CAT 2007 Question Paper
The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.
Human Biology does nothing to structure human society. Age may enfeeble us all, but cultures vary considerably in the prestige and power they accord to the elderly. Giving birth is a necessary condition for being a mother, but it is not sufficient. We expect mothers to behave in maternal ways and to display appropriately maternal sentiments. We prescribe a clutch of norms or rules that govern the role of a mother. That the social role is independent of the biological base can be demonstrated by going back three sentences. Giving birth is certainly not sufficient to be a mother but, as adoption and fostering show, it is not even necessary!
The fine detail of what is expected of a mother or a father or a dutiful son differs from culture to culture, but everywhere behaviour is coordinated by the reciprocal nature of roles. Husbands and wives, parents and children, employers and employees, waiters and customers, teachers and pupils, warlords and followers; each makes sense only in its relation to the other. The term āroleā is an appropriate one, because the metaphor of an actor in a play neatly expresses the rule-governed nature or scripted nature of much of social life and the sense that society is a joint production. Social life occurs only because people play their parts (and that is as true for war and conflicts as for peace and love) and those parts make sense only in the context of the overall show. The drama metaphor also reminds us of the artistic licence available to the players. We can play a part straight or, as the following from J.P. Sartre conveys, we can ham it up.
Let us consider this waiter in the cafe. His movement is quick and forward, a little too precise, a little too rapid. He comes towards the patrons with a step a little too quick. He bends forward a little too eagerly; his voice, his eyes express an interest a little too solicitous for the order of the customer. Finally there he returns, trying to imitate in his walk the inflexible stiffness of some kind of automaton while carrying his tray with the recklessness of a tightrope-walker....All his behaviour seems to us a game....But what is he playing? We need not watch long before we can explain it: he is playing at being a waiter in a cafe.
The American sociologist Erving Goffman built an influential body of social analysis on elaborations of the metaphor of social life as drama. Perhaps his most telling point was that it is only through acting out a part that we express character. It is not enough to be evil or virtuous; we have to be seen to be evil or virtuous. There is distinction between the roles we play and some underlying self. Here we might note that some roles are more absorbing than others. We would not be surprised by the waitress who plays the part in such a way as to signal to us that she is much more than her occupation. We would be surprised and offended by the father who played his part ātongue in cheekā. Some roles are broader and more far-reaching than others. Describing someone as a clergyman or faith healer would say far more about that person than describing someone as a bus driver.
Which of the following would have been true if biological linkages structured human society?
It has been claimed in the passage that āsome roles are more absorbing than othersā. According to passage, which of the following seem(s) appropriate reason(s) for such a claim?
A. Some roles carry great expectations from the society preventing manifestation of the true self.
B. Society ascribes so much importance to some roles that the conception of self may get aligned with the roles being performed.
C. Some roles require development of skill and expertise leaving little time for manifestation of self.
DIRECTIONS for the following three questions:
In each question, there are five sentences or parts of sentences that form a paragraph. Identify the sentence(s) or part(s) of sentence(s) that is/are correct in terms of grammar and usage. Then, choose the most appropriate option.
In each question, there are five sentences or parts of sentences that form a paragraph. Identify the sentence(s) or part(s) of sentence(s) that is/are correct in terms of grammar and usage. Then, choose the most appropriate option.
A. When I returned to home, I began to read
B. everything I could get my hand on about Israel.
C. That same year Israelās Jewish Agency sent
D. a Shaliach a sort of recruiter to Minneapolis.
E. I became one of his most active devotees.
[CAT 2007]
In each question, there are five sentences or parts of sentences that form a paragraph. Identify the sentence(s) or part(s) of sentence(s) that is/are correct in terms of grammar and usage. Then, choose the most appropriate option.
A. So once an economy is actually in recession,
B. The authorities can, in principle, move the economy
C. Out of slump - assuming hypothetically
D. That they know how to - by a temporary stimuli.
E. In the longer term, however, such policies have no affect on the overall behaviour of the economy.
In each question, there are five sentences or parts of sentences that form a paragraph. Identify the sentence(s) or part(s) of sentence(s) that is/are correct in terms of grammar and usage. Then, choose the most appropriate option.
A. It is sometimes told that democratic
B. government originated in the city-states
C. of ancient Greece. Democratic ideals have been handed to us from that time.
D. In truth, however, this is an unhelpful assertion.
E. The Greeks gave us the word, hence did not provide us with a model.
The passage given below is followed by a set of three questions. Choose the most appropriate answer to each question.
Every civilized society lives and thrives on a silent but profound agreement as to what is to be accepted as the valid mould of experience. Civilization is a complex system of dams, dykes, and canals warding off, directing, and articulating the influx of the surrounding fluid element; a fertile fenland, elaborately drained and protected from the high tides of chaotic, unexercised, and inarticulate experience. In such a culture, stable and sure of itself within the frontiers of 'naturalized' experience, the arts wield their creative power not so much in width as in depth. They do not create new experience, but deepen and purify the old. Their works do not differ from one another like a new horizon from a new horizon, but like a madonna from a madonna.
The periods of art which are most vigorous in creative passion seem to occur when the established pattern of experience loosens its rigidity without as yet losing its force. Such a period was the Renaissance, and Shakespeare its poetic consummation. Then it was as though the discipline of the old order gave depth to the excitement of the breaking away, the depth of job and tragedy, of incomparable conquests and irredeemable losses. Adventurers of experience set out as though in lifeboats to rescue and bring back to the shore treasures of knowing and feeling which the old order had left floating on the high seas. The works of the early Renaissance and the poetry of Shakespeare vibrate with the compassion for live experience in danger of dying from exposure and neglect. In this compassion was the creative genius of the age. Yet, it was a genius of courage, not of desperate audacity. For, however elusively, it still knew of harbours and anchors, of homes to which to return, and of barns in which to store the harvest. The exploring spirit of art was in the depths of its consciousness still aware of a scheme of things into which to fit its exploits and creations.
But the more this scheme of things loses its stability, the more boundless and uncharted appears the ocean of potential exploration. In the blank confusion of infinite potentialities flotsam of significance gets attached to jetsam of experience; for everything is sea, everything is at sea - ....
The sea is all about us;
The sea is the land's edge also, the granite
Into which it reaches, the beaches where it tosses
Its hints of earlier and other creation ...
- and Rilke tells a story in which, as in T.S. Eliot's poem, it is again the sea and the distance of 'other creation' that becomes the image of the poet's reality. A rowing boat sets out on a difficult passage. The oarsmen labour in exact rhythm. There is no sign yet of the destination. Suddenly a man, seemingly idle, breaks out into song. And if the labour of the oarsmen meaninglessly defeats the real resistance of the real waves, it is the idle single who magically conquers the despair of apparent aimlessness. While the people next to him try to come to grips with the element that is next to them, his voice seems to bind the boat to the farthest distance so that the farthest distance draws it towards itself. 'I don't know why and how,' is Rilke's conclusion, 'but suddenly I understood the situation of the poet, his place and function in this age. It does not matter if one denies him every place - except this one. There one must tolerate him.'
Each of the following questions has a paragraph from which the last sentence has been deleted. From the given options, choose the sentence that completes the paragraph in the most appropriate way.
Characters are also part of deep structure. Characters tie events in a story together and provide a thread of continuity and meaning. Stories can be about individuals, groups, projects or whole organizations, so from an organizational studies perspective, the focal actor(s) determine the level and unit of analysis used in a study. Stories of mergers and acquisitions, for example, are common place. In these stories whole organizations are personified as actors. But these macro-level stories usually are not told from the perspective of the macro-level participants, because whole organizations cannot narrate their experiences in the first person.
