List of top Questions asked in CAT- 2023

Three participants – Akhil, Bimal and Chatur participate in a random draw competition for five days. Every day, each participant randomly picks up a ball numbered between 1 and 9. The number on the ball determines his score on that day. The total score of a participant is the sum of his scores attained in the five days. The total score of a day is the sum of participants’ scores on that day. The 2-day average on a day, except on Day 1, is the average of the total scores of that day and of the previous day. For example, if the total scores of Day 1 and Day 2 are 25 and 20, then the 2-day average on Day 2 is calculated as 22.5. Table 1 gives the 2-day averages for Days 2 through 5.
Table 1: 2-day averages for Days through 5
Day 2Day 3Day 4Day 5
1515.51617
Participants are ranked each day, with the person having the maximum score being awarded the minimum rank (1) on that day. If there is a tie, all participants with the tied score are awarded the best available rank. For example, if on a day Akhil, Bimal, and Chatur score 8, 7 and 7 respectively, then their ranks will be 1, 2 and 2 respectively on that day. These ranks are given in Table 2. 
Table 2 : Ranks of participants on each day
 Day 1Day 2Day 3Day 4Day 5
Akhil12233
Bimal23211
Chatur31122
The following information is also known. 
1. Chatur always scores in multiples of 3. His score on Day 2 is the unique highest score in the competition. His minimum score is observed only on Day 1, and it matches Akhil’s score on Day 4. 
2. The total score on Day 3 is the same as the total score on Day 4. 
3. Bimal’s scores are the same on Day 1 and Day 3.
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
For early postcolonial literature, the world of the novel was often the nation. Postcolonial novels were usually [concerned with] national questions. Sometimes the whole story of the novel was taken as an allegory of the nation, whether India or Tanzania. This was important for supporting anti-colonial nationalism, but could also be limiting - land-focused and inward looking.
My new book "Writing Ocean Worlds" explores another kind of world of the novel: not the village or nation, but the Indian Ocean world. The book describes a set of novels in which the Indian Ocean is at the centre of the story. It focuses on the novelists Amitav Ghosh, Abdulrazak Gurnah, Lindsey Collen and Joseph Conrad [who have] centred the Indian Ocean world in the majority of their novels. . . Their work reveals a world that is outward-looking full of movement, border-crossing and south-south interconnection. They are all very different - from colonially inclined (Conrad) to radically anti-capitalist (Collen), but together draw on and shape a wider sense of Indian Ocean space through themes, images, metaphors and language. This has the effect of remapping the world in the reader's mind, as centred in the interconnected global south. ... The Indian Ocean world is a term used to describe the very long-lasting connections among the coasts of East Africa, the Arab coasts, and South and East Asia. 
These connections were made possible by the geography of the Indian Ocean. For much of history, travel by sea was much easier than by land, which meant that port cities very far apart were often more easily connected to each other than to much closer inland cities. Historical and archaeological evidence suggests that what we now call globalisation first appeared in the Indian Ocean. This is the interconnected oceanic world referenced and produced by the novels in my book. For their part Ghosh, Gurnah, Collen and even Conrad reference a different set of histories and geographies than the ones most commonly found in fiction in English. Those [commonly found ones] are mostly centred in Europe or the US, assume a background of Christianity and whiteness, and mention places like Paris and New York. The novels in [my] book highlight instead a largely Islamic space, feature characters of colour and centralise the ports of Malindi, Mombasa, Aden, Java and Bombay. . . . It is a densely imagined, richly sensory image of a southern cosmopolitan culture which provides for an enlarged sense of place in the world.
This remapping is particularly powerful for the representation of Africa. In the fiction, sailors and travellers are not all European. . . African, as well as Indian and Arab characters, are traders, nakhodas (dhow ship captains), runaways, villains, missionaries and activists. This does not mean that Indian Ocean Africa is romanticised. Migration is often a matter of force; travel is portrayed as abandonment rather than adventure, freedoms are kept from women and slavery is rife. What it does mean is that the African part of the Indian Ocean world plays an active role in its long, rich history and therefore in that of the wider world.
The schematic diagram below shows 12 rectangular houses in a housing complex. House numbers are mentioned in the rectangles representing the houses. The houses are located in six columns - Column-A through Column-F, and two rows - Row-1 and Row- 2 . The houses are divided into two blocks - Block XX and Block YY. The diagram also shows two roads, one passing in front of the houses in Row-2 and another between the two blocks. 
12 rectangular houses in a housing complex. House numbers are mentioned in the rectangles representing the houses
Some of the houses are occupied. The remaining ones are vacant and are the only ones available for sale.
The road adjacency value of a house is the number of its sides adjacent to a road. For example, the road adjacency values of C2, F2, and B1 are 2, 1, and 0, respectively. The neighbour count of a house is the number of sides of that house adjacent to occupied houses in the same block. For example, E1 and C1 can have the maximum possible neighbour counts of 3 and 2, respectively. 
The base price of a vacant house is Rs. 10 lakhs if the house does not have a parking space, and Rs. 12 lakhs if it does. The quoted price (in lakhs of Rs.) of a vacant house is calculated as (base price) + 5 × (road adjacency value) + 3 × (neighbour count). 
The following information is also known. 
1. The maximum quoted price of a house in Block XX is Rs. 24 lakhs. The minimum quoted price of a house in block YY is Rs. 15 lakhs, and one such house is in Column-E. 
2. Row-1 has two occupied houses, one in each block. 
3. Both houses in Column-E are vacant. Each of Column-D and Column-F has at least one occupied house. 
4. There is only one house with parking space in Block YY.
Anjali, Bipasha, and Chitra visited an entertainment park that has four rides. Each ride lasts one hour and can accommodate one visitor at one point. All rides begin at 9 am and must be completed by 5 pm except for Ride-3, for which the last ride has to be completed by 1 pm. Ride gates open every 30 minutes, e.g. 10 am, 10:30 am, and so on. Whenever a ride gate opens, and there is no visitor inside, the first visitor waiting in the queue buys the ticket just before taking the ride. The ticket prices are Rs. 20, Rs. 50, Rs. 30 and Rs. 40 for Rides 1 to 4, respectively. Each of the three visitors took at least one ride and did not necessarily take all rides. None of them took the same ride more than once. The movement time from one ride to another is negligible, and a visitor leaves the ride immediately after the completion of the ride. No one takes a break inside the park unless mentioned explicitly.
The following information is also known.
1. Chitra never waited in the queue and completed her visit by 11 am after spending Rs. 50 to pay for the ticket(s).
2. Anjali took Ride-1 at 11 am after waiting for 30 mins for Chitra to complete it. It was the only ride where Anjali waited.
3. Bipasha began her first of three rides at 11:30 am. All three visitors incurred the same amount of ticket expense by 12:15 pm.
4. The last ride taken by Anjali and Bipasha was the same, where Bipasha waited 30 mins for Anjali to complete her ride. Before standing in the queue for that ride, Bipasha took a 1- hour coffee break after completing her previous ride
A visa processing office (VPO) accepts visa applications in four categories - US, UK, Schengen, and Others. The applications are scheduled for processing in twenty 15-minute slots starting at 9:00 am and ending at 2:00 pm. Ten applications are scheduled in each slot.
There are ten counters in the office, four dedicated to US applications, and two each for UK applications, Schengen applications and Others applications. Applicants are called in for processing sequentially on a first-come-first-served basis whenever a counter gets freed for their category. The processing time for an application is the same within each category. But it may vary across the categories. Each US and UK application requires 10 minutes of processing time. Depending on the number of applications in a category and time required to process an application for that category, it is possible that an applicant for a slot may be processed later.
On a particular day, Ira, Vijay and Nandini were scheduled for Schengen visa processing in that order. They had a 9:15 am slot but entered the VPO at 9:20 am. When they entered the office, exactly six out of the ten counters were either processing applications, or had finished processing one and ready to start processing the next.
Mahira and Osman were scheduled in the 9:30 am slot on that day for visa processing in the Others category.
The following additional information is known about that day.
1. All slots were full.
2. The number of US applications was the same in all the slots. The same was true for the other three categories.
3. 50% of the applications were US applications.
4. All applicants except Ira, Vijay and Nandini arrived on time.
5. Vijay was called to a counter at 9:25 am.
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Understanding romantic aesthetics is not a simple undertaking for reasons that are internal to the nature of the subject. Distinguished scholars, such as Arthur Lovejoy, Northrop Frye and Isaiah Berlin, have remarked on the notorious challenges facing any attempt to define romanticism. Lovejoy, for example, claimed that romanticism is "the scandal of literary history and criticism"... The main difficulty in studying the romantics, according to him, is the lack of any "single real entity, or type of entity" that the concept "romanticism" designates. Lovejoy concluded, "the word 'romantic' has come to mean so many things that, by itself, it means nothing"...
The more specific task of characterizing romantic aesthetics adds to these difficulties an air of paradox. Conventionally, "aesthetics" refers to a theory concerning beauty and art or the branch of philosophy that studies these topics. However, many of the romantics rejected the identification of aesthetics with a circumscribed domain of human life that is separated from the practical and theoretical domains of life. The most characteristic romantic commitment is to the idea that the character of art and beauty and of our engagement with them should shape all aspects of human life. Being fundamental to human existence, beauty and art should be a central ingredient not only in a philosophical or artistic life, but also in the lives of ordinary men and women. Another challenge for any attempt to characterize romantic aesthetics lies in the fact that most of the romantics were poets and artists whose views of art and beauty are, for the most part, to be found not in developed theoretical accounts, but in fragments, aphorisms and poems, which are often more elusive and suggestive than conclusive.
Nevertheless, in spite of these challenges the task of characterizing romantic aesthetics is neither impossible nor undesirable, as numerous thinkers responding to Lovejoy's radical skepticism have noted. While warning against a reductive definition of romanticism, Berlin, for example, still heralded the need for a general characterization: "[Although] one does have a certain sympathy with Lovejoy's despair...[he is] in this instance mistaken. There was a romantic movement...and it is important to discover what it is" ...
Recent attempts to characterize romanticism and to stress its contemporary relevance follow this path. Instead of overlooking the undeniable differences between the variety of romanticisms of different nations that Lovejoy had stressed, such studies attempt to characterize romanticism, not in terms of a single definition, a specific time, or a specific place, but in terms of "particular philosophical questions and concerns" ...
While the German, British and French romantics are all considered, the central protagonists in the following are the German romantics. Two reasons explain this focus: first, because it has paved the way for the other romanticisms, German romanticism has a pride of place among the different national romanticisms ... Second, the aesthetic outlook that was developed in Germany roughly between 1796 and 1801 02 − - the period that corresponds to the heyday of what is known as "Early Romanticism" ...- offers the most philosophical expression of romanticism since it is grounded primarily in the epistemological, metaphysical, ethical, and political concerns that the German romantics discerned in the aftermath of Kant's philosophy.
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Umberto Eco, an Italian writer, was right when he said the language of Europe is translation. Netflix and other deep-pocketed global firms speak it well. Just as the EU employs a small army of translators and interpreters to turn intricate laws or impassioned speeches of Romanian MEPs into the EU’s 24 official languages, so do the likes of Netflix. It now offers dubbing in 34 languages and subtitling in a few more. . . .
The economics of European productions are more appealing, too. American audiences are more willing than before to give dubbed or subtitled viewing a chance. This means shows such as “Lupin”, a French crime caper on Netflix, can become global hits. . . . In 2015, about 75% of Netflix’s original content was American; now the figure is half, according to Ampere, a mediaanalysis company. Netflix has about 100 productions under way in Europe, which is more than big public broadcasters in France or Germany. . . .
Not everything works across borders. Comedy sometimes struggles. Whodunits and bloodthirsty maelstroms between arch Romans and uppity tribesmen have a more universal appeal. Some do it better than others. Barbarians aside, German television is not always built for export, says one executive, being polite. A bigger problem is that national broadcasters still dominate. Streaming services, such as Netflix or Disney+, account for about a third of all viewing hours, even in markets where they are well-established. Europe is an ageing continent. The generation of teens staring at phones is outnumbered by their elders who prefer to gawp at the box.
In Brussels and national capitals, the prospect of Netflix as a cultural hegemon is seen as a threat. “Cultural sovereignty” is the watchword of European executives worried that the Americans will eat their lunch. To be fair, Netflix content sometimes seems stuck in an uncanny valley somewhere in the mid-Atlantic, with local quirks stripped out. Netflix originals tend to have fewer specific cultural references than shows produced by domestic rivals, according to Enders, a market analyst. The company used to have an imperial model of commissioning, with executives in Los Angeles cooking up ideas French people might like. Now Netflix has offices across Europe. But ultimately the big decisions rest with American executives. This makes European politicians nervous.
They should not be. An irony of European integration is that it is often American companies that facilitate it. Google Translate makes European newspapers comprehensible, even if a little clunky, for the continent’s non-polyglots. American social-media companies make it easier for Europeans to talk politics across borders. (That they do not always like to hear what they say about each other is another matter.) Now Netflix and friends pump the same content into homes across a continent, making culture a cross-border endeavour, too. If Europeans are to share a currency, bail each other out in times of financial need and share vaccines in a pandemic, then they need to have something in common—even if it is just bingeing on the same series. Watching fictitious northern and southern Europeans tear each other apart 2,000 years ago beats doing so in reality.
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
Over the past four centuries liberalism has been so successful that it has driven all its opponents off the battlefield. Now it is disintegrating, destroyed by a mix of hubris and internal contradictions, according to Patrick Deneen, a professor of politics at the University of Notre Dame. . . . Equality of opportunity has produced a new meritocratic aristocracy that has all the aloofness of the old aristocracy with none of its sense of noblesse oblige. Democracy has degenerated into a theatre of the absurd. And technological advances are reducing ever more areas of work into meaningless drudgery. “The gap between liberalism’s claims about itself and the lived reality of the citizenry” is now so wide that “the lie can no longer be accepted,” Mr Deneen writes. What better proof of this than the vision of 1,000 private planes whisking their occupants to Davos to discuss the question of “creating a shared future in a fragmented world”? . . .
Deneen does an impressive job of capturing the current mood of disillusionment, echoing left-wing complaints about rampant commercialism, right-wing complaints about narcissistic and bullying students, and general worries about atomisation and selfishness. But when he concludes that all this adds up to a failure of liberalism, is his argument convincing? . . . He argues that the essence of liberalism lies in freeing individuals from constraints. In fact, liberalism contains a wide range of intellectual traditions which provide different answers to the question of how to trade off the relative claims of rights and responsibilities, individual expression and social ties. . . . liberals experimented with a range of ideas from devolving power from the centre to creating national education systems.
Mr Deneen’s fixation on the essence of liberalism leads to the second big problem of his book: his failure to recognise liberalism’s ability to reform itself and address its internal problems. The late 19th century saw America suffering from many of the problems that are reappearing today, including the creation of a business aristocracy, the rise of vast companies, the corruption of politics and the sense that society was dividing into winners and losers. But a wide variety of reformers, working within the liberal tradition, tackled these problems head on. Theodore Roosevelt took on the trusts. Progressives cleaned up government corruption. University reformers modernised academic syllabuses and built ladders of opportunity. Rather than dying, liberalism reformed itself.
Mr Deneen is right to point out that the record of liberalism in recent years has been dismal. He is also right to assert that the world has much to learn from the premodern notions of liberty as self-mastery and self-denial. The biggest enemy of liberalism is not so much atomisation but old-fashioned greed, as members of the Davos elite pile their plates ever higher with perks and share options. But he is wrong to argue that the only way for people to liberate themselves from the contradictions of liberalism is “liberation from liberalism itself”. The best way to read “Why Liberalism Failed” is not as a funeral oration but as a call to action: up your game, or else.
The passage below is accompanied by four questions. Based on the passage, choose the best answer for each question.
The Positivists, anxious to stake out their claim for history as a science, contributed the weight of their influence to the cult of facts. First ascertain the facts, said the positivists, then draw your conclusions from them. . . . This is what may [be] called the common-sense view of history. History consists of a corpus of ascertained facts. The facts are available to the historian in documents, inscriptions, and so on . . . [Sir George Clark] contrasted the "hard core of facts" in history with the surrounding pulp of disputable interpretation forgetting perhaps that the pulpy part of the fruit is more rewarding than the hard core. . . . It recalls the favourite dictum of the great liberal journalist C. P. Scott: "Facts are sacred, opinion is free.". . .
What is a historical fact? . . . According to the common-sense view, there are certain basic facts which are the same for all historians and which form, so to speak, the backbone of history—the fact, for example, that the Battle of Hastings was fought in 1066. But this view calls for two observations. In the first place, it is not with facts like these that the historian is primarily concerned. It is no doubt important to know that the great battle was fought in 1066 and not in 1065 or 1067, and that it was fought at Hastings and not at Eastbourne or Brighton. The historian must not get these things wrong. But [to] praise a historian for his accuracy is like praising an architect for using well-seasoned timber or properly mixed concrete in his building. It is a necessary condition of his work, but not his essential function. It is precisely for matters of this kind that the historian is entitled to rely on what have been called the "auxiliary sciences" of history—archaeology, epigraphy, numismatics, chronology, and so forth. . . .
The second observation is that the necessity to establish these basic facts rests not on any quality in the facts themselves, but on an apriori decision of the historian. In spite of C. P. Scott's motto, every journalist knows today that the most effective way to influence opinion is by the selection and arrangement of the appropriate facts. It used to be said that facts speak for themselves. This is, of course, untrue. The facts speak only when the historian calls on them: it is he who decides to which facts to give the floor, and in what order or context. . . . The only reason why we are interested to know that the battle was fought at Hastings in 1066 is that historians regard it as a major historical event. . . . Professor Talcott Parsons once called [science] "a selective system of cognitive orientations to reality." It might perhaps have been put more simply. But history is, among other things, that. The historian is necessarily selective. The belief in a hard core of historical facts existing objectively and independently of the interpretation of the historian is a preposterous fallacy, but one which it is very hard to eradicate.
RESIDENTS of Lozère, a hilly department in southern France, recite complaints familiar to many rural corners of Europe. In remote hamlets and villages, with names such as Le Bacon and Le Bacon Vieux, mayors grumble about a lack of local schools, jobs, or phone and internet connections. Farmers of grazing animals add another concern: the return of wolves. Eradicated from France last century, the predators are gradually creeping back to more forests and hillsides. "The wolf must be taken in hand," said an aspiring parliamentarian, Francis Palombi, when pressed by voters in an election campaign early this summer. Tourists enjoy visiting a wolf park in Lozère, but farmers fret over their livestock and their livelihoods.
As early as the ninth century, the royal office of the Luparii-wolf-catchers-was created in France to tackle the predators. Those official hunters (and others) completed their job in the 1930s, when the last wolf disappeared from the mainland. Active hunting and improved technology such as rifles in the 19th century, plus the use of poison such as strychnine later on, caused the population collapse. But in the early 1990s the animals reappeared. They crossed the Alps from Italy, upsetting sheep farmers on the French side of the border. Wolves have since spread to areas such as Lozère, delighting environmentalists, who see the predators' presence as a sign of wider ecological health. Farmers, who say the wolves cause the deaths of thousands of sheep and other grazing animals, are less cheerful. They grumble that green activists and politically correct urban types have allowed the return of an old enemy.
Various factors explain the changes of the past few decades. Rural depopulation is part of the story. In Lozère, for example, farming and a once-flourishing mining industry supported a population of over 140,000 residents in the mid- 19th century. Today the department has fewer than 80,000 people, many in its towns. As humans withdraw, forests are expanding. In France, between 1990 and 2015, forest cover increased by an average of 102,000 hectares each year, as more fields were given over to trees. Now, nearly one-third of mainland France is covered by woodland of some sort. The decline of hunting as a sport also means more forests fall quiet. In the mid-to-late 20th century over 2m hunters regularly spent winter weekends tramping in woodland, seeking boars, birds and other prey. Today the Fédération Nationale des Chasseurs, the national body, claims 1.1 m people hold hunting licences, though the number of active hunters is probably lower. The mostly protected status of the wolf in Europe-hunting them is now forbidden, other than when occasional culls are sanctioned by the state-plus the efforts of NGOs to track and count the animals, also contribute to the recovery of wolf populations.
As the lupine population of Europe spreads westwards, with occasional reports of wolves seen closer to urban areas, expect to hear of more clashes between farmers and those who celebrate the predators' return. Farmers' losses are real, but are not the only economic story. Tourist venues, such as parks where wolves are kept and the animals' spread is discussed, also generate income and jobs in rural areas.