CAT (VARC) PYQs

Five jumbled up sentences (labelled 1, 2, 3, 4 and 5), related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd sentence and key in the number of that sentence as your answer.

1. Talk was the most common way for enslaved men and women to subvert the rules of their bondage, to gain more agency than they were supposed to have.
2. Even in conditions of extreme violence and unfreedom, their words remained ubiquitous, ephemeral, irrepressible, and potentially transgressive.
3. Slaves came from societies in which oaths, orations, and invocations carried great potency, both between people and as a connection to the all-powerful spirit world.
4. Freedom of speech and the power to silence may have been preeminent markers of white liberty in Colonies, but at the same time, slavery depended on dialogue: slaves could never be completely muted.
5. Slave-owners obsessed over slave talk, though they could never control it, yet feared its power to bind and inspire—for, as everyone knew, oaths, whispers, and secret conversations bred conspiracy and revolt.

Five jumbled up sentences (labelled 1, 2, 3, 4 and 5), related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd sentence and key in the number of that sentence as your answer.

1. A particularly interesting example of inference occurs in many single panel comics.
2. It's the creator's participation and imagination that makes the single-panel comic so engaging and so rewarding.
3. Often, the humor requires you to imagine what happened in the instant immediately before or immediately after the panel you're being shown.
4. To get the joke, you actually have to figure out what some of these missing panels must be.
5. It is as though the cartoonist devised a series of panels to tell the story and has chosen to show you only one and typically not even the funniest.

Five jumbled up sentences (labelled 1, 2, 3, 4 and 5), related to a topic, are given below. Four of them can be put together to form a coherent paragraph. Identify the odd sentence and key in the number of that sentence as your answer.

1. The victim’s trauma after assault rarely gets the attention that we lavish on the moment of damage that divided the survivor from a less encumbered past.
2. One thing we often do with narratives of sexual assault is sort their respective parties into different temporalities: it seems we are interested in perpetrators’ futures and victims’ pasts.
3. One result is that we don’t have much of a vocabulary for what happens in a victim’s life after the painful past has been excavated, even when our shared language gestures toward the future, as the term “survivor” does.
4. Even the most charitable questions asked about the victims seem to focus on the past, in pursuit of understanding or of corroboration of painful details.
5. As more and more stories of sexual assault have been made public in the last two years, the genre of their telling has exploded—crimes have a tendency to become not just stories but genres.