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. Our smartphones can now track our diets, our biological cycles, even our digestive systems and sleep-patterns.
2. Researchers have even coin ed a new term, "orthosomnia", to describe the insomnia brought on by paying too much attention to smartphones and sleep tracking apps.
3. Sleep, nature's soft nurse, is a blissful, untroubled state all too easily disturbed by earthly worries or a guilty conscience.
4. The existence of a market for such apps is unsurprising: shift work, a long-hours culture and blue light from screens have conspired to rob many of us of sufficient rest.
5. A new threat to a good night's rest has emerged smart-phones, with sleep-tracking apps.

Five jumbled 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 out and key in the number of that sentence as your answer.

1. The profound emotional impact of music has inspired ongoing research into its relationship with emotions.
2. Music is a universal phenomenon that utilizes a myriad brain resources.
3. This inherent connection to musical expression is deeply intertwined with human identity and experience.
4. The proclivity to create and appreciate music is ubiquitous among humans, permeating daily life across diverse societies.
5. Engaging with music is among the most cognitively demanding tasks a human can undergo, and it is identified across cultures.

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.