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. Translators are like bumblebees.
2. Though long since scientifically disproved, this factoid is still routinely trotted out.
3. Similar pronouncements about the impossibility of translation have dogged practitioners since Leonardo Bruni’s De interpretatione recta, published in 1424.
4. Bees, unaware of these deliberations, have continued to flit from flower to flower, and translators continue to translate.
5. In 1934, the French entomologist August Magnan pronounced the flight of the bumblebee to be aerodynamically impossible

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. In English, there is no systematic rule for the naming of numbers; after ten, we have "eleven" and "twelve" and then the teens: "thirteen", "fourteen", "fifteen" and so on.
2. Even more confusingly, some English words invert the numbers they refer to: the word "fourteen" puts the four first, even though it appears last.
3. It can take children a while to learn all these words, and understand that "fourteen" is different from "forty".

4., English speakers switch to a different pattern: "twenty", "thirty", "forty" and so on.

5. If you didn't know the word for "eleven", you would be unable to just guess it - you might come up with something like "one-teen".

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 logic of displaying one's inner qualities through outward appearance was based on a distinction between being a woman and being feminine.

2.'Appearance' became a signifier of conduct - to look was to be and conformity to the feminine ideal was measured by how well women could use the tools of the fashion and beauty industries.

3. The makeover-centric media sets out subtly and not-so-subtly, 'good' and 'bad' ways to be a woman, layering these over inequalities of race and class.
4. The denigration of working-class women and women of colour often centres on their perceived failure to embody feminine beauty.

5.'Woman' was considered a biological category, but femininity was a 'process' by which women became specific kinds of women.