L&T Infotech Sample Aptitude Questions and Answers

Q31 Identify the grammatically correct sentence out of the following sentences.

Q32 Which of the phrases (A), (B), (C) and (D) given below each sentence should replace the underlined phrase to make the sentence grammatically meaningful and correct?

Toxicity often comes from drinking methanol, which resulting in blindness, tissue damage or death.

Q33 Which of the phrases (A), (B), (C) and (D) given below each sentence should replace the underlined phrase to make the sentence grammatically meaningful and correct?

The coarse young man was do not sure which fork to use during the appetizer portion of the meal.

Q34 In the question, a part of the sentence is italicized. Alternatives to the italicized part are given which may improve the construction of the sentence. Select the correct alternative :

They were going home when it was starting to rain.

Q35 A number of sentences are given below which, when properly sequenced, form a coherent paragraph. Each sentence is labelled with a letter. Choose the most logical order of sentences from among the four given choices to construct a coherent paragraph.

A. Made from bird feather, the strongest quills were those taken from living birds during the spring season.

B. The fine outer feathers from the left wing were favoured as they curved out-ward and away when used by a right handed writer.

C. For fine lines, crow feathers were the best closely followed by those of the eagle, owl, hawk and turkey.

D. The writing instrument that dominated for the longest period in history - over one thousand years - was the quill pen introduced around 700 A.D.

E. Goose feathers were the most common in usage, while those of the swan were considered premium grade, being more scarce and expensive.

Q36 For the following questions, find a word that is opposite to the capitalized word:

SENTIENT

Q37 Choose the word which best expresses the meaning of the underlined word in the sentence:
His conjecture was better than mine.

Q38 DIRECTIONS (Q38 - Q40) : Read the following passage carefully and choose the most appropriate option from the choices given.

When the thriller writer Robert Ludlum died in March 2001, several of his obituarists tellingly recalled the reaction of a Washington Post reviewer to one of the author's many, phenomenally popular novels: "It's a lousy book. So I stayed up until 3am to finish it.' This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres. To describe a thriller as "deeply satisfying and sophisticated' (to pluck a blurb at random from the bookshelves) is already to beg the insidious question: how satisfying and sophisticated can it be?

It might be thought that this kind of skeptical response is likely to be encouraged by any type of popular literature that could be considered formulaic, or that relies upon stock characters or highly conventionalised narrative structures, or whose enjoyment comes from the repetition of certain well-worn themes or devices. But the thriller is unusual in its reliance upon, or subordination to, the single- minded drive to deliver a starkly intense literary effect. Thus, in the words of The New York Times Book Review's suitably lurid verdict on the novel that famously first unleashed Dr Hannibal Lecter upon an unsuspecting public, Thomas Hanis’s Red Dragon (1981) 'is an engine designed for one purpose – to make the pulse pound, the heart palpitate, the fear glands secrete'. Judgments like these, carefully filleted and recycled as paperback blurbs, make a virtual contract with potential purchasers, offering an irresistible reading experience that will stretch them to the limit. To be reckoned 'as good as the crime thriller gets', to quote from the cover of Lawrence Block's A Walk Among The Tombstones (1992), "the suspense' will be "relentless'; indeed it "will hold readers gaga with suspense'.

Of course, such overblown appeals to a hyperventilated state of pleasurably anxious unknowing can easily be dismissed as little more than a sign of the extent to which popular criticism has been debased by the inflated currency of contemporary marketing. But they do offer some important clues to the thriller's provenance and distinctiveness.

Which of the following conclusions can be drawn from the first paragraph?

Q39 DIRECTIONS (Q38 - Q40) : Read the following passage carefully and choose the most appropriate option from the choices given.

When the thriller writer Robert Ludlum died in March 2001, several of his obituarists tellingly recalled the reaction of a Washington Post reviewer to one of the author's many, phenomenally popular novels: "It's a lousy book. So I stayed up until 3am to finish it.' This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres. To describe a thriller as "deeply satisfying and sophisticated' (to pluck a blurb at random from the bookshelves) is already to beg the insidious question: how satisfying and sophisticated can it be?

It might be thought that this kind of skeptical response is likely to be encouraged by any type of popular literature that could be considered formulaic, or that relies upon stock characters or highly conventionalised narrative structures, or whose enjoyment comes from the repetition of certain well-worn themes or devices. But the thriller is unusual in its reliance upon, or subordination to, the single- minded drive to deliver a starkly intense literary effect. Thus, in the words of The New York Times Book Review's suitably lurid verdict on the novel that famously first unleashed Dr Hannibal Lecter upon an unsuspecting public, Thomas Hanis’s Red Dragon (1981) 'is an engine designed for one purpose – to make the pulse pound, the heart palpitate, the fear glands secrete'. Judgments like these, carefully filleted and recycled as paperback blurbs, make a virtual contract with potential purchasers, offering an irresistible reading experience that will stretch them to the limit. To be reckoned 'as good as the crime thriller gets', to quote from the cover of Lawrence Block's A Walk Among The Tombstones (1992), "the suspense' will be "relentless'; indeed it "will hold readers gaga with suspense'.

Of course, such overblown appeals to a hyperventilated state of pleasurably anxious unknowing can easily be dismissed as little more than a sign of the extent to which popular criticism has been debased by the inflated currency of contemporary marketing. But they do offer some important clues to the thriller's provenance and distinctiveness.

Dr. Hannibal Lecter is a character created by

Q40 DIRECTIONS (Q38 - Q40) : Read the following passage carefully and choose the most appropriate option from the choices given.

When the thriller writer Robert Ludlum died in March 2001, several of his obituarists tellingly recalled the reaction of a Washington Post reviewer to one of the author's many, phenomenally popular novels: "It's a lousy book. So I stayed up until 3am to finish it.' This anecdotal, tongue-in-cheek confession neatly captures the ambivalence associated with a hugely successful mode of crime writing, a guilty sense that its lack of literary merit has always somehow been inseparable from the compulsiveness with which its narrative pleasures are greedily gobbled up, relegating the thriller to the most undeserving of genres. To describe a thriller as "deeply satisfying and sophisticated' (to pluck a blurb at random from the bookshelves) is already to beg the insidious question: how satisfying and sophisticated can it be?

It might be thought that this kind of skeptical response is likely to be encouraged by any type of popular literature that could be considered formulaic, or that relies upon stock characters or highly conventionalised narrative structures, or whose enjoyment comes from the repetition of certain well-worn themes or devices. But the thriller is unusual in its reliance upon, or subordination to, the single- minded drive to deliver a starkly intense literary effect. Thus, in the words of The New York Times Book Review's suitably lurid verdict on the novel that famously first unleashed Dr Hannibal Lecter upon an unsuspecting public, Thomas Hanis’s Red Dragon (1981) 'is an engine designed for one purpose – to make the pulse pound, the heart palpitate, the fear glands secrete'. Judgments like these, carefully filleted and recycled as paperback blurbs, make a virtual contract with potential purchasers, offering an irresistible reading experience that will stretch them to the limit. To be reckoned 'as good as the crime thriller gets', to quote from the cover of Lawrence Block's A Walk Among The Tombstones (1992), "the suspense' will be "relentless'; indeed it "will hold readers gaga with suspense'.

Of course, such overblown appeals to a hyperventilated state of pleasurably anxious unknowing can easily be dismissed as little more than a sign of the extent to which popular criticism has been debased by the inflated currency of contemporary marketing. But they do offer some important clues to the thriller's provenance and distinctiveness.

What expression or word from the passage means "with ironic or flippant intent"?

Q41 In the following the questions choose the word which best expresses the meaning of the given word:
CORPULENT

Q42 DIRECTIONS Q12-Q13) : A word has been written in four different ways out of which only one is correctly spelt. Choose the correctly spelt word.

Collaboration 2. Collaberation 3. Colaboration 4. Coleberation

Q43 DIRECTIONS Q12-Q13) : A word has been written in four different ways out of which only one is correctly spelt. Choose the correctly spelt word.

Etiquete 2. Ettiquete 3. Etiquette 4. Ettiquette

Q44 I saw a …… of cows in the field.

Q45 Read each sentence to find out whether there is any grammatical error in it. The error, if any will be in one part of the sentence.

The letter of that part is the answer. If there is no error, the answer is ‘D’. (Ignore the errors of punctuation, if any).