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. 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. For multiples of 10, 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. Those geometric symbols and aerodynamic swooshes are more than just skin deep.
2. The Commonwealth Bank logo - a yellow diamond, with a black chunk sliced out in one corner - is so recognisable that the bank doesn't even use its full name in its advertising.
3. It's not just logos with hidden shapes; sometimes brands will have meanings or stories within them that are deliberately vague or lost in time, urging you to delve deeper to solve the riddle.
4. Graphic designers embed cryptic references because it adds a story to the brand; they want people to spend more time with a brand and have that idea that they are an insider if they can understand the hidden message.
5. But the Comm Bank logo has more to it than meets the eye, as squirrelled away in that diamond is the Southern Cross constellation.

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.