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Old April 2nd, 2013, 10:25 AM
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Default Re: LSAT Questions Examples

LSAT Sample Questions
Reading Comprehension
Logical Reasoning
Analytic Reasoning
The Writing Sample

1.Which of the following could be a possible list of the
advertisements in the order that they are aired?
(A) BDFHJCK
(B) CJBHDKF
(C) HBDFJCK
(D) HDBFKJC
(E) HJDBFKC

2. If advertisement B is assigned to the third time slot, then which
of the following must be true?
(A) C is assigned to the sixth time slot.
(B) D is assigned to the first time slot.
(C) H is assigned to the fourth time slot.
(D) J is assigned to the fifth time slot.
(E) K is assigned to the seventh time slot.

3. Which of the following could be true?
(A) B is assigned to the first time slot.
(B) D is assigned to the fifth time slot.
(C) H is assigned to the seventh time slot.
(D) J is assigned to the sixth time slot.
(E) K is assigned to the third time slot.

4. If C is assigned to the third time slot, then each of the
following could be true EXCEPT:
(A) B is assigned to the fifth time slot.
(B) D is assigned to the sixth time slot.
(C) F is assigned to the fourth time slot.
(D) J is assigned to the first time slot.
(E) K is assigned to the second time slot.

5. If H is assigned to the first time slot, then which of the
following is a complete and accurate list of all the time slots
to which C could be assigned?
(A) second, fifth, sixth, seventh
(B) second, fourth, fifth, sixth, seventh
(C) second, fourth, sixth
(D) second, third, fifth, sixth, seventh
(E) second, third, sixth

6. If J is assigned to the seventh slot, then which of the
following must be assigned to the fifth slot?
(A) B
(B) C
(C) D
(D) F
(E) K

LSAT Logic Games Practice Questions

A school teacher must schedule seven sessions, which are abbreviated M, N, O, P, S, T, and U, during a day. Seven different consecutive time periods are available for the sessions, and are numbered one through seven in the order that they occur. Only one session can be schedules for each period. The assignment of the sessions to the periods is subject to the following restrictions:
M and O must occupy consecutive periods.
M must be scheduled for an earlier period than U.
O must be scheduled for a later period than S.
If S does not occupy the fourth period, then P must occupy the fourth period.
U and T cannot occupy consecutively numbered periods.

1.Which of the following could be a possible list of the sessions in the order that they are scheduled during the day?
(A) MOPSTNU
(B) NTMSOUP
(C) SMOPTNU
(D) SOMPUTN
(E) STOMPUN

2. If session M is assigned to the third period, then which of the following must be true?
(A) N is assigned to the sixth period.
(B) O is assigned to the first period.
(C) S is assigned to the fourth period.
(D) T is assigned to the fifth period.
(E) U is assigned to the seventh period.

3. Which of the following could be true?
(A) M is assigned to the first period.
(B) O is assigned to the fifth period.
(C) S is assigned to the seventh period.
(D) T is assigned to the sixth period.
(E) U is assigned to the third period.

4. If N is assigned to the third period, then each of the following could be true EXCEPT:
(A) M is assigned to the fifth period.
(B) O is assigned to the sixth period.
(C) P is assigned to the fourth period.
(D) T is assigned to the first period.
(E) U is assigned to the sixth period.

5. If T is assigned to the seventh period, then which of the following must be assigned to the fifth period?
(A) M
(B) N
(C) O
(D) P
(E) U

Directions: Each set of questions in this section is based on a single passage or a pair of passages. The questions are to be
answered on the basis of what is stated or implied in the passage or pair of passages. For some of the questions, more than
one of the choices could conceivably answer the question. However, you are to choose the best answer; that is, the response
that most accurately and completely answers the question, and blacken the corresponding space on your answer sheet.

Passage for Questions 1, 2, and 3
The painter Roy Lichtenstein helped to define pop
art—the movement that incorporated commonplace
objects and commercial-art techniques into paintings—
by paraphrasing the style of comic books in his work.

(5) His merger of a popular genre with the forms and
intentions of fine art generated a complex result: while
poking fun at the pretensions of the art world,
Lichtenstein’s work also managed to convey a
seriousness of theme that enabled it to transcend mere

(10) parody.
That Lichtenstein’s images were fine art was at
first difficult to see, because, with their word balloons
and highly stylized figures, they looked like nothing
more than the comic book panels from which they were

(15) copied. Standard art history holds that pop art emerged
as an impersonal alternative to the histrionics of
abstract expressionism, a movement in which painters
conveyed their private attitudes and emotions using
nonrepresentational techniques. The truth is that by the

(20) time pop art first appeared in the early 1960s, abstract
expressionism had already lost much of its force. Pop
art painters weren’t quarreling with the powerful early
abstract expressionist work of the late 1940s but with a
second generation of abstract expressionists whose

(25) work seemed airy, high-minded, and overly lyrical.
Pop art paintings were full of simple black lines and
large areas of primary color. Lichtenstein’s work was
part of a general rebellion against the fading emotional
power of abstract expressionism, rather than an aloof

(30) attempt to ignore it.
But if rebellion against previous art by means of
the careful imitation of a popular genre were all that
characterized Lichtenstein’s work, it would possess
only the reflective power that parodies have in relation

(35) to their subjects. Beneath its cartoonish methods, his
work displayed an impulse toward realism, an urge to
say that what was missing from contemporary painting
was the depiction of contemporary life. The stilted
romances and war stories portrayed in the comic books

(40) on which he based his canvases, the stylized
automobiles, hot dogs, and table lamps that appeared in
his pictures, were reflections of the culture Lichtenstein
inhabited. But, in contrast to some pop art,
Lichtenstein’s work exuded not a jaded cynicism about

(45) consumer culture, but a kind of deliberate naivete,
intended as a response to the excess of sophistication
he observed not only in the later abstract expressionists
but in some other pop artists. With the comics—
typically the domain of youth and innocence—as his

(50) reference point, a nostalgia fills his paintings that gives
them, for all their surface bravado, an inner sweetness.
His persistent use of comic-art conventions
demonstrates a faith in reconciliation, not only between
cartoons and fine art, but between parody and true

(55) feeling.
Question 1
Which one of the following best captures the author’s attitude
toward Lichtenstein’s work?
(A) enthusiasm for its more rebellious aspects
(B) respect for its successful parody of youth and
innocence
(C) pleasure in its blatant rejection of abstract
expressionism
(D) admiration for its subtle critique of contemporary
culture
(E) appreciation for its ability to incorporate both
realism and naivete

Explanation for Question 1
This question requires the test taker to understand the attitude
the author of the passage displays toward Lichtenstein’s work.
The correct response is (E). Response (E) most accurately and
completely captures the author’s attitude. First, the author’s
appreciation for Lichtenstein’s art is indicated by way of contrast
with the way in which the author describes what
Lichtenstein’s art is not. For example, the author asserts that
Lichtenstein’s work “transcended mere parody,“ and that unlike
other pop art, it did not display a “jaded cynicism.“ Similarly,
the author holds that there is more to Lichtenstein’s work than
“the reflective power that parodies possess in relation to their
subjects.“ Moreover, the author’s appreciation is reflected in
several positive statements regarding Lichtenstein’s work. The
author’s appreciation for Lichtenstein’s realism is indicated by
the author’s statement that “Beneath its cartoonish methods,
his work displayed an impulse toward realism, an urge to say
that what was missing from contemporary painting was the de-

piction of contemporary life.“ That the author also appreciates
Lichtenstein’s naivete is demonstrated in this sentence:
“Lichtenstein’s work exuded not a jaded cynicism about consumer
culture, but a kind of deliberate naivete....“ This idea is
further expanded in the next sentence, which says that “for all
their surface bravado,“ Lichtenstein’s paintings possess “an inner
sweetness.“ It is important to note that these evaluations
appear in the last paragraph and form part of the author's conclusion
about the importance of Lichtenstein’s art.
Response
(A) is incorrect because, although in the last
sentence of paragraph two the author notes Lichtenstein’s
connection to a general rebellion against abstract expressionism,
the author also states quite pointedly in the first sentence
of paragraph three: “But if rebellion . . . were all that characterized
Lichtenstein’s work, it would possess only the reflective
power that parodies have....“
Response
(B) is incorrect because, as noted in the first paragraph
of the passage, the author believes Lichtenstein’s work
transcended “mere parody.“ Moreover, the author states in
the last paragraph that comics, “typically the domain of youth
and innocence,“ were Lichtenstein’s “reference point“ and
filled his painting with “nostalgia“ and an “inner sweetness.“
Response
(C) is incorrect because, as mentioned above, the
author believes Lichtenstein’s rebellion against abstract expressionism
was not the most important aspect of his work.
Indeed, if it had been, Lichtenstein’s work would have been
reduced to having “only the reflective power that parodies
have in relation to their subjects,“ where here the “subject“
refers to abstract expressionism.
Response
(D) is incorrect because the author very clearly
says that Lichtenstein embraced contemporary culture. In the
last paragraph, the author writes, “But, in contrast to some
pop art, Lichtenstein’s work exuded not a jaded cynicism
about consumer culture, but a kind of deliberate naivete....“
Based on the number of test takers who answered this
question correctly when it appeared on the LSAT, this was a
middle difficulty question.

Question 2
The author most likely lists some of the themes and objects
influencing and appearing in Lichtenstein’s paintings (lines
38-43) primarily to
(A) show that the paintings depict aspects of
contemporary life
(B) support the claim that Lichtenstein’s work was
parodic in intent
(C) contrast Lichtenstein’s approach to art with that of
abstract expressionism
(D) suggest the emotions that lie at the heart of
Lichtenstein’s work
(E) endorse Lichtenstein’s attitude toward consumer
Culture

Explanation for Question 2
This question requires the test taker to identify from the context
what the author is trying to accomplish by listing some of
the themes and objects that influenced and appeared in
Lichtenstein’s paintings.
The correct response is
(A). First, as the author notes in the
same sentence, the listed themes and objects “were reflections
of the culture Lichtenstein inhabited.“ Moreover, as the
author argues in the sentence that precedes the list,
Lichtenstein’s work displayed “an impulse toward realism, an
urge to say that what was missing from contemporary painting
was the depiction of contemporary life.“
Response
(B) is incorrect because the author does not claim
that Lichtenstein’s work was parodic in intent. On the contrary,
the author states in the opening paragraph that
Lichtenstein’s work transcended “mere parody.“
Response
(C) is incorrect because the author’s comparison
between Lichtenstein’s approach to art and that of the abstract
expressionists—which is located in paragraph
two—concentrates on the difference between Lichtenstein’s
and other pop artists’ use of “simple black lines and large
areas of primary color“ and the expressionists’ “airy“ and
“overly lyrical“ work. This comparison does not involve the
list of themes and objects mentioned in question 2. The list is
offered instead as part of the author’s argument in paragraph
three that there is more to Lichtenstein’s work than its rebellion
against abstract expressionism.
Response
(D) is incorrect because, although the listed
themes and objects “were reflections of the culture
Lichtenstein inhabited,“ the list by itself does not suggest
anything about the emotions that lie at the heart of
Lichtenstein’s work. The emotions in Lichtenstein’s work
were revealed in Lichtenstein’s treatment of those themes and
objects, which “exuded not a jaded cynicism about consumer
culture, but a kind of deliberate naivete …“ The author goes
on to assert that it is Lichtenstein’s use of conventions of
comic art that gives his art its “inner sweetness“ and demonstrates
his faith in the possibility of reconciliation between
“parody and true feeling.“
Response
(E) is incorrect because the list of themes and objects
does not in itself explain Lichtenstein’s attitude toward
consumer culture. Instead, it is how he dealt with these objects
and themes that shows, according to the author, that
Lichtenstein did not exude the “jaded cynicism“ of other
pop artists.
Based on the number of test takers who answered this
question correctly when it appeared on the LSAT, this was an
easy question.


Question 3
The primary purpose of the passage is most likely to
A) express curiosity about an artist’s work
B) clarify the motivation behind an artist’s work
C) contrast two opposing theories about an artist’s work
D) describe the evolution of an artist’s work
E) refute a previous overestimation of an artist’s work

Explanation for Question 3
This question requires the test taker to look at the passage as a
whole and determine the author’s primary purpose in writing it.
Response (B) is the correct response because it most accurately
and completely reflects the purpose of the passage as a
whole. In the first two paragraphs of the passage, the author
uses phrases that are suggestive of Lichtenstein’s motivations,
such as “poking fun at the pretensions of the art world,“ and
“rebel[ling] against the fading emotional power of abstract expressionism.“
Then, in the third paragraph, the author makes
clear that Lichtenstein also had a more serious aim that transcended
these two—namely, that of depicting contemporary
life with a “kind of deliberate naivete.“ As the author puts it in
the final sentence, Lichtenstein’s paintings demonstrated his
“faith in reconciliation . . . between parody and true feeling.“
Response
(A) is incorrect because the passage does not
simply express curiosity about Lichtenstein’s work. Instead,
the passage advances a thesis about the importance of
Lichtenstein’s work as art.
Response
(C) is incorrect because nowhere in the passage
are two opposing theories discussed.
Response
(D) is incorrect because the passage does not
cover the evolution of Lichtenstein’s work. The author makes
no mention of when any of the particular paintings were created
in the course of Lichtenstein’s career, but instead treats
the work as a unified whole.
Response
(E) is incorrect because a previous overestimation
of Lichtenstein’s work is neither mentioned nor alluded to. If
the passage had an aim of this kind, it would seem to be the
reverse, as the author clearly thinks that Lichtenstein’s work is
valuable and has perhaps been underestimated by those who
see pop art as primarily parodic in intent.
Based on the number of test takers who answered this
question correctly when it appeared on the LSAT, this was an
easy question.

Passage for Questions 4 and 5
The following passage was written in the late 1980s.
The struggle to obtain legal recognition of
aboriginal rights is a difficult one, and even if a right
is written into the law there is no guarantee that the
future will not bring changes to the law that

(5) undermine the right. For this reason, the federal
government of Canada in 1982 extended
constitutional protection to those aboriginal rights
already recognized under the law. This protection was
extended to the Indian, Inuit, and M├ętis peoples, the

(10) three groups generally thought to comprise the
aboriginal population in Canada. But this decision has
placed on provincial courts the enormous burden of
interpreting and translating the necessarily general
constitutional language into specific rulings. The

(15) result has been inconsistent recognition and
establishment of aboriginal rights, despite the
continued efforts of aboriginal peoples to raise issues
concerning their rights.
Aboriginal rights in Canada are defined by the

(20) constitution as aboriginal peoples’ rights to ownership
of land and its resources, the inherent right of
aboriginal societies to self-government, and the right
to legal recognition of indigenous customs. But
difficulties arise in applying these broadly conceived

(25) rights. For example, while it might appear
straightforward to affirm legal recognition of
indigenous customs, the exact legal meaning of
“indigenous“ is extremely difficult to interpret. The
intent of the constitutional protection is to recognize

(30) only long-standing traditional customs, not those of
recent origin; provincial courts therefore require
aboriginal peoples to provide legal documentation
that any customs they seek to protect were practiced
sufficiently long ago—a criterion defined in practice

(35) to mean prior to the establishment of British
sovereignty over the specific territory. However, this
requirement makes it difficult for aboriginal societies,
which often relied on oral tradition rather than written
records, to support their claims.

(40) Furthermore, even if aboriginal peoples are
successful in convincing the courts that specific rights
should be recognized, it is frequently difficult to
determine exactly what these rights amount to.
Consider aboriginal land claims. Even when

(45) aboriginal ownership of specific lands is fully
established, there remains the problem of interpreting
the meaning of that “ownership.“ In a 1984 case in
Ontario, an aboriginal group claimed that its property
rights should be interpreted as full ownership in the

(50) contemporary sense of private property, which allows
for the sale of the land or its resources. But the
provincial court instead ruled that the law had
previously recognized only the aboriginal right to use
the land and therefore granted property rights so

(55) minimal as to allow only the bare survival of the
community. Here, the provincial court’s ruling was
excessively conservative in its assessment of the
current law. Regrettably, it appears that this group
will not be successful unless it is able to move its

(60) case from the provincial courts into the Supreme
Court of Canada, which will be, one hopes, more
insistent upon a satisfactory application of the
constitutional reforms.

Question 4
Which one of the following most accurately states the main
point of the passage?
(A) The overly conservative rulings of Canada’s provincial
courts have been a barrier to constitutional
reforms intended to protect aboriginal rights.
(B) The overwhelming burden placed on provincial
courts of interpreting constitutional language in
Canada has halted efforts by aboriginal peoples
to gain full ownership of land.
(C) Constitutional language aimed at protecting
aboriginal rights in Canada has so far left the
protection of these rights uncertain due to the
difficult task of interpreting this language.
(D) Constitutional reforms meant to protect aboriginal
rights in Canada have in fact been used by some
provincial courts to limit these rights.
(E) Efforts by aboriginal rights advocates to uphold
constitutional reforms in Canada may be more
successful if heard by the Supreme Court rather
than by the provincial courts.


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Last edited by Sashwat; February 13th, 2014 at 02:46 PM.
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