MCAT-TEST Exam Details
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Exam Code
:MCAT-TEST -
Exam Name
:Medical College Admission Test: Verbal Reasoning, Biological Sciences, Physical Sciences, Writing Sample -
Certification
:Medical Tests Certifications -
Vendor
:Medical Tests -
Total Questions
:812 Q&As -
Last Updated
:Jul 08, 2026
Medical Tests MCAT-TEST Online Questions & Answers
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Question 1:
Which disease is caused by protein misfolding, which causes plaque accumulation in the brain?
A. Alzheimer's disease
B. schizophrenia
C. Parkinson's disease
D. depression -
Question 2:
If the noise level is increased by 30 decibels, what is the ratio of the new intensity to the original intensity?
A. 10
B. 30
C. 100
D. 1000 -
Question 3:
The mind, just like the body, has its needs. The needs of the body are the foundations of society; those of the mind are its amenities. While government and laws provide for the safety and well-being of men when they gather together, the sciences and the arts, which are less despotic but perhaps more powerful, spread garlands of flowers over the iron chains that bind them, stifle in them the sense for that original liberty for which they seem to have been born, cause them to love their own enslavement, and turn them into so-called "civilized people." Necessity raised thrones; the sciences and the arts have strengthened them. O earthly powers: cherish talents and protect those who cultivate them. O civilized people, cultivate them: you happy slaves owe to them that delicate and refined taste of which you are so proud, that gentleness of character and urbanity of manner which make relations among you so amiable and easy -- in other words, that semblance of all the virtues, none of which you actually possess... ...How pleasant it would be to live among us, if our external appearance were always a reflection of what is in our hearts, if decency were virtue, if our maxims served as our rules, and if true philosophy were inseparable from the title of philosopher! But so many qualities are seldom found together, and virtue hardly ever walks in such great pomp. Richness of adornment may be the mark of a man of taste, but a healthy, robust man is known by other signs: it is beneath the rustic clothes of a farmer, and not the gilt of a courtier, that strength and vigor of the body will be found. Ornamentation is just as foreign to virtue, which is the strength and vigor of the soul. The good man is an athlete who prefers to compete in the nude: he disdains all those vile ornaments which would hinder the use of his strength, ornaments which were for the most part invented only to hide some deformity. Before art had molded our manners and taught our passions to speak an affected language, our customs were rustic but natural, and differences in conduct revealed clearly differences in character. Human nature, basically, was no better, but men found security in being able to see through each other easily, and this advantage, which we no longer appreciate, spared them many vices. Now that more subtle refinements and more delicate taste have reduced the art of pleasing to set rules, a base and deceptive uniformity prevails in our behavior, and all minds seem to have been cast in the same mold. Incessantly politeness and propriety make demands on us, and incessantly we follow usage but never our own inclinations. We no longer dare to appear as we are, and under this perpetual constraint, the men who form this herd called society, when placed in the same circumstances, will all act similarly unless stronger motives direct them to do otherwise. Therefore we will never know well those with whom we deal, for to know our friends we will have to wait for some crises to arise -- which is to say that we will have to wait until it is too late, as it is for these very crises that it is essential to know one's friends well. What vice would not accompany this uncertainty? No more sincere friendships, no more genuine esteem, no more well-based confidence. Suspicion, offenses, fears, coldness, reserve, hatred and betrayal will constantly hide under the same false veil of politeness, under that much touted urbanity which we owe to the enlightenment of our times. The name of the Master of the Universe will no longer be profaned by swearing, but insulted by blasphemies that will not offend our scrupulous ears. Men will not boast of their own merits, but belittle those of others. An enemy will not be crudely insulted, but adroitly slandered. National hatreds will die, but so will patriotism. A dangerous skepticism will take the place of the scorning of ignorance. Some excesses will be forbidden, some vices dishonored, but others will be dignified with the name of virtues, and one must either have them or feign them. Let those who want to praise the sobriety of the sages of our time do so; as for me, I see in it only a refinement of intemperance that is as unworthy of my praise as their hypocritical simplicity.
According to the author's arguments, a society that prizes its sciences and arts will:
A. respect urbanity.
B. scorn ignorance.
C. foster sincere friendships.
D. embrace simplicity. -
Question 4:
...Until last year many people -- but not most economists -- thought that the economic data told a simple tale. On one side, productivity -- the average output of an average worker -- was rising. And although the rate of productivity increase was very slow during the 1970's and early 1980's, the official numbers said that it had accelerated significantly in the 1990's. By 1994 an average worker was producing about 20 percent more than his or her counterpart in 1978. On the other hand, other statistics said that real, inflation- adjusted wages had not been rising at anything like the same rate. In fact, some of the most commonly cited numbers showed real wages actually falling over the last 25 years. Those who did their homework knew that the gloomiest numbers overstated the case....Still, even the most optimistic measure, the total hourly compensation of the average worker, rose only 3 percent between 1978 and 1994.... ...But now the experts are telling us that the whole thing may have been a figment of our statistical imaginations.... a blue-ribbon panel of economists headed by Michael Boskin of Stanford declared that the Consumer Price Index [C.P.I.] had been systematically overstating inflation, probably by more than 1 percent per year for the last two decades, mainly failing to take account of changes in the patterns of consumption and improvements in product quality.... ...The Boskin report, in particular, is not an official document -- it will be quite a while before the Government actually issues a revised C.P.I., and the eventual revision may be smaller than Boskin and his colleagues propose. Still, the general outline of the resolution is pretty clear. When all the revisions are taken into account, productivity growth will probably look somewhat higher than it did before, because some of the revisions being proposed to the way we measure consumer prices will also affect the way we calculate growth. But the rate of growth of real wages will look much higher -- and so it will now be roughly in line with productivity, which will therefore reconcile numbers on productivity and wages with data that show a roughly unchanged distribution of income between capital and labor. In other words, the whole story about workers not sharing in productivity gains will turn out to have been based on a statistical illusion. It is important not to go overboard on this point. There are real problems in America, and our previous concerns were by no means pure hypochondria. For one thing, it remains true that the rate of economic progress over the past 25 years has been much slower than it was in the previous 25. Even if Boskin's numbers are right, the income of the median family -- which officially has experienced virtually no gain since 1973 -- has risen by only about 35 percent over the past 25 years, compared with 100 percent over the previous 25. Furthermore, it is quite likely that if we "Boskinized" the old data -- that is, if we tried to adjust the C.P.I. for the 50's and 60's to take account of changing consumption patterns and rising product quality -- we would find that official numbers understated the rate of progress just as much if not more than they did in recent decades.... ...Moreover, while workers as a group have shared fully in national productivity gains, they have not done so equally. The overwhelming evidence of a huge increase in income inequality in America has nothing to do with price indexes and is therefore unaffected by recent statistical revelations. It is still true that families in the bottom fifth, who had 5.4 percent of total income in 1970, had only 4.2 percent in 1994; and that over the same period the share of the top 5 percent went from 15.6 to 20.1. And it is still true that corporate C.E.O.'s, who used to make about 35 times as much as their employees, now make 120 times as much or more.... ...While these are real and serious problems, however, one thing is now clear: the truth about what is happening in America is more subtle than the simplistic morality play about greedy capitalists and oppressed workers that so many would- be sophisticates accepted only a few months ago. There was little excuse for buying into that simplistic view then; there is no excuse now.... Which of the situations below best reflects public perception regarding the economy prior to the release of Boskin's report?
A. Productivity has increased at a much higher rate than employee compensation since 1970.
B. The rate of growth of productivity was approximately that of wages.
C. The distribution of income to labor has radically changed over the last fifteen years.
D. Economic progress has been steady since 1945. -
Question 5:
If a person throws a stone vertically upwards while sitting in a train moving with constant velocity, the stone will fall:
A. in his hand.
B. behind him.
C. in front of him.
D. outside the train. -
Question 6:
Gauguin's attitude toward art marked a break from the past and a beginning to modern art. Like all Post- Impressionist artists, he passed through an Impressionist phase but became quickly dissatisfied with the limitations of the style, and went on to discover a new style that had the directness and universality of a symbol and that concentrated on impressions, ideas and experiences. The beginning of his modern tradition lay in his rejection of Impressionism. He considered naturalism an error to be avoided. He was preoccupied with suggestion rather than description, seeking to portray not the exterior, but the essence of things in their purest, simplest, and most primitive form, which could only be achieved through simplification of the form. He firmly believed throughout his life that "art is an abstraction" and that "this abstraction [must be derived] from nature while dreaming before it." One must think of the creation that will result rather than the model, and not try to render the model exactly as one sees it. This was the birth of "Synthetism" or rather Synthetist-Symbolic, as Gauguin referred to it, using the term "symbolic" to indicate that the forms and patterns in his pictures were meant to suggest mental images or ideas and not simply to record visual experience.
Symbolism flourished around the period of 1885 to 1910 and can be defined as the rejection of direct, literal representation in favor of evocation and suggestion. Painters tried to give a visual expression to emotional experiences, and therefore the movement was a reaction against the naturalistic aims of Impressionism. Satisfying the need for a more spiritual or emotional approach in art, Symbolism is characterized by the desire to seek refuge in a dreamworld of beauty and the belief that color and line in themselves could express ideas. Stylistically, the tendency was towards flattened forms and broad areas of color, and features of the movement were an intense religious feeling and an interest in subjects of death, disease, and sin.
Similarly, "Synthetism" involved the simplification of forms into large-scale patterns and the expressive purification of colors. Form and color had to be simplified for the sake of expression. This style reacted against the "formlessness" of Impressionism and favored painting subjectively and expressing one's ideas rather than relying on external objects as subject matters. It was characterized by areas of pure colors, very defined contours, an emphasis on pattern and decorative qualities, and a relative absence of shadows.
Gauguin's new art form merged these two movements and succeeded in freeing color, form, and line, bringing it to express the artists' emotions, sensibilities, and personal experiences of the world around them. His style created a break with the old tradition of descriptive naturalism and favored the synthesis of observation and imagination. Gauguin sustained that forms are not discovered in nature but in one's wild imagination, and it was in himself that he searched rather than in his surroundings. For this reason, he scorned the Impressionists for their lack of imagination and their mere scientific reasoning. Furthermore, Gauguin used color unnaturalistically for its decorative or emotional effect and reintroduced emphatic outlines. "Synthetism" signified for him that the forms of his pictures were constructed from symbolic patterns of color and linear rhythms and were not mere scientific reproductions of what is seen by the eye.
Dempsey, A., and Dempsey, A. (2010). Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames and Hudson.
Which of the following hypothetical pieces of evidence would diminish the author's claims about the importance of Gauguin?
A. Evidence that Gauguin's style of painting was based on work by van Gogh and other painters active during the 1870s and 80s.
B. Evidence that both Gauguin and the Impressionists rejected the more formal and conventional realism of the early 1800s.
C. Photographic evidence that some of Gauguin's works bear no apparent resemblance to the landscape they were supposedly based on.
D. Evidence that the Impressionists' works were considered just as shocking and revolutionary in their time as Gauguin's work would later be. -
Question 7:
The process by which individuals decide and choose to seek assistance for health or mental health problems is called help-seeking. Table 1 displays the percentage of American Indian/Alaska Native and non-Hispanic White adults who received mental health or counseling treatment in 2008
Help-seeking is a complex process and individuals will choose to obtain treatment for a variety of reasons. One of the strongest individual-related help-seeking predictors amounts to perceiving the need to do so. Other individual-related factors are the educational and the socioeconomic status. There may also be systematic factors that prevent people from doing so, such as general mistrust of health, mental health, and social service institutions, particularly among racial and ethnic minorities. It has been speculated that some of the mistrust stems from research studies, sponsored by medical establishments, where racial and ethnic minorities express concerns of being recruited for the purpose of serving as guinea pigs. Focus groups with African Americans and Chinese immigrants confirmed this anxiety and fear.
Thus, cultural factors also play a role in the help-seeking process. Western cultural norms about medicine are premised on norms of individualism. However, individuals from other cultures and racial and ethnic minority groups tend to be both more collectivistic and fatalist. Disease, both medical and mental, is believed to occur because of fate. It is not something where one should spend much time and effort fighting; the needs of the family and even of the extended family are to come first.
Table 1 Access to health care: Percentage of adults who received mental health treatment or counseling in the past year, 2008
Source: Adapted from U.S. Department of Health and Human Services,"Mental Health and American Indians/ Alaska Natives"
How might Sandra Bem's theory about masculinity and femininity explain the gender differences in access to mental health and counseling services among Native American Indians, depicted in Table 1?
A. Gender role conflict is more often experienced by men. Therefore, they are more likely to internalize symptoms and not seek treatment.
B. As a result of the stereotypical characteristics associated with femininity, women are more likely to seek formal assistance. Also, due to stereotypical traits associated with masculinity, the opposite trend is observed in men.
C. Native American Indian females are more collectivism-oriented. This is based on feminine traits, and is less frequent observed in males.
D. Differences in attributes between men and women are rooted in neurobiology, and this then influences help-seeking behaviors. -
Question 8:
The James-Lange Theory of Emotion proposes that:
A. a person's thoughts about physiological reactions determine emotions.
B. physiological changes have no influence on emotions.
C. emotions cause physiological reactions.
D. physiological changes influence emotions. -
Question 9:
Family violence, such as domestic violence, child abuse, and elder abuse, are serious and pervasive problems in the United States. On an annual basis, the National Crime Survey has found domestic violence results in 21000 hospitalizations, 99800 days of hospitalization, 28700 emergency department visits, and 39900 visits to physicians.
Currently there is little consensus about the definitions of intimate violence. Even the terms employed are varied; for example, domestic violence, conjugal violence, intimate abuse, and partner abuse. Similarly, there are a range of causal explanations, and these are contingent upon the theoretical perspective employed. There is also controversy whether the term "violence," "abuse," or "aggression" should be used. Finally, within the terms adopted, there is no consensus about the victim-perpetrator relationship. For example, do the terms refer to a married co-habiting couple? Two heterosexual individuals who do not reside together but are dating? All this has implications for research, practice, and policy.
The National Violence Against Women Survey was one of the largest studies sponsored by the National Institute of Justice and the Centers for Disease Control and Prevention. It systematically analyzed crime against women in the United States. A total of 8000 men and 8000 women in the United States were interviewed on the phone using a closed-ended survey. Table 1 displays the breakdown of figures when examining life time victimization by racial groups.
Table 1 Percentage of people victimized by an intimate partner in lifetime, by victim gender, type of victimization, and victim race Source: Adapted from P Tjaden and N. Thoennes, "Consequences of Intimate Partner Violence: Findings from the National Violence Against Women Survey."
Which of the following methodological procedures would NOT help to assure that the findings in Table 1 allow drawing valid and reliable conclusions about differences in victimization incidence across race groups?
A. Verify whether the population in the US shows or does not show the same proportion of races as that found for the study illustrated in Table 1.
B. Create equal sample sizes and test whether group differences are significant, like through ANOVA.
C. Verify whether the samples per condition are or are not fairly equivalent in term of demographic characteristics, such as age, place of residence, and employment status.
D. Verify whether race groups are or are not strongly and significantly correlated to the number of victimization incidents. -
Question 10:
Gauguin's attitude toward art marked a break from the past and a beginning to modern art. Like all Post- Impressionist artists, he passed through an Impressionist phase but became quickly dissatisfied with the limitations of the style, and went on to discover a new style that had the directness and universality of a symbol and that concentrated on impressions, ideas and experiences. The beginning of his modern tradition lay in his rejection of Impressionism. He considered naturalism an error to be avoided. He was preoccupied with suggestion rather than description, seeking to portray not the exterior, but the essence of things in their purest, simplest, and most primitive form, which could only be achieved through simplification of the form. He firmly believed throughout his life that "art is an abstraction" and that "this abstraction [must be derived] from nature while dreaming before it." One must think of the creation that will result rather than the model, and not try to render the model exactly as one sees it. This was the birth of "Synthetism" or rather Synthetist-Symbolic, as Gauguin referred to it, using the term "symbolic" to indicate that the forms and patterns in his pictures were meant to suggest mental images or ideas and not simply to record visual experience.
Symbolism flourished around the period of 1885 to 1910 and can be defined as the rejection of direct, literal representation in favor of evocation and suggestion. Painters tried to give a visual expression to emotional experiences, and therefore the movement was a reaction against the naturalistic aims of Impressionism. Satisfying the need for a more spiritual or emotional approach in art, Symbolism is characterized by the desire to seek refuge in a dreamworld of beauty and the belief that color and line in themselves could express ideas. Stylistically, the tendency was towards flattened forms and broad areas of color, and features of the movement were an intense religious feeling and an interest in subjects of death, disease, and sin.
Similarly, "Synthetism" involved the simplification of forms into large-scale patterns and the expressive purification of colors. Form and color had to be simplified for the sake of expression. This style reacted against the "formlessness" of Impressionism and favored painting subjectively and expressing one's ideas rather than relying on external objects as subject matters. It was characterized by areas of pure colors, very defined contours, an emphasis on pattern and decorative qualities, and a relative absence of shadows.
Gauguin's new art form merged these two movements and succeeded in freeing color, form, and line, bringing it to express the artists' emotions, sensibilities, and personal experiences of the world around them. His style created a break with the old tradition of descriptive naturalism and favored the synthesis of observation and imagination. Gauguin sustained that forms are not discovered in nature but in one's wild imagination, and it was in himself that he searched rather than in his surroundings. For this reason, he scorned the Impressionists for their lack of imagination and their mere scientific reasoning. Furthermore, Gauguin used color unnaturalistically for its decorative or emotional effect and reintroduced emphatic outlines. "Synthetism" signified for him that the forms of his pictures were constructed from symbolic patterns of color and linear rhythms and were not mere scientific reproductions of what is seen by the eye.
Dempsey, A., and Dempsey, A. (2010). Styles, Schools and Movements: The Essential Encyclopaedic Guide to Modern Art. London: Thames and Hudson.
Based on passage information, which of the following can you infer to be among the principles of Impressionism?
A. Representing idealized versions of reality as they exist in the artist's mind or memory
B. Representing reality using technical tools such as photography to capture their exact appearance
C. Representing the feelings derived from an experience through vibrant colors and lines
D. Representing the outward forms of things exactly as they appear to the eye, focusing on color and light instead of outline
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