Time Left - 30:00 mins

VARC || Mega Quiz 3 - Weekly Revision || CAT 2021 || 4 April

Attempt now to get your rank among 66 students!

Question 1

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

What does the author mean by "Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement"?

Question 2

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

Which of the following is either a synonym or an antonym of the highlighted word used in the passage?

Aficionados

I. Connoisseurs

II. Disciples

III. Enthusiasts

Question 3

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

Which of the following is not an assumption that supports the arguments presented in the third paragraph?

Question 4

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

Given below is a possible inference that can be drawn from the facts stated in the first paragraph. You have to examine the inference in the context of the passage and decide upon its degree of truth or falsity.

"There will always be critics of models wearing hijabs on the catwalk and initiatives like the Istanbul Modest Fashion Week will help overcome the stigma."

Question 5

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

Given below are five statements from the fifth and the sixth paragraph. Choose the statement which is grammatically or contextually incorrect.

Question 6

Direction: Read the given passage carefully and answer the questions that follow. Certain words are printed in bold to help you locate them while answering some of these.

A little over a month ago, history was made at the New York Fashion Week. Fashion designer Anniesa Hasibuan became the first Indonesian designer invited to participate in the event. Hasibuan also made history of a different sort: her designs were the first in the history of the New York Fashion Week to feature the hijab. Hasibuan’s models, attired in flowing gowns and pants of silk and lace, all had their heads covered. Their bodies may have been sporting high fashion, but their heads were encased in perfectly matched silk.

Expectedly, much ado was made of the historic nature of the event in international newspapers, Hasibuan’s hijab-wearing models permitting her to stand out a bit among the glut of designers that traipsed along at the crowded event. For her part, Hasibuan said she felt thankful that it was her designs and not the hijab that were the focus of the event.

Whether her insistence was true is, of course, a matter of opinion. While it may have been new on the catwalks of New York’s famed fashion week, the concept of hijab-wearing models in fashion shows is not new. In May, the 2016 Istanbul Modest Fashion Week was held in that city. The models at that event also sported headscarves, and wore long high-necked silken gowns as they paraded up and down a catwalk. The dresses seemed a bit more conservative, a little less clingy, but they were, nevertheless, part of a fashion parade made up of all the constituent parts, models, catwalks and gawking onlookers.

In her native Indonesia, Hasibuan’s installation of the hijab on the catwalks of one of the world’s premier fashion events seems to have met with divided opinion. Unsurprisingly, those who do not see a conflict between showing off clothes and the modesty prescription that is supposed to underlie the hijab feted the achievement. After all, why should hijab-wearing Muslim women be left on the side-lines of fashion?

Others, the nit-picking clerical sort, focused on the sort of inanities that are a thorn in the sides of all Muslim women, the length of sleeves, the height of necklines and such (this, even though all of Hasibuan’s designs sport long sleeves and crew necks). Their objection, it seems, was not to the fact that there may be a central contradiction between wearing a hijab and treading a catwalk but rather that they (as opposed to Hasibuan’s aesthetics) could not control the designs. Theirs is a misogynistic project that would eliminate women from every sphere, generally eviscerate all their choices whether they relate to the hijab or anything else.

The Turkish event attempted to address the question of whether modesty and fashion can coexist in a more direct way. Instead of simple calling a fashion show a fashion show, which is what it was, they chose to call it the Istanbul Modest Fashion Week. The insertion of "modest", it seems, was designed to overcome the contradiction at hand – the fact that the ostensible religious reason proffered for the covering of hair via the headscarf is that it detracts attention from the wearer, hence exemplifying in a literal sense a move away from the superficial to the spiritual and pious.

Words, however, are only words; while the hijab-wearing aficionados of haute couture may have bought the verbal acrobatics inherent in rendering the impermissible suddenly permissible, the rest were likely confused. If the point is to not draw attention, then strutting on a catwalk could not possibly make that claim.

Which of the following correctly describes the tone of the passage?

Question 7

Direction: In the following question, a sentence with a part of it missing and represented by a blank is given. Select the best out of the five answer choices given, to make the sentence complete and coherent (coherent means logically complete and sound).
The Right to Disconnect Bill stipulates that companies have to detail out-of-work demands as a way to reduce stress and _______________.

Question 8

Direction: In the following question a short passage is given, with numbers mentioned before or after some of the sentences. The passage is followed by a statement, which may or may not replace one of these numbers and fit appropriately in the passage to make it complete and coherent (coherent means logically complete and sound). Select the option that mentions the number where the statement should fit. If the given sentence does not fit anywhere, mark “None of these” as your answer.
Reading, for Clifford, was more than a virtuous leisure activity. (1) In this regard, her reading of history is of particular interest, as the methods that she encountered later had a direct influence on her own work in compiling the papers known as the Great Books of the Clifford family, which contain genealogies of the family and her own autobiography, dairy, and annual accounts. (2) While much of Anne Clifford’s textual activity was devoted to the establishment of her rights, she demonstrated an on-going interest in familial history for its own sake. (3) This resulted in a manuscript account commissioned but not written by the countess, an indication of her sense of her family’s importance to national as well as local history. (4)
It constituted familial and cultural work.

Question 9

Direction: In the question given below, three sentences have been given and in each of the sentences, four words have been highlighted. The spelling or the context of the highlighted words may or may not be correct. From the given alternatives, choose the one which indicates the incorrect word in each statement. If all the words in all the sentences are correct, choose option E i.e. ‘All are correct’ as your answer.

A. Animals break open the pods (1) to eat the pulp and thus swallow (2) them and disseminate (3) them via their ex gratia (4).

B. Troup’s book contends (1) detailed silviculture (2) accounts (3) of several important trees of the Indian Subcontinent (4).

C. A medicinal (1) preparation (2) with the roots of the tree is used to cure leeprosy (3) and skin diseases (4).

Question 10

Direction: In the question given below, three sentences have been given and in each of the sentences, four words have been highlighted. The spelling or the context of the highlighted words may or may not be correct. From the given alternatives, choose the one which indicates the incorrect word in each statement. If all the words in all the sentences are correct, choose option E i.e. ‘All are correct’ as your answer.

A. In the Sundarbans, people eke (1) out a living (2) by fishing, collecting prawn (3) seeds, and beetle (4) leaf farming.

B. Its inhabitants (1) quever (2) with curiosity (3) whenever the desert train discharges a consignment (4) of tourists.

C. Another useful and reliable (1) intution (2) is that of recurrence (3) of semantic contrast, or semantic (4) proportion.

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Apr 8CAT & MBA