be fit to create. He must face experience forever freshly: reduce life each day anew to chaos and remould it into order. Thus only may he retain and record that pure surprise whose earliest voicing is the first cry of the infant. The unresolved expectancy of the creator toward life should be his response to criticism also. He should hold it as part of his adventure. He should understand in it, particularly when it is impertinent, stupid and cruel, the ponderable weight of life itself, reacting upon his search for a fresh conquest over it. Though it persists unchanged in its role of purveying misinformation and absurdity to the public, he should know it for himself a blessed dispensation. With his maturity, the creator's work goes out into the world. And in this act, he puts the world away. For the artist's work defines: and definition means apartness: and the average man is undefined in the social body. Here is a danger for the artist within the very essence of his artistic virtue. During the years of his apprenticeship, he has struggled to create for himself an essential world out of experience. Now he begins to succeed: and he lives too fully in his own selection: he lives too simply in the effects of his effort. The gross and fumbling impact of experience is eased. The rawness of Family and Business is refined or removed. But now once more the world comes in to him, in the form of the Critic. Here again, in a sharp concentrated sense, the world moves on him: its complacency, its hysteria, its down-tending appetites and fond illusions, its pathetic worship of yesterdays and hatred of tomorrows, its fear-dogmas and its blood-avowals. The artist shall leave the world only to find it, hate it only because he loves, attack it only if he serves. At that epoch of his life when the world's gross sources may grow dim, Criticism brings them back. Wherefore, the function of the Critic is a blessing and a need.
1. According to the passage, the essential difference between an artist and an average man is: (a) The average man has simplistic, preconceived notions about life while the artist looks at every moment in a new and different way.(b) The average man simplifies and reduces the process of criticism while an artist rejects it.
(c) The artist rejects the process of criticism while the average man simplifies and reduces the process as dictated by his mind and race.
(d) The artist rejects snug conceptions of race and mind while the average man welcomes them
2. According to the author, what is the function of criticism in an artist's life? (a) Criticism is either a boon or a curse depending on how the author overcomes it.(b) Criticism is either a blessing or a need in that it creates or destroys an artist.
(c) Criticism is both a need and a blessing as it brings the mundane features of life to an artist.
(d) Criticism can become a blessing and a need if an artist is successful in handling it.
×
1. a 2. c
Perhaps the most important part of criticism is the fact that it presents to the creator a problem which is never solved. Criticism is to him a perpetual presence. If he could satisfy his mind that criticism was a certain thing: a good thing or a bad, a proper presence or an irrelevant, he could psychologically dispose of it. But he cannot. For criticism is a configuration of responses and reactions so intricate, so kaleidoscopic, that it would be as simple to categorize life itself. The artist remains the artist precisely in so far as he rejects the simplifying and reducing process of the average man who at an early age puts life away into some snug conception of his mind and race. Not so, the artist. In the moment when he elects to avoid by whatever makeshift the raw agony of life, he ceases to be fit to create. He must face experience forever freshly: reduce life each day anew to chaos and remould it into order. Thus only may he retain and record that pure surprise whose earliest voicing is the first cry of the infant. The unresolved expectancy of the creator toward life should be his response to criticism also. He should hold it as part of his adventure. He should understand in it, particularly when it is impertinent, stupid and cruel, the ponderable weight of life itself, reacting upon his search for a fresh conquest over it. Though it persists unchanged in its role of purveying misinformation and absurdity to the public, he should know it for himself a blessed dispensation. With his maturity, the creator's work goes out into the world. And in this act, he puts the world away. For the artist's work defines: and definition means apartness: and the average man is undefined in the social body. Here is a danger for the artist within the very essence of his artistic virtue. During the years of his apprenticeship, he has struggled to create for himself an essential world out of experience. Now he begins to succeed: and he lives too fully in his own selection: he lives too simply in the effects of his effort. The gross and fumbling impact of experience is eased. The rawness of Family and Business is refined or removed. But now once more the world comes in to him, in the form of the Critic. Here again, in a sharp concentrated sense, the world moves on him: its complacency, its hysteria, its down-tending appetites and fond illusions, its pathetic worship of yesterdays and hatred of tomorrows, its fear-dogmas and its blood-avowals. The artist shall leave the world only to find it, hate it only because he loves, attack it only if he serves. At that epoch of his life when the world's gross sources may grow dim, Criticism brings them back. Wherefore, the function of the Critic is a blessing and a need.
1. According to the passage, the essential difference between an artist and an average man is: (a) The average man has simplistic, preconceived notions about life while the artist looks at every moment in a new and different way.(b) The average man simplifies and reduces the process of criticism while an artist rejects it.
(c) The artist rejects the process of criticism while the average man simplifies and reduces the process as dictated by his mind and race.
(d) The artist rejects snug conceptions of race and mind while the average man welcomes them
2. According to the author, what is the function of criticism in an artist's life? (a) Criticism is either a boon or a curse depending on how the author overcomes it.(b) Criticism is either a blessing or a need in that it creates or destroys an artist.
(c) Criticism is both a need and a blessing as it brings the mundane features of life to an artist.
(d) Criticism can become a blessing and a need if an artist is successful in handling it.
×
my take :
1)a
2)c
can som 1 plzzz explain me wat does the
para mean...its from the works of swami vivekananda..""From the high spiritual flights of the Vedanta philosophy, of which the latest discoveries of science seem like echoes, to the low ideas of idolatry with its multifarious mythology, the agnosticism of the Buddhists, and the atheism of the Jains, each and all have a place in the Hindu's religion."
especially the part ...." of which the latest discoveries of science seem like echoes"...rest is all ok
hi guys,please tell me from where should i prepare the reading comprehension section of cat.Though, i am able to solve all passages of other exams, still i am not able to completly solve and understand the passages of cat.Please help guys
This week, India mortgaged its influence in Sri Lanka to a weak global organisation like the UN. Certainly, a resolution slamming Sri Lanka on human rights that is co-sponsored by Somalia has to have huge credibility, right? It would have been much better if India had put considerable pressure on Sri Lanka bilaterally to get the Rajapakse government to move towards meaningful political devolution. By itself, India has ways to get Colombo to see reason. Through the UN, this gets diluted to the point of being counterproductive. If anybody thinks that a 'shaming' UN resolution will get the Lankans moving, think again. Now they are more vulnerable to criticism of acting under 'pressure'. We're fairly familiar with this syndrome in India. So should India's Sri Lanka policy only be seen though a Tamil prism? We don't send the foreign secretary or NSA to complain to Islamabad every time Gujarati fishermen are harassed by Pakistan. But a massive outcry erupts from TN, as if our sovereignty is threatened, whenever fishermen are victimised by Sri Lanka. We're also afraid to say that many of these fishermen are often out of line themselves. On the Lankan side, those affected by aggressive Indian fishing are also mostly Tamils. India needs to mull these issues as we look to outgrow being a small power. Frankly, in its actions, India is remarkably even-handed with some of its biggest projects and investments in southern Sri Lanka. It's just that the Sri Lanka discourse is mainly a Tamil one. We could look to nuance that. Who are the biggest gainers out of this week's UNHRC vote? First on my list would be the eager-forrevenge Tamil diaspora, many of who miss the old regime in Jaffna. Second would be the Chinese. Third would be a bunch of activist NGOs. Having said that, Rajapakse's feet should be held to the fire to push him to implement political reforms. Visitors to Sri Lanka these days complain that the country is moving closer to the style of Myanmar's junta rather than Indian democracy. Its northern areas are even akin to a security state. Yet, like with the Myanmar junta, India should use everything it has to push Colombo to take political steps.
1. According to the passage, which of the following options is the author most likely to agree with? (a) To grow out of being a small power, India should learn to bypass the UN when solving regional issues.
(b) India should have sought to influence Sri Lanka through its bilateral relations with the country.
(c) The Tamils in India will be the biggest gainers from the UN vote.
(d) Sri Lanka is moving towards Myanmar's style of political rule.
2. It can be inferred that the author feels that India's bilateral relations with Sri Lanka should
A. be tinted with aspects that move away from just looking at the Tamil issue.
B. ignore unnecessary discourse and complaints on the Tamil issue.
C. be removed from the petty issues of being neighbours with Sri Lanka.
(a) Only A (b) A and B (c) B and C (d) All of the above
This week, India mortgaged its influence in Sri Lanka to a weak global organisation like the UN. Certainly, a resolution slamming Sri Lanka on human rights that is co-sponsored by Somalia has to have huge credibility, right? It would have been much better if India had put considerable pressure on Sri Lanka bilaterally to get the Rajapakse government to move towards meaningful political devolution. By itself, India has ways to get Colombo to see reason. Through the UN, this gets diluted to the point of being counterproductive. If anybody thinks that a 'shaming' UN resolution will get the Lankans moving, think again. Now they are more vulnerable to criticism of acting under 'pressure'. We're fairly familiar with this syndrome in India. So should India's Sri Lanka policy only be seen though a Tamil prism? We don't send the foreign secretary or NSA to complain to Islamabad every time Gujarati fishermen are harassed by Pakistan. But a massive outcry erupts from TN, as if our sovereignty is threatened, whenever fishermen are victimised by Sri Lanka. We're also afraid to say that many of these fishermen are often out of line themselves. On the Lankan side, those affected by aggressive Indian fishing are also mostly Tamils. India needs to mull these issues as we look to outgrow being a small power. Frankly, in its actions, India is remarkably even-handed with some of its biggest projects and investments in southern Sri Lanka. It's just that the Sri Lanka discourse is mainly a Tamil one. We could look to nuance that. Who are the biggest gainers out of this week's UNHRC vote? First on my list would be the eager-forrevenge Tamil diaspora, many of who miss the old regime in Jaffna. Second would be the Chinese. Third would be a bunch of activist NGOs. Having said that, Rajapakse's feet should be held to the fire to push him to implement political reforms. Visitors to Sri Lanka these days complain that the country is moving closer to the style of Myanmar's junta rather than Indian democracy. Its northern areas are even akin to a security state. Yet, like with the Myanmar junta, India should use everything it has to push Colombo to take political steps.1. According to the passage, which of the following options is the author most likely to agree with? (a) To grow out of being a small power, India should learn to bypass the UN when solving regional issues.
(b) India should have sought to influence Sri Lanka through its bilateral relations with the country.
(c) The Tamils in India will be the biggest gainers from the UN vote.
(d) Sri Lanka is moving towards Myanmar's style of political rule.
2. It can be inferred that the author feels that India's bilateral relations with Sri Lanka should
A. be tinted with aspects that move away from just looking at the Tamil issue.
B. ignore unnecessary discourse and complaints on the Tamil issue.
C. be removed from the petty issues of being neighbours with Sri Lanka.
(a) Only A (b) A and B (c) B and C (d) All of the above
×
my take:
1.b
2.b
Reading Comprehension
I gave CAT last year though it was a total fiasco but one thing that hit me was the Reading Comprehension. I read some Reading Comprehensions from TIME material and some other passages of past year papers of CAT and i was able to do well in them. But the passages which came in actual exam were lot tougher!!... Thay had soo much of those tough words and difficult questions which were difficult to answer until you had good knowledge of those words... options were very close...
So point is how are you preparing for reading comprehension!!
is it imp to mug up or to know the words meaning of the difficult words which we come across while we read newspaper or any articles to improve English for Cat ?basically checking word meaning in between reading cause distraction and overall it effect my interest of reading.. can any one suggest...
plz help me frnds.. kindly send me rc practice material along with answer keys.. plz asap, it will be a great help to me. my mail ID is [email protected].... thanx in advance
Hello puys...........what should be avg wpm (words per min) to crack Rcs in CAT???
how to get the answer for rc 's if the options are very near??????????????