CAT 2025 Slot 3 Answer Key VARC: Download Question Paper with Answer Key PDF

CAT Questions

• 1.

  The passage given below is followed by four summaries. Choose the option that best captures the essence of the passage.
  The return to the tailor is the juxtaposition of three key things for the mindful Indian shopper. The first is the conscious shift away from the homogeneity of fast fashion, the idea of a hundred other people owning exactly the same Zara trench coat or H & M pleated skirt. The second is an actual understanding of the waste behind the fast fashion market, and wanting not to contribute to that anymore. The last is the shift toward customisation and fit—the idea of having imaginations brought to life and to have them fit exactly; without paying exorbitant rates for that bespoke tailoring. For the individual with a keen fashion sense and a genuine desire to move away from the waste and uniformity of fast fashion without paying the premium for it that indie brands would invariably demand, the tailor is the perfect crossover.

  • The mindful Indian shopper is shifting away from convenience and uniformity of clothing, and waste in fashion, to customisation and less exorbitantly priced clothing.
  • In the Indian retail market, people believe that expensive branded clothes are wasteful and, therefore, are returning to the neighbourhood tailor.
  • The mindful Indian shoppers are returning to the tailor with a genuine desire to wear clothes which are less expensive, fit them well and are yet fashionable.
  • All Indian shoppers are opting for customisation and a shift away from homogeneity over expensive clothing brands like Zara and H & M.
    
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• 2.

  The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer.
  1. "Literature on screen" suggests something more capacious and defining than citation: the possibility that literary adaptations are at once cinema and literature.
  2. Even though a growing number of films eligible for Academy Awards for Best Screenplay Based on Material from Another Medium borrow that material from print journalism, franchise characters, television series, comic books, video games and toys, academic studies of adaptation remain stubbornly attached to literature as cinema’s natural progenitor.
  3. It is as if adaptation studies, by borrowing the cultural cachet of literature, sought to claim its institutional respectability and gravitas even while insuring adaptation’s enduring aesthetic and methodological subordination to literature proper.
  4. Beneath this contradictory notion of film adaptations as not merely hybrid texts but texts holding dual citizenship in two modes of presentation is an even more pervasive legacy that haunts adaptation studies: the assumption that the primary context within which adaptations are to be studied is literature.

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• 3.

  The passage given below is followed by four summaries. Choose the option that best captures the essence of the passage.
  In the dynamic realm of creativity, artists often find themselves at the crossroads between drawing inspiration from diverse cultures and inadvertently crossing into the territory of cultural appropriation. Inspiration is the lifeblood of creativity, driving artists to create works that resonate across borders. In a globalized era of the modern world, artists draw from a vast array of cultural influences. When approached respectfully, inspiration becomes a bridge, fostering understanding and appreciation of cultural diversity. However, the line between inspiration and cultural appropriation can be thin and easily blurred.
  Cultural appropriation occurs when elements from a particular culture are borrowed without proper understanding, respect, or acknowledgment. This leads to the commodification of sacred symbols, the reinforcement of stereotypes, and the erasure of the cultural context from which these elements originated. It is essential to recognize that the impact of cultural appropriation extends beyond the realm of artistic expression, influencing societal perceptions and perpetuating power imbalances.

  • Artists in a globalised world must navigate between drawing inspiration from diverse cultures respectfully and cultural appropriation that involves borrowing without proper acknowledgement which has broader societal impacts including perpetuating power imbalances.
  • In today’s world of creativity, artists have to decide between respectfully acknowledging works that are inspired by diverse cultures and appropriating elements without respect for their contexts.
  • In a globalised world, artists must draw from diverse cultural influences to create works that appeal to all, and this results in instances of both inspiration and cultural appropriation.
  • Artists must navigate the thin line between inspiration and cultural appropriation, where respectful inspiration fosters cultural understanding whereas appropriation involves borrowing without acknowledgement leading to commodification and reinforcement of stereotypes.
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• 4.

  The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer. 
  (1) The effigy of a candidate establishes a personal link between him and the voters; the candidate does not only offer a programme for judgement, he suggests a physical climate, a set of daily choices expressed in a morphology, a way of dressing, a posture. 
  (2) Some candidates for Parliament adorn their electoral prospectus with a portrait; this presupposes that photography has a power to convert which must be analysed.
  (3) Inasmuch as photography is an ellipse of language and a condensation of an ‘ineffable’ social whole, it constitutes an anti-intellectual weapon and tends to spirit away ‘politics’ (that is to say a body of problems and solutions) to the advantage of a ‘manner of being’, a socio-moral status.
  (4) Photography tends to restore the paternalistic nature of elections, whose elitist essence has been disrupted by proportional representation and the rule of parties (The Right seems to use it more than the Left). 

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• 5.

  The passage given below is followed by four summaries. Choose the option that best captures the essence of the passage.
  In 1903, left-wing feminist Elizabeth Magie invented The Landlord’s Game, the original version of what became Monopoly. It was designed as a powerful teaching tool to illustrate the dangers of monopolies and how wealth could concentrate in the hands of a few. The game featured a circular path, properties, and a “Go to Jail” space. Magie created two rule sets: one “monopolist” version where players crushed opponents through accumulation, and another, more radical “Prosperity” version, where everyone shared in the wealth, promoting fairness and equity. Years later, unemployed Charles Darrow sold a simplified version to Parker Brothers. They paid Magie only 500 Dollar for her patent—without royalties—and credited Darrow as the sole inventor. For decades, his tale of inventing the game in his basement remained the official story, while Magie’s name and her original, anti-capitalist message were left in the shadows.

  • Celebrated icons of the gaming industry, Charles Darrow and Parker Brothers, snatched the feminist icon Elizabeth Magie’s original design and transformed Monopoly into a worldwide phenomenon, while barely acknowledging her.
  • Parker Brothers’ capitalist intent led to them acquiring from Charles Darrow a simplified version of Elizabeth Magie’s original game, transforming it into a widespread commercial success while providing her only minimal financial compensation and granting scant public recognition.
  • It is ironic that a left-wing feminist lost credit for the Landlord’s Game to an unemployed man, who plagiarised and sold one version of the twin game to Parker Brothers for a meagre sum, denying her royalties.
  • Only one version of Monopoly became famous because of Charles Darrow’s relentless basement work, carefully refining Elizabeth Magie’s original idea into an engaging and entertaining pastime that he successfully patented and sold, symbolizing what many regarded as the ultimate triumph of individual ingenuity.
    
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• 6.

  The four sentences (labelled 1, 2, 3, and 4) given below, when properly sequenced, would yield a coherent paragraph. Decide on the proper sequencing of the order of the sentences and key in the sequence of the four numbers as your answer. 

  (1) When I ask the distinguished LGBTQ activist and writer Cherie Moraga whether she uses Latinx to refer to herself, she tells me, ‘I worked too hard for the “a” in Latina to give it up! I refer to myself as Xicana.’
  (2) Of our accumulated ethnic population, only a third use Hispanic to identify themselves, a mere 14 percent use Latino, and less than 2 percent recognize Latinx.
  (3) They have done this, although gender in languages is grammatical, not sociological or sexual, and found in linguistic families throughout the world, from French to Russian to Japanese.
  (4) More recently, activists seeking to render our name gender neutral, out of respect for our LGBTQmembers, have devised yet another name for us: Latinx.

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