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. They often include a foundation course on navigating capitalism with Chinese characteristics and have replaced typical cases from US corporates with a focus on how Western theories apply to China's buzzing local firms.
2. The best Chinese business schools look like their Western rivals but are now growing distinct in terms of what they teach and the career boost they offer.
3. Western schools have enhanced their offerings with double degrees, popular with domestic and overseas students alike—and boosted the prestige of their Chinese partners.
4. For students, a big draw is the chance to rub shoulders with captains of China's private sector.
5. Their business courses now largely cater to the growing demand from China Inc which has become more global, richer and ready to recruit from this sinocentric student body.

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.