Cambridge Certificate
in Advanced English
6
WITH ANSWERS
Examination papers from
University of Cambridge
ESOL Examinations:
English for Speakers of
Other Languages
CAMBRIDGE
UNIVERSITY PRESS
C,\\IBRIJ)('F 1':\JnRSITY I'RFSS
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Cambridge Universirv Press
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© Cambridge Universirv Press 2005
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First published 2005
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A
{sbセMQS
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CLllcz/ugll!'
record [or this publication is auailable from the British librarv
978-0-52 [-6 1372-9 Student's Book
0-52[-61.372-8 Student's Book
ISB1\'- [3 ')78-0-521-61373-6 Student's Book with answers
ISBI\i- [0 0-521-613 73-6 Student's Book with answers
ISB1\'- 13 978-0-521-613 76-7 Cassette Set
ISBN- to 0-52 [-6 1376-0 Cassette Set
[SBN-13 978-0-52[-61377-4 Audio CD Set
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ISBN- 13 978-0-521-61.374-.3 Self-srudv Pack
ISBN - [ 0 0-52 [ -6 I .3 74-4 Self-srudv Pack
2
Contents
Thanks and acknowledgements
Introd uction
Test 1
Test 2
Test 3
Test 4
5
Paper
Paper
Paper
Paper
Paper
1
2
3
4
5
Reading
8
Writing
17
English in Use
Listening
29
Speaking
34
20
Paper
Paper
Paper
Paper
Paper
1
2
3
4
5
Reading
36
Writing
45
English in Use
Listening
57
Speaking
62
48
Paper
Paper
Paper
Paper
Paper
1
2
3
4
5
Reading
64
Writing
73
English in Use
Listening
85
Speaking
90
76
Paper
Paper
Paper
Paper
Paper
1
2
3
4
5
Reading
92
Writing
101
English in Use
104
Listening
113
Speaking
118
Visual materials for Paper 5
Test 1
Test 2
Test 3
Test 4
Paper
Paper
Paper
Paper
5
5
5
5
frames
frames
frames
frames
Key
Key
Key
Key
and
and
and
and
transcript
transcript
transcript
transcript
colour section
119
122
125
128
131
Marks and results
Test 1
Test 2
Test 3
Test 4
4
143
153
163
173
Sample answer sheets
183
,
,)
Thanks and acknowledgements
The publishers are grateful to the following for permission to use copyright material. Whilst every effort has
been made to locate the owners of the copyright, in some cases this has been unsuccessful. The publishers
apologise for any infringement or failure to acknowledge the original sources and will be glad to include any
necessary correction in subsequent printings.
The fllde/JelldClzt for the extract on pp.lO-ll from 'How I built the boat of rnv dreams' bv Tom Cunliffe, and
for the adapted cuticle on pAO from 'The Tartan Machine' by Sally Varlow CD Independent l'\ews &: \Iedia
(UK) Ltd, 1999; The Sundav Telcgrapb for the text on pp.15-16 from 'Departure Points' bv Tim Pozzi CD
Telegraph Croup Limited, 1 November 19n; BBe Wildlife Mdg,nine for the adapted extracts on p.3 from
'Natural Classic' book reviews CD Origin Publishing Ltd, The Times for the adapted text on p.38-39 from 'In
search of true north' bv Anjana Ahuja CD Times Newspapers Ltd, 1997; for the extract on p. 65 from \Vorking
with t.niotionat l nt clligcnrc bv Daniel Goleman, CD 1998 by Daniel Golcman. Used bv permission of Bantam
Books, a division of Random House and Bloomsbury Publishing Pic; The Tclcgrapb for the extract on p.66-67
from 'Beginner takes all' bv Serena Allorr CD Telegraph Group Limited, 1998; Georgina Ferrv for the adapted
text on pp.71-72 from 'Dororhv Who?', published in The Financial Times, 5/6 December 19')8; Roger BrelY
for the extract on pp.94-95 adapted from 'Where the landscape will do the walking' published in The
Financial Times, 1999.
For permission to reproduce copyright photographs:
C I: CD Keren Su/Corbis, centre; CD Peter Turnley/Corbis, bottom right; Photos for
Books/photographersdirecr.com, top right; Image Source/Rex Features, top lett; Peter Frischmuth/Still Pictures,
hottoni lett.
C2: TopfotolThe Image Works, top left; Hugh Penney Photography/photographersdirecr.com, t o]: right; Getty
Images, bottom lett 0' right;
C3: CD Garv Houlder/Corbis, top; CD Michael S. Yamashita/Corbis, centre; Cerrv Images, bottom,
C4: CD Little Blue \'Volf Productions/Corbis, bottom left; Kayte Deioma/photographersdirecr.com, top; Cettv
Images, centre left 0" bottom right; Brad Mitchell Photography/photographersdirecr.com, centre right.
C5: CD Jonathan Blair/Corbis, top; Topforo, bottom.
C7: CD Rovaltv Free/Corbis, centre right; Education Photos/John Walmslev, bottom right; Gem Images, to]: C'"
centre left; Topfoto/The Image Works, bottom left.
C8: CD Royalrv Frec/Corbis, top; Empics/SportsChrome, bottom,
C9: Leslie Garland Picture l.ibrarv/Alamv, top left; Chris Howes/Wild Places Phorographv/Alamy, bottom
right; Fmpics/Al', top right; Volvox/Robert Harding Picture Library, centre lett; Rex Features, bottont left.
C 10: CD Robert Holmcs/Corbis, top; Getty Images, bottom.
C 12: Photograph bv James Vevsey/Camera Press London, lower centre; Cettv Images, upper centre:
Imagestate, bottom: Rob van Nostrand, PerfectPhoto, CA/photographersdirecr.com, top.
C 13: CD John Angerson, hottom left 6 right; Seandrakes/photographersdirecr.com, top right;
Jacky Cha pman/Phototusion/phorogra phersdircct.com, top left.
C 14: Photograph by James Vevsev/Carnera Press London, upper centre; Ccn v Images, lower centre;
Imagesrarc, top; Rob van Nostrand, PerfectPhoto, CA/photographersdirecr.com, bottom,
CIS: A I PIX/GrandAngleFoto/photographersdirect.com, top left; Empics/AI', centre right c: liottcon left; EOI'
Pics/K.Tovell/Rex Features, centre left; TopfotolThe Image Works, top right 0' bottom right.
C 16: CD John Angerson, top left 6 right; Seandrakes/photographersdirecr.com, bottom lett: jackv
Cha pman/Photofusion/photogra phersdircct.corn, bottom right.
Artwork: Servis Filmsetting Limited
Picture research by Sandie Huskinson-Rolfe of PHOTOSEEKERS
Design concept by Peter Ducker
Cover design by Dunne &: Scully
The recordings which accompany this book were made at Studio AVP, London.
4
Introduction
This collection of four complete practice tests comprises past papers from the University of
Cambridge ESOL Examinations Certificate in Advanced English (CAE) examination; students
can practise these tests on their own or with the help of a teacher.
The CAE examination is part of a group of examinations developed by Cambridge ESOL
called the Cambridge Main Suite. The Main Suite consists of five examinations that have similar
characteristics but are designed for different levels of English language ability. Within the five
levels, CAE is at Level Cl in the Council of Europe's Common European Framework of
Reference for Languages: Learning, teaching, assessment. It has also been accredited by the
Qualifications and Curriculum Authority in the UK as a Level 2 ESOL certificate in the National
Qualifications Framework. The CAE examination is widely recognised in commerce and
industry and in individual university faculties and other educational institutions.
Examination
Council of Europe
Framework Level
UK National
Qualifications
Framework Level
C2
3
CPE
Certificate of Proficiency
in English
CAE
Certificate in
Advanced English
2
FCE
First Certificate in English
B2
PET
Preliminary English Test
B1
Entrv
KET
Key English Test
A2
Enrrv 2
1
,
.J
Further information
The information contained in this practice book is designed to be an overview of the exam. For
a full descri prion of all of the above exams including information about task types, testing
focus and preparation, please see the relevant handbooks which can be obtained from
Cambridge ESOL at the address below or from the website at: www.CambridgeESOLorg
University of Cambridge ESOL Examinations
1 Hills Road
Cambridge CB 1 2EU
United Kingdom
Telephone: +44 1223 553355
Fax: +44 1223460278
e-mail: ESOLHelpdesk@ucles.org.uk
5
Introduction
The structure of CAE: an overview
The CAE examination consists of five papers.
Paper 1 Reading 1 hour 15 minutes
This paper consists of four parts, each containing one text or several shorter pieces. There are
between 40 and 50 multiple-matching, multiple-choice and gapped-text questions in total.
Paper 2 Writing 2 hours
This paper consists of two parts and candidates have to complete two tasks (letters, reports,
articles, competition entries, proposals, reviews and leaflets) of approximately 250 words each.
Part 1 consists of one compulsory task based on substantial reading input. Part 2 consists of
one task selected from a choice of four. Question 5 is always related to business.
Paper 3 English in Use 1 hour 30 minutes
This paper consists of six parts, designed to test the ability to apply knowledge of the language
system, including vocabulary, grammar, spelling and punctuation, word-building, register and
cohesion. It contains 80 items in total.
Paper 4 Listening 45 minutes (approximately)
This paper consists of four parts, each with texts of varying length and nature which test a
wide range of listening skills. There are between 30 and 40 sentence completion, note
completion, multiple-choice and multiple-matching questions in total. Parts 1, 3 and 4 are
heard twice whereas Part 2 is heard only once.
Paper S Speaking 15 minutes
This paper consists of four parts, based on visual stimuli and verbal prompts. Candidates are
examined in pairs by two examiners, one taking the part of the interlocutor and the other of the
assessor.
Candidates are assessed individually. The assessor focuses on grammar and vocabulary,
discourse management, pronunciation, and interactive communication. The interlocutor
provides a global mark for the whole test.
Grading
The overall CAE grade is based on the total score gained in all five papers. It is not necessary
to achieve a satisfactory level in all five papers in order to pass the examination. Certificates
are given to candidates who pass the examination with grade A, B or c:. A is the highest. The
minimum successful performance in order to achieve grade C corresponds to about 60°/r, of the
total marks. D and E are failing grades. All candidates are sent a Statement of Results which
includes a graphical profile of their performance in each paper and shows their relative
performance in each one. Each paper is weighted to 40 marks. Therefore, the five CAE papers
total 200 marks, after weighting.
For further information on grading and results, go to the website (see page 5).
6
Test 1
Test 1
PAPER 1
READING (1 hour 15 minutes)
Part 1
Answer questions 1-16 by referring to the newspaper article about clock radios on page 9. Indicate
your answers on the separate answer sheet.
For questions 1-16, answer by choosing from the sections of the article (A-E) on page 9.
Some of the choices may be required more than once.
In which section are the following mentioned?
8
a tester admitting that he did not trust any type of alarm clock
1
.
a tester later regretting having touched the controls
2
.
a tester approving of a model because of its conspicuous appearance
3
.
the testers being able to operate the model without reference to the manual
4
..
a tester's praise for a model despite the existence of a technical fault
5
.
doubts about the reliability of a model because of the design of an
additional feature
6
.
the testers feeling positive about their success in getting the model to work
7
..
doubts about whether anyone would wish to follow certain instructions from
the manual
8
.
an explanation of why companies had started to make better radios
9
.
the intended market for the model being apparent from its design
10
.
a tester realising that he had drawn the wrong conclusion about a
particular feature
11
.
the testers agreeing on the usefulness of a particular feature
12
.
an additional feature which made the price seem competitive
13
.
uncertainty over whether the radio controls had been set in the
correct sequence
14
.
a tester's reaction to the imprecision of the alarm
15
.
surprise at the commercial success of a particular model
16
.
Paper 1 Reading
SOUND THE ALARM
Stuart Harris reports
Many of us listen to the radio when we get up in the morning and most of us also require some external
means to persuade us to get out of bed. Thus we have the clock radio. But how do you pick a good one?
Our panel, which consisted of myself plus the inventor Tom Granger and the broadcaster Paul Bridges,
tested five currently available.
A
The 'dual alarm function' that is advertised with this
model does not allow you, as I first supposed, to be
woken by the buzzer, snooze a while and then finally
be driven out of bed. The instruction booklet advises
you to use this function to set two different wake-up
times, one for work days and one for weekends, but
whose life is programmed to this extent?
Since this model costs more or less the same as the
second model tested, the inclusion of a cassette player
is quite a bargain - you can fall asleep to your own
soothing tapes and wake up to a day without news. We
all thought the quality of the radio excellent, too - if only
the whole thing was smaller. It's as big as a rugby ball.
Paul Bridges said, 'Any clock radio I buy has to leave
enough space on the bedside table for my keys, wallet,
glasses and telephone. Anyway, I'm completely
paranoid and always book a wake-up call in case the
alarm doesn't go off.'
B
This model was voted best in the beauty stakes and
overall winner. Paul Bridges declared himself 'in love
with it', although the clock on the one he tested 'kept
getting stuck at 16.00'. I was fascinated by the digital
display, with its classy grey numbers on a gentle green
background. The wide snooze bar means you can tap it
on the edge with your eyes shut. Unfortunately, the
smooth undulations and tactile buttons, like pebbles on
the beach, encouraged me to run my fingers over them
as if they were keys on a piano, which proved my
undoing when I finally looked at the SO-page instruction
booklet.
The clock has a self-power back-up so you don't
have to reset it if someone unceremoniously pulls the
plug out in order to use a hairdryer or the vacuum
cleaner; this met with unanimous approval. However,
we all found it a technical feat to set up - though
completing the learning curve made us feel 'cool' and
sophisticated.
C
Tom Granger described this model with its extra builtin lamp as 'unbelievably tacky' in the way it's made.
'You have to wrench the funny light out of its socket to
get it to work, which makes me wonder about the
quality of the rest of it.' He complained that he had to
read the instruction booklet twice before he could get it
to work; the clock kept leaping from 12.00 to 02.00 so
he had to go round again.
The light was certainly hard to position; you would
never be able to read by it - it only shines on the clock,
which is illuminated anyway. Paul Bridges said he was
'very tickled' by the lamp idea but agreed that the radio
was hard to tune. The buzzer is reminiscent of 'action
stations' on a submarine and made me feel like hurling
the whole thing across the bedroom. Interestingly,
however, this model is the third most popular on the
market.
D
Clearly aimed at young people, with its brightly
coloured casing and matching bootlace strap, this one
appealed to the child in Tom Granger and me. 'I would
choose this one because it doesn't disappear into the
background like the others,' he said. In fact, the
traditional design of the controls made it the only one
we managed to set up without reading the instruction
booklet. Too bad the alarm is allowed a hilarious 20minute margin for error; the manual notes, 'the alarm
may sound about 10 minutes earlier or later than the
pre-set time'. Paul Bridges scoffed at such a notion,
adding that this model was 'terribly fiddly' and, indeed,
'completely useless'.
E
The simplest and cheapest of all the models tested, this
scored points with Tom Granger because it 'seemed
very standard and took up little space', but also
because it has old-fashioned dial tuning. 'It's more
intuitive to set up. With modern push-button tuning
you're never really sure if you've pressed all the
buttons in the right order so you can't have confidence
that the thing will actually work.' He accepted, however,
that manufacturers had been obliged to improve the
quality of radios because of the advent of button-tuning.
I thought the tuning rather crude, as did Paul Bridges,
but we agreed that the radio quality was fine. The
buzzer on this model certainly works; it succeeded in
getting me out of bed in just two beeps!
9
Test 1
Part 2
For questions 17-22, you must choose which of the paragraphs A-G on page 11 fit into the
numbered gaps in the following magazine article. There is one extra paragraph which does not fit
in any of the gaps. Indicate your answers on the separate answer sheet.
THE BOAT OF MY DREAMS
The best boat design should combine old and new, says Tom Cunliffe. And he put it into practice
in his own craft, 'The Westerman'.
This week. the Summer Boat Show in London
is resplendent with fine yachts, bristling with
new technology. Nearly all are descendants
of the hull-shape revolution that took place
25 years ago. By contrast, my own lies
quietly on a tidal creek off the south coast.
She was designed last year but, seeing her,
you might imagine her to be 100 years old
and think that her owner must be some kind
of lost-soul romantic.
QセW
_--I
It has to be said, however, that despite being
セ
an indispensable tool in current design
methods
and
boat-building
practice,
sophisticated
technology
frequently
insulates crews from the harsh realities of
maritime life. These are often the very
realities they hoped to rediscover by going
to sea in the first place.
_ _ . __
N
...
-_.
セ
The occasional battle with flapping canvas is
surely part of a seaman's life. And for what
purpose should we abandon common sense
and move our steering positions from the
security of the aft end to some vulnerable
perch half-way to the bow? The sad answer is
that this creates a cabin like that of an ocean
liner, with space for a bed larger than the one
at home.
10
Her sails were heavy, and she had no pumped
water, no electricity to speak of, no fridge, no
central heating, no winches, and absolutely
no electronics, especially in the navigation
department, yet she was the kindest, easiest
boat that I have ever sailed at sea.
The Westerman has never disappointed me.
Although Nigel Irens, the designer, and Ed
Burnett, his right-hand man, are adept with
computer-assisted design programs, Irens
initially drew this boat on a paper napkin,
and only later transferred his ideas to the
computer. After this had generated a set of
lines, he carved a model, just as boatyards
did in the days of sail. Together we
considered the primary embryonic vessel,
then fed the design back into the electronic
box for modification.
Her appearance is ageless, her motion at sea
is a pleasure and her accommodation, much
of it in reclaimed pitch pine, emanates an
atmosphere of deep peace. Maybe this is
because she was drawn purely as a sailing
craft, without reference to any furniture we
might put into her. That is the well-tried
method of the sea.
Paper 1 Reading
セM
J
Constructed in timber treated with a
penetrating glue, she is totally impervious to
water. Thus she has all the benefits of a glass
fibre boat yet looks like, feels like and sails
like the real thing.
A It's not that I'm suggesting that sailors
should go back to enduring every
hardship. It's always been important to
me that my boats have a coal stove for
warmth and dryness and cosy berths for
sleeping. But why go cruising at all if
every sail sets and furls itself?
E
At the same time, having lived aboard an
ancient wooden beauty in the early
seventies, it's easier to understand more
of this area of the mechanics. My
designer, for example, knows more about
the ways of a boat on the sea than
anyone I can think of.
B Back on land, however, it is a sad fact
that the very antiquity of classic boats
means that they need a lot of looking
after. When I had a bad injury to my
back, I realised that my IS-year love affair
with her had to end. Searching for a
younger replacement produced no
credible contenders, so I decided to build
a new boat from scratch.
F
Perhaps I am, though I doubt it. This boat
has benefited from all the magic of oldfashioned boat design, but it would have
been a much harder job without the
advances of modern know-how.
C In her timeless serenity, she is the living
proof that it works; that there is no need
to follow current fashions to find
satisfaction. and that sometimes it pays
to listen to the lessons of history.
G For me a boat should always be a boat
and not a cottage on the water. When I
bought an earlier boat, Hirta, in which I
circumnavigated Britain for a TV race
series, the previous owner observed that
she had every comfort, but no luxury.
During my long relationship with her,
Hirta taught me how wise he was.
D The next version was nearly right and by
the time the final one appeared, the form
was perfect. The completed boat has now
crossed the North Atlantic and has won
four out of her first six racing starts,
II
,,"ew horizons: Tom Cunliffe on board 'The Westerman'
Test 1
Part 3
Read the following magazine article and answer questions 23-27 on page 13. On your answer
sheet, indicate the letter A, B, C or D against the number of each question, 23-27. Give only one
answer to each question.
Margaret and her liquid assets
.\1algaret rr'illeitts is said to 11l11'e ,I 'sixth sense', Sill' call IlOld a [oilecd ita.zc! rod ahoi« The .\Zrolllld
and detect water. She is illacasilli<ly ill demand !JyJmllers lJllIOSe lJlells have dried lip.
Together with her husband,
Margaret Wilkins runs a welldrilling
business,
using
technology such as drilling
rigs
and
air-compressed
hammers. But when it comes
to locating water, she needs
nothing more than a forked
hazel
stick.
The
couple's
success rate is higher than 90
per cent. Dowsing - the ability
to locate water, minerals and
lost objects underground - is
a so-called 'sixth sense'. There
are many theories about how
it is done, ranging from the
physical, such as magnetism,
to the spiritual. One of the most credible is based on
the knowledge that everything on this planet
vibrates, water more than other matter. It is
suggested that dowsers have an acute ability to
sense vibrations while standing on the Earth's
surface; some dowsers say that they can 'sense'
water, others that they can smell it, smell being the
most acute sense.
For the Wilkins, the drought years of recent times
have been busy, with an almost six-week-Iong
waiting list at one stage. Most of Margaret's
customers are farmers with wells that have dried up:
'We will see customers only once in a lifetime
because wells last for a long time.' Other customers
own remote cottages or barns, now holiday homes,
where the expense of running water pipes for great
distances is prohibitive. Others are golf-course
developers with clubhouse facilities to build.
Margaret tries to locate water between 50 and 70
metres down. 'You can't drill a well where there is
the slightest risk of farm or other waste getting into
the water supply. The water we locate is running in
fissures of impervious rock and, as long as we bring
the water straight up, it should give a good clean
supply, though Cornwall is rich in minerals so you
have to watch out for iron.'
12
Another
necessity
is
electricity to drive the pump;
this is too expensive to run
across miles of fields so
ideally the well should be
near
to
existing
power
supplies.
After considering all this,
Margaret can start to look for
water. On large areas, such as
golf courses, she begins with a
map of the area and a pendulum. 'I hold the pendulum still
and gently move it over the
map. It will swing when it is
suspended over an area where
there is water.'
After the map has indicated likely areas,
Margaret walks over the fields with a hazel stick,
forked and equal in length and width each side.
'Once I'm above water I get a peculiar feeling; I reel
slightly. When it subsides I use the stick to locate
the exact spot where we should drill.' Gripping the
two forks of the stick with both hands, she eases
them outwards slightly to give tension. 'When
water is immediately below, the straight part of the
stick rises up. It's vital to drill exactly where the
stick says. A fraction the wrong way, and you can
miss the waterline altogether. My husband will
dowse the same area as me; usually, not always,
we agree on the precise place to drill. If we
disagree, we won't drill and will keep looking until
we do agree.'
Margaret Wilkins is not in isolation, carrying out
some curious old tradition down in the west of
England. Anthropologists and writers have long
been fascinated by this inexplicable intuition.
Margaret calls it an 'intuitive perception of the
environment' and that is the closest we can get to
understanding why she locates water so accurately.
If she did not have this 'sixth sense', how else could
the family live off their well-drilling business year
after year?
Paper 1 Reading
23
What does the writer say about the theory of vibration and dowsers?
A
B
C
D
24
It has only recently been accepted.
There are limits to its application.
There might be some truth in it.
It is based on inaccurate information.
One reason why people employ Margaret to find water is
A
B
C
D
the
the
the
the
isolated position of their property.
failure of their own efforts.
low fees she charges for her work.
speed at which she operates.
25 Margaret is cautious about new finds of water in Cornwall because they may be
A
B
C
D
unfit for human consumption.
too insignificant to be worthwhile.
too deep to bring to the surface.
expensive to locate with certainty.
26 When Margaret and her husband use the dowsing stick to locate places to drill, they
A
B
C
D
are unlikely to achieve the same result.
have regular differences of opinion.
employ different techniques.
are unwilling to take risks.
27 What does the writer suggest as proof of the effectiveness of Margaret's dowsing?
A
B
C
D
the interest shown in it by anthropologists and writers
the regular income which can be made from it
people's appreciation of the tradition behind it
people's description of it as a 'sixth sense'
13
Test 1
Part 4
Answer questions 28-46 by referring to the newspaper article on pages 15-16 about giving up work
to go travelling. Indicate your answers on the separate answer sheet.
For questions 28-46, answer by choosing from the sections of the article (A-E). Some of the
choices may be required more than once.
Note: When more than one choice is required, these may be given in any order.
In which section(s) of the article are the following mentioned?
the view that going travelling does not represent escaping from
something
14
28
.
a belief that going travelling provides a last opportunity for fun
before leading a more conventional life
29
.
anxiety as to how to deal with a practical issue
30
.
the feeling experienced immediately after giving up a job
31
.
regret at not having gone travelling
33
.
a feeling that the desire to travel may indicate immaturity
34
.
a feeling that older people may not fit in with other travellers
35
.
delaying the date of departure of a journey
36
.
a feeling shared by everybody who goes travelling later in life
37
.
losing self-respect by remaining in a job
38
.
considering the effect of going travelling on career prospects
39
.
the attitude of some employers to employees who go travelling
40
.
a belief that going travelling may result in greater flexibility as
a person
41
.
the personal qualities required in order to decide to go travelling
42
.
the knowledge that permanent employment has become
less usual
43
.
changes in life that prevent people from going travelling
44
.
having no strong desires professionally
45
.
looking forward more and more to going travelling
46
.
32
.
Paper 1 Redding
I may be too old for this lark, but here goes!
At 34, Tim Pozzi has left a goodjob to go backpacking. He ponders what has made
him - and others ofhis age - take the plunge.
A
B
This summer, I quit mv job and resolved to rent out
my flat and go travelling in South East Asia for a
yeaL You might think I'm lucky, but I'm 34 years
old, and l m nervous,
It's not as if I haven't done the travelling thing
before. After univcrsirv. I spent two years
backpacking around North and South America, and
when I returned. was determined to do it again some
day, But vou know how it is ... I fell in love,
embarked on a career, bought a Hat and got used to
earning 'I salary. But I gradually realised I had been
sacrihcing mv own sense of worth for my salary.
When I handed in that letter of resignation, it felt as
though I'd taken charge of mv life again.
I now have no tics. "'hI1\' of mv friends are now
married with children and, while thcv wouldn't swap
places with me, t hev envv me my lack of
responsibilities. I'm no longer in a relationship, and I
have no burning career ambitions. I feel almost
obliged to make the most of that freedom - if only
for mv friends' sake'
Why am I so nervous) In the h rsr place, 1t's a
question of making the ncccssarv arrangements. How
could I bear to have someone else living in mv 11Ome)
And how would I go about organising the letting?
And apart from anything else, I had to decide where
to go.
T'm a shocking procrastinator. and am already
several weeks behind mv intended schedule. ','"light as
well enjoy the summer in England,' I told myself.
Then, 'Why not hang around for the start of the
football season?' Severing emotional ties makes it even
more ditlicult.
I'm putting it off because, deep down, I wonder if
I can still cope with backpacking. \Vill I be able to
readjust to a more basic wav of life? Will I feel out of
place among a comrnunirv of backpackers fresh out
of school and universitv?
Perhaps nor. I've discovered it's increasingly
common for Britons in their late twenties and thirties
to want to disentangle themselves from the lives
they've made for themselves and head ofT for f()reign
climes.
15
Test 1
C
E
Jennifer Cox, of Lonely PIt/net guidebook publishers,
identifies a growing awareness that adventure is there
for the raking: 'The penny's dropped. The sort of
people who alwavs say "I wish I'd had that
opportunirv" are realising that they can have it any
time they want. They just have to be brave enough
and organised enough and confident enough to do it.'
1-'0 I' Danny, a 30-vear-old accountant, and his
girlfriend Tarnrnv. a 28-vear-old teacher, it's a chance
to have a final fling before settling down. They have
bought 'I round-the-world ticket for a year. 'I'm
prepared ((J sacrifice job security ((J have rhe trip,' says
Danny. 'There's alwavs a niggling thought at the back
ofvour mind that. "OK, I'm not moving up the career
ladder, I'm going to be in the same position I was in
before when I come back," but I think it's a risk you
have to take, When I left the office, I threw my
calculator into the river as a ceremonial act of defiance!'
For Matt, who'd just got out of the Army, the
year he spent travelling amounted to a period of
meramorphosis. '\Vhen vourc in the military, there's
a set wav of doing things, a pattern to the way you
approach problems. I went away because I really
needed to temper this, and get rid of this approach in
some cases, in order to have a reasonable existence as
a civilian.'
Is giving in to wanderlust just another example of my
generation's inabilitv to come ((J terms with
adulthood? Jennifer Cox thinks nor. 'It's a sign of a
better educated, more stable society when we're less
concerned with paving the bills than wanting to live
a balanced life. We're actuallv taking the time ((J ask
"Is this what I want?"
Ben, a 32-year-old picture researcher heading off
to Central America for a vcar , does nor believe he's
running away. 'It's more a case of running towards
something. It's trying to grab some things that I want
for myself' But he does feci some trepidation. 'It's
the thought of what I'm leaving behind, that
comfortable routine - just the act of going into the
office every dav. saying "hi" to cvcrvo nc and sitting
down with a cup of coffee.'
I share Ben's reservations about leaving behind an
ordered life with few challenges and I'm nor sure I'd
be making this journev if [ hadn't found my boss so
intolerable. As Jennifer Cox points out: 'This is lairly
typical. There's often a catalvst. like the break-up of a
relationship or the loss of a job. Such an event can
push people to go and do it.'
It mdy have taken a helpful kick up the backside
to get me moving, but I'm now approaching the next
12 months with a mounting sense of excitement.
Whatever the outcome, I'll be able to take
satisfaction in having grabbed life bv the horns. And
in that I'm sure I speak ior all of us ageing
backpackers.
D
While there are as many reasons to go travelling ar
mv time of life as rhere are travellers, there do seem
to be common factors. 'We have a much more
flexible workforce today,' savs Angela Baron of the
Instirure of Personnel Development. 'There are more
people working on short-term contracts and so if
your contract's just come to an end you've got
norhing to lose.' Larger companies are even adopting
career-break policies. 'If you've spent a lot of time
and money training someone, it's nice to know
they're coming back at some point rather than going
to work for a competitor.'
For
Dan Hiscocks, managing director of
Travellerseve, a publishing company that specialises in
the tales of 'ordinary' travellers, an increasing number
of rhirty-sorncrhings are taking stock of their lives. 'If
you're nor happy doing what you're doing - and many
people aren't - it's no longer a question of just seeing it
through. Now people are aware that opportunities exist
and that a job isn't "for life" any more. Travel offers a
chance to reassess, to take a step back and think about
your life.'
16
Paper 2 Writing
PAPER 2
WRITING (2 hours)
Part 1
You are studying at a college in Fordham in England. Fordham town council has decided to
turn Greendale Park, which is opposite your college, into a car park. After reading an article
in the local newspaper about this, your class conducted interviews and did a survey among
residents in the town. You have decided to write a letter to the editor of the newspaper.
Read the newspaper article and look at the chart below, together with the comments from
Fordham residents on page 18. Then, using the information appropriately, write the letter
to the editor, responding to the article, briefly summarising the information from the survey
and presenting your conclusions.
Council Sees Sense
The town council has at last decided to do
something about the problem of parking
in Fordham. Greendale Park is to become
a large car park. with spaces for 800 cars.
This newspaper is fully in favour of
turning what is a little-used area into
something which will really help this town.
We think that money will be better spent
on easing the town's parking problems.
rather than on looking after flowers and
tennis courts!
Class Survey of Fordham Residents
How often do you use Greendale Park?
Never
22%
At least
once a week
52%
Daily
26%
17
-
Test I
Typical comments from Fordham residents
I usually go into the park to eat my lunch - it makes
a nice change from being in the office all day. It's good to
have some fresh air in the town.
----------------------------------------------------
I often take my grandchildren into the park to
run around and play on the swings. Kids don't have
anywhere else round here to play safely.
It's really great going to play tennis in the park in the summer.
The only other place to go is to a private tennis club and we
can't afford that. The courts in the park are good value.
I think the council should think again. How about
building an underground car park or knocking
down the empty factory near the river?
Now write your letter to the newspaper editor, as outlined on page 17 (approximately 250 words).
You do not need to include postal addresses. You should use your own words as far as possible.
18
Paper 2 Writing
Part 2
Choose one of the following writing tasks. Your answer should follow exactly the instructions
given. Write approximately 250 words.
2
You read the following announcement in Sports Watch, a sports magazine.
'We are conducting an international survey on sports and would like to publish readers artrcles Nh:ch
tell us about both of the following pornts
• Which two sports do you most enjoy watching, and why)
• Do you think sports In YOUI" country have been influenced by sports from abroad?
do
IOU
think
this IS the case)
Write your article.
3
You see the following announcement for a competition in an international magazine.
TIME CAPSULE - TO BE OPENED IN 100 YEARS' TIME!
We are preparing a special container designed to be buried underground and opened in
100 years' time. We invite our readers to recommend three things to include in this time
capsule which represent life and culture today, and to say why they would be of interest
to people in the future.
Write your competition entry.
4
An international research group is investigating attitudes to education in different parts of the
world. You have been asked to write a report on education in your country. Your report
should address the following questions:
• What are the strengths and weaknesses of education in your country?
• What educational developments would you like to see in your country in the future?
Write your report.
5
The company you work for is keen to promote international business contacts.
Consequently, your department is allowed to send employees abroad to work in foreign
companies for up to three months. You would like to do this, so your head of department has
asked you to submit a proposal to him. The proposal must explain:
• which type of foreign company you would like to work in, and why
• what you would like to do at this foreign company
• how your visit will benefit the company you now work for.
Write your proposal.
19
Test 1
PAPER 3
ENGLISH IN USE (1 hour 30 minutes)
Part 1
For questions 1-15, read the text below and then decide which answer on page 21 best fits each
space. Indicate your answer on the separate answer sheet. The exercise begins with an example
(0).
Example:
セGM
A
B
c
o
=
---J
The early railway in Britain
In 1830, there were under 100 miles of public railway in Britain. Yet within 20 years, this
(0) ..... had grown to more than 5,000 miles. By the end of the century, almost enough rail
track to (1) ..... the world covered this small island, (2) ..... the nature of travel for ever and
contributing to the industrial revolution that changed the (3) ..... of history in many parts of
the world.
Wherever railways were introduced, economic and social progress quickly (4) ...... In a
single day, rail passengers could travel hundreds of miles, (5) ..... previous journey times by
huge margins and bringing rapid travel within the (6) ..... of ordinary people. Previously,
many people had never ventured (7) ..... the outskirts of their towns and villages. The
railway brought them (8) ..... freedom and enlightenment.
In the 19th century, the railway in Britain (9) ..... something more than just the business
of carrying goods and passengers. Trains were associated with romance, adventure and,
frequently, (10) ..... luxury. The great steam locomotives that thundered across the land
were the jet airliners of their (11) ..... , carrying passengers in comfort over vast distances in
unimaginably short times. But the railways (12) ..... more than revolutionise travel; they also
(13) ..... a distinctive and permanent mark on the British landscape. Whole towns and
industrial centres (14) ..... up around major rail junctions, monumental bridges and viaducts
crossed rivers and valleys and the railway stations themselves became (15) ..... places to
spend time between journeys.
20
Paper 3 English
0
A
amount
®
1
A
revolve
2
A
figure
C
sum
D
quantity
B
enclose
C
encircle
D
orbit
altering
B
amending
C
adapting
D
adjusting
3 A
route
B
way
C
line
D
course
4
A
pursued
B
followed
C
succeeded
D
chased
5
A
cancelling
B
subtracting
C
cutting
D
abolishing
6
A
reach
B
capacity
C
facility
D
hold
7 A
further
B
over
C
beyond
D
above
8 A
larger
B
higher
C
bigger
D
greater
9 A
served
B
functioned
C
represented
D
performed
10 A
considerable
B
generous
C
plentiful
D
sizeable
11
date
B
stage
C
day
D
phase
12 A
caused
B
did
C
produced
D turned
13 A
laid
B
set
C
settled
D
left
14 A
jumped
B
stood
C
burst
D
sprang
15 A
preferable
B
liked
C
desirable
D
wanted
A
171
Use
21
1
Test 1
Part 2
For questions 16-30, complete the following article by writing each missing word in the correct box
on your answer sheet. Use only one word for each space. The exercise begins with an example
(0).
Example:
=W
セN⦅エ ッ
Enjoy the benefits of stress!
Are you looking forward to another busy week? You should be according (0) ..... some
experts. They argue that the stress encountered in (16) ..... daily lives is not only good for
us, but essential to survival. They say that the response to stress, which creates a chemical
called adrenal in, helps the mind and body to act quickly (17) ..... emergencies. Animals and
human beings use it to meet the hostile conditions (18) ..... exist on the planet.
Whilst nobody denies the pressures of everyday life, what is surprising is that we are yet
to develop successful ways of dealing with them. (19) ..... the experts consider the current
strategies to (20) ..... inadequate and often dangerous. They believe that (21) ..... of trying
to manage our response to stress with drugs or relaxation techniques, we must exploit it.
Apparently, research shows that people (22) ..... create conditions of stress for (23) ..... by
doing exciting and risky sports or looking for challenges, cope much better with life's
problems. Activities of this type (24) ..... been shown to create a lot of emotion; people may
actually cry or feel extremely uncomfortable. But there is a point (25) ..... which they realise
they have succeeded and know that it was a positive experience. This is because we learn
through challenge and difficulty. That's (26) ..... we get our wisdom. Few of (27) ..... ,
unfortunately, understand (28) ..... fact. For example, many people believe they suffer from
stress at work, and take time off (29) ..... a result. Yet it has been found in some companies
that by far (30) ..... healthiest people are those with the most responsibility. So next time
you're in a stressful situation, just remember that it will be a positive learning experience
and could also benefit your health!
Paper 3 Eng/ish
111
Use
Part 3
In most lines of the following text, there is either a spelling or a punctuation error. For each
numbered line 31-46, write the correctly spelt word or show the correct punctuation in the box on
your answer sheet. Some lines are correct. Indicate these lines with a tick (.I) in the box. The
exercise begins with three examples (0), (00) and (000).
Examples:
0
chicken, fish
0
00
restaurant
00
000
.I
000
Ice cream
o
Spaghetti with chicken fish and chips, Indian tea. No, these are not
00
items on a restrant menu, but ice cream flavours sold in a shop high
000 in the Venezuelan Andes. At this particular ice cream shop, you are
31
presented with a choice of 683 vareities. It is no surprise, therefore,
32
that it is listed in many referance books as the place which has the
33
most flavours in the world. 'I wanted to do something different, the
34
owner said, 'so I bougth an ice cream machine. It's the best investment
35
I've ever made.' The portuguese businessman started experimenting
36
17 years ago, trying to make avocado ice cream. He finally found a
37
sucessful formula and became addicted to experimenting. Soon his
38
imagination knew no limits. Whatever food you think of his shop has
39
the ice cream version. 'When I'm looking a long the rows of food in a
40
supermarket, I imediately ask myself which flavour I could use next,' the
41
owner said. This can occasionally leed to problems. He once made
42
an ice cream with a chilli flavour that was so strong his customer's
43
complained that their mouths were burning. The owner, Mr. Olvero
44
who keeps the ice cream recipes in his head, says that there is still
45
room for more flavours. He adds that he would be grateful for any
46
suggestions for the shop that he plans to open in the near future
23
Test I
Part 4
For questions 47-61, read the texts on pages 24 and 25. Use the words in the box to the right of
the texts to form one word that fits in the same numbered space in the texts. Write the new word in
the correct box on your answer sheet. The exercise begins with an example (0).
Example:
LEAFLET
The museum of advertising and
packaging
In the heart of the (0) ..... city of Gloucester, visitors can
experience
a
sentimental
journey
back
through
the
(0)
HISTORY
memories of their childhood, all brought vividly to life again
at the Museum of Advertising and Packaging. The result of
(47) ENTHUSE
one man's (47) ..... , the museum is the (48) ..... of twenty-
(48) PRODUCE
five years' research and collecting by Robert Opie. This
(49) TRUE
(49) ..... remarkable collection, the largest of its type in the
(50) EVOLVE
world, now numbers some 300,000 items relating to the
(50) ..... of our consumer society. The (51) ..... of packets,
tins,
bottles and signs
shows
the variety which
exhibition is called a Century of Shopping History. The
change in shopping habits is in part attributable to the
development of the (52) ..... power of advertising, together
24
(52) PERSUADE
was
introduced into the shops. For this reason, the colourful
with (53) ..... advanced technology.
(51) INCLUDE
(53) INCREASE
Paper 3 English in Use
ENCYCLOPAEDIA ENTRY
Making paper
It is (54) ..... believed that paper was invented in China. A
(55) .... , Chinese court official by the name of Ts'ai Lun first
developed a material that was (56) ..... similar to the paper
(54) TRADITION
that we use today. The (57) ..... details of the story are
(55) RESOURCE
unknown, but it is thought that among his ingredients were
(56) APPEAR
bits of tree bark, old rags and fishing nets. Ts'ai Lun's
(57) FACT
inspiration came (58) ..... from making observations of
(58) PRIME
insects that construct a thin-shelled nest from tiny pieces of
(59) INTERRUPT
wood fibre. The first industrial machine for making paper in a
continuous roll was perfected in France in 1799. Since then,
the world has had an (59) ..... supply of paper. Today paper
(60) MANUFACTURE
(61) WRAP
(60) ..... can offer a wide variety of paper types, from fine
white paper to tough brown (61) ..... paper. These days,
paper-making is no longer such a time-consuming activity.
25
Test 1
Part 5
For questions 62-74, read the following film review and use the information in it to complete the
letter to a friend who has asked you about the film. Write the new words in the correct boxes on
your answer sheet. The words you need do not occur in the film review. Use no more than two
words for each gap. The exercise begins with an example (0).
Example:
0
I
anything positive
セ
FILM REVIEW
Fun Time is a recently released film that has received an enormous
amount of publicity allover the world, but I find it very hard to think of
a complimentary remark to make about it. The plot is definitely not
clear and simple, and the majority of people will find it unintelligible.
In my opinion, the director, James Carson, is very much overrated. The
truth is that he ignores the basic principles of film-making and overuses
special effects. All the characters lack credibility and the audience I sat
with started to become restless after about thirty minutes. Because of
this, a lot of people will not stay until the end. They will vote with their
feet. In addition, the actors are playing characters which are quite
inappropriate for them; the soundtrack is absolutely deafening, and the
inadequate lighting makes some scenes almost invisible. What is more,
the general style of the film is derived from earlier and better films. It
completely lacks originality and it looks amateurish. Even if you are a
real fan of James Carson's films, this one will try your patience. It's
certainly not a film I'd bother going to a second time.
26
Paper J English in Use
LETTER
You asked me about Fun Time. I haven't seen it, but I've read a review. The
critic said he couldn't think of (0) ..... to say about it. He thought the story was
far (62) ..... and that most people won't be able to (63) ..... it. It is his opinion
that the director has a better reputation than (64) ...... In particular, he thinks
that special effects are used (65) ...... Also the characters were impossible to
(66) ..... and that, because the film started to become (67) ..... after only half
an hour, many people will probably (68) ..... of the cinema before the end. His
view is that the actors are playing the (69) ..... and that the music is much
(70)
Some scenes can hardly (71)
He didn't think the film had any (72)
at all because of the poor lighting.
at all and to him it didn't look at all
(73) ...... His conclusion is that even those who are (74) ..... James Carson's
films will find this one hard work. I think I'll be giving it a miss and I suggest
you do the same.
27
Test]
Part 6
For questions 75-80, read the following text and then choose from the list A-I given below the best
phrase to fill each of the spaces. Indicate your answers on the separate answer sheet. Each correct
phrase may only be used once. Some of the suggested answers do not fit at all.
The problems of public speaking
For most people, one of the biggest fears in life is having to make a speech, whether at
school, at a wedding, or in our business lives. There are several good reasons for this, not
least amongst them the fear that no-one will have the slightest interest in what you are
saying. If you are on stage, as is often the case with such speeches, there's no problem.
(75) ..... you to see the audience, because the lights blind you the moment you step up. The
only area of the stage that may have no light whatsoever is the lectern where you put your
notes - it will be in total darkness.
(76) ..... you probably realise that you've left your glasses at home. (77) ..... , you now
have to improvise a 40-minute speech based on those few words of your notes you can
actually see. It's then that the technical faults start to come into play. First, if you need any,
your slides and illustrations won't work. (78) ..... , you'll accidentally push the wrong button
and show everything upside down. (79) ..... , they will show the wrong picture at the wrong
time, and even jump a couple. If you're lucky, the lights will fail at this point and the speech
will have to be abandoned!
(80) ..... the technical support is excellent, which allows you to make a good and lasting
impression. It's important to start well. To fight nerves, it's a good idea to grip the lectern
with both hands, but not too tightly, because they have been known to collapse!
A
B
C
D
E
F
G
H
I
28
It's at about this time that
If professionals are in charge
It's always a good thing
If it's in your hands
Fortunately, it is not possible for
There are times, however, when
However, if it isn't the case
Despite having spent ages preparing it
With this in mind
PL1/Jer 4 Listening
PAPER 4
LISTENING (approximately 45 minutes)
Part 1
You will hear part of a lecture in which a man called Tom Trueman talks about golf courses and the
environment. For questions 1-8, complete the sentences.
You will hear the recording twice.
The recent popularity of golf resulted from local success in
Mセ
A demand for new golf courses attracted the interest of both
t;l
_ _-------lL:J
I
and businessmen.
Many developers made the mistake of building golf courses to
1
Golf courses tend to be used by people who live in
-----.J0 standards.
セ
I
Some people think that golf courses look too much like
1
---'0
Trees planted on golf courses are often chosen because they
iイMLセ
0
Tom suggests that golf courses could be ['Tom would like to see golf courses integrated into both the
1
0
as well.
and the ecology.
29
Test 1
Part 2
You will hear a radio talk given by a photographer. For questions 9-16, complete the sentences.
Listen very carefully as you will hear the recording ONCE only.
General Information
Ian says that people prefer to take photographs of
o
things.
--------------'
1=====13
Ian suggests that photograph albums have replaced people's
He says that you should use
1
-----.J13
in order to take good pictures.
Ian recommends that you should
セ
1
poor photographs.
--------------'
Landscapes
Ian suggests taking pictures from different
I
---.JG
He suggests including a varying amount of
1------------,6
in the picture.
Portraits
Ian recommends checking all the
I
He recommends photographing children at their own
30
-----.JG first.
_________-------'G
Paper 4 Listening
Part 3
You will hear an interview on a train with two friends, Jane and Chris, chefs who both won prizes in
the National Railway Chef of the Year competition. For questions 17-24, choose the correct answer
A, S, e or D.
You will hear the recording twice.
6
What was Chris's attitude to the competition?
A
B
e
D
G
Jane admitted that the greatest problem she faced during the competition was having to
A
S
e
D
G
e
D
the
the
the
the
close contact with the customers
necessity to do everything at the same time
opportunity to be creative
need to be focused on the job
What do Chris and Jane feel about what they cook on board the train?
A
B
8
work in a very small space.
be original when travelling at speed.
prepare a meal so quickly.
create a meal with so little money.
What do both Chris and Jane feel is unique about their job?
A
S
セ
He was worried about the quality of his dishes.
He was afraid time might be a bit of a problem.
He admitted he'd been looking forward to the challenge.
He said conditions were similar to his normal routine.
e
o
They
They
They
They
approve of the menus created for them.
consider themselves more adventurous than other chefs.
would like to have more freedom of choice.
are happy to adapt their ideas to suit the job.
Chris thought being a railway chef would suit him mainly because it would enable him to
A
B
e
o
show his ability to work under pressure.
use the skills he had been trained for.
do something out of the ordinary.
satisfy his love of travelling.
31
Test 1
セ
What is often Jane's initial reaction when things spillover?
A
S
e
D
セ
e
D
leaving things to burn under the grill
dropping the main course on the floor
losing his concentration when cooking
not keeping an eye on the oven temperature
How does Jane react to Chris's suggestion for the future?
A
S
e
D
32
asks another member of staff to help her clear up.
blames the train driver for the accident.
tells herself to keep a closer watch next time.
says nasty things to the other staff.
What does Chris say caused his worst disaster?
A
S
a
She
She
She
She
She's
She's
She's
She'd
determined that she'll join him if she can.
looking forward to a challenge of that kind.
afraid Chris wouldn't want her company.
be unable to take part in that kind of activity.
Paper 4 Listening
Part 4
You will hear five short extracts in which different people are talking about works of art they would
buy if they had £20,000.
You will hear the recording twice. While you listen you must complete both tasks.
TASK ONE
For questions 25-29, match the extracts as you hear them with the works of art the people would
buy, listed A-H.
A
works of a more subtle nature
B
works which make a statement
e
well-known works from different artists
D
works from the past
E
copies of works by famous people
F
works portraying scenes from nature
G
works recently on show
H
works from artists just starting out
セ
セ
セ
セ
iセ
TASK TWO
For questions 30-34, match the extracts as you hear them with the comment each speaker makes
aboutthe world of art, listed A-H.
A
Artists should try their best to be commercially successful.
B
Art should be something you would never want to part with.
e
Artists should not try to alter their style to suit the market.
D
To make money out of art, you should be able to spot a bargain.
E
Artists should be appreciated more during their lifetime.
F
People should be wary of buying imitations.
G
Art should always be bought on impulse.
H
Art should not be regarded as an investment.
iセ
iセ
G
iセ
iセ
33
Test 1
PAPER 5
SPEAKING (15 minutes)
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (the assessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 (3 minutes)
The interlocutor first asks you and your partner a few questions. You are then asked to find out
some information about each other, on topics such as hobbies, interests, future plans, etc. You
are then asked further questions by the interlocutor.
Part 2 (4 minutes)
You are each given the opportunity to talk for about a minute, and to comment briefly after your
partner has spoken.
The interlocutor gives you a set of pictures and asks you to talk about them for about one
minute. It is important to listen carefully to the interlocutor's instructions. The interlocutor then
asks your partner a question about your pictures and your partner responds briefly.
You are then given another set of pictures to look at. Your partner talks about these pictures
for about one minute. This time the interlocutor asks you a question about your partner's
pictures and you respond briefly.
Part 3 (approximately 4 minutes)
In this part of the test you and your partner are asked to talk together. The interlocutor places a
new set of pictures on the table between you. This stimulus provides the basis for a discussion.
The interlocutor explains what you have to do.
Part 4 (approximately 4 minutes)
The interlocutor asks some further questions, which leads to a more general discussion of what
you have talked about in Part 3. You may comment on your partner's answers if you wish.
34
Test 2
Test 2
PAPER 1
READING (1 hour 15 minutes)
Part 1
Answer questions 1-16 by referring to the magazine article on page 37, in which four naturalists
explain their choice of most inspiring book about the environment. Indicate your answers on the
separate answer sheet.
For questions 1-16, answer by choosing from the four naturalists (A-D) on page 37. Some of
the choices may be required more than once.
Which naturalist
36
says that the book contained a wider range of material than other books
he/she owned?
1
.
says that the human race is often blamed for its destructive relationship with
wildlife?
2
..
says that the book can make the organisation of a particular animal group
clear to an observer?
3
.
praises the author's desire to make the work accessible to the non-specialist?
4
..
explains what motivated him/her to start drawing?
5
.
describes experiencing a change of mood when reading the book?
6
.
praises the book for both its use of language and depth of feeling?
7
.
describes the sensory experiences evoked by the book?
8
..
thinks the book encouraged greater optimism about a personal skill?
9
..
mentions an initial reluctance to become involved in investigating
environmental issues?
10
.
attributes the skill of the illustrator to extensive observation?
11
..
has come into contact with many leading environmental figures through work?
12
.
attributes the immediate appeal of the book to its illustrations?
13
.
first read the book at a time when experiencing problems?
14
.
comments on the illustrator's ability to show animal behaviour through
deceptively simple pictures?
15
..
says that no other book has proved to be as good as the one nominated?
16
.
Paper 1 Reading
Natural Books
We invited four leading naturalists to tell us about the wildlife classic that has
influenced them most
A
C
Geoffrey Lean
At least it wasn't hard to choose the author. As an
environmental journalist, one advantage of longevity is
that I have had the chance to meet some of the giants
who pioneered thinking in the field. Of these, none
stood, indeed, still stands, taller than a small, frail
woman, Barbara Ward. I can't think of anyone else
more at the heart of environmental issues in post-war
Europe. She has synthesised her experience of various
environmental movements into her own compelling
philosophy. Unwillingly 'volunteered' to cover the field, I
found, as a young journalist, that she, more than
anyone, made it all make sense.
Picking the book was much harder. It could have
been Only One Earth or Progress for a Small Planet.
But despite its title (which sounded old-fashioned, even
in 1976), The Home of Man is, to me, Barbara's most
important book. Its focus is on the explosive growth of
the world's cities, but its canvas is the great themes to
which she devoted her life. It is as eloquent and as
impassioned a plea as exists for what we would now
call 'sustainable human development'. In the hundreds
of books I have read since, I have yet to meet its equal.
Lee Durrell
Most definitely, My Family and Other Animals by Gerald
Durrell is the book that has had the greatest influence
on my life. Beyond the obvious reason that it ultimately
led me to a wonderful husband, and an exciting career
in conservation, this extraordinary book once and for all
defined my devotion to the natural world.
I was doing research work into animal vocalisations in
Madagascar when I first read the book. I had been there
two years and was discouraged by the number of
setbacks I was encountering but when, at the end of the
day, I opened My Family and Other Animals to where I
had left off the night before, the world became a brighter
place. Animals, people, joy and beauty inextricably
woven together - a microcosm of a world worth saving.
Many people say that our species is the worst
because of the terrible things we have done to the
others. But I like to think back to Gerald as a boy in My
Family and Other Animals, looking at the world's
inhabitants as a whole, a family whose members, be
they good, bad or indifferent, are nevertheless so
intertwined as to be inseparable. And that is a concept
we all need to grasp.
B
D
Linda Bennett
When I open the pages of Signals for Survival by Niko
Tinbergen, I can hear the long calls of herring gulls,
recall the smell of the guano in the hot sun and
visualise the general hullabaloo of the colony. This book
explains superbly, through words and pictures, the
fascinating world of animal communication.
Read Signals for Survival and then watch any gull
colony, and the frenzy of activity changes from apparent
chaos to a highly efficient social structure. You can see
which birds are partners, where the boundaries are and,
later on in the season, whole families can be
recognised.
A distinguished behaviourist, Niko Tinbergen came
from that rare breed of academics who wish to explain
their findings to the layperson. His collaboration in this
book with one of this century's most talented wildlife
artists, Eric Ennion, was inspirational and has produced
a book of interest to anyone with a love of wildlife. His
spontaneous style of painting came from years of
watching and understanding birds. With just a minimal
amount of line and colour, he brings to life how one gull
is an aggressor, how another shows appeasement. This
is the art of a true field naturalist.
Bruce Pearson
A copy of The Shell Bird Book, by James Fisher, found
its way into my school library shortly after it was first
published in 1966. I was drawn to it at once, especially
to the 48 colour plates of birds by Eric Ennion, painted,
as the jacket puts it, ... with particular skill and charm'.
It was those Ennion images which captured my
attention.
I already had copies of other bird books and had
spent several holidays learning to identify birds. They
encouraged me to begin sketching what I saw as an aid
to identification. But in The Shell Bird Book there was so
much more to feast on. As well as the glorious Ennion
paintings, there were chapters on migrants and
migration, a review of the history of birds in Britain, and,
best of all, a chapter on birds in music, literature and art.
It was the broad span of ornithological information
and the exciting images that steered me towards being
more of a generalist in my appreciation of birds and the
natural world. The book made it clear that my emotional
and creative response to nature was as valid and as
possible as a rational and scientific one. And, as art was
a stronger subject for me than maths or physics, I
began to see a door opening for me.
37
Test 2
Part 2
For questions 17-22, choose which of the paragraphs A-G on page 39 fit into the numbered gaps
in the following newspaper article. There is one extra paragraph which does not fit in any of the
gaps. Indicate your answers on the separate answer sheet.
In search of true north - and the man behind
Halley's comet
Dr Toby Clark, a researcher at the British Geological Survey, aims to retrace
Sir Edmund Halley's quest to chart compass variations. Anjana Ahuja reports.
Astronomer Sir Edmund Halley (1656-1742) is
best known for the comet that bears his name.
Yet one of his greatest accomplishments, in the
eyes of his contemporaries, was to chart, using
calculations made on his sea voyages on the
warship Paramore, the 'variations of the
compass'. These variations are now known as
'declination', that is, the angle between magnetic
north and true geographical north. Without it,
sailors were unable to correct their compasses.
It was therefore impossible to deduce longitude
precisely and navigate the oceans.
I
17
Dr Clark became fascinated by Halley during a
two-year posting to Halley Station in Antarctica,
where he read biographies of the great scientist.
It was during this period that Halley developed a
diving bell and also advised Sir Isaac Newton
during his writing of PrinCipia Mathematica, the
foundation of classical physics. Recreating the
voyage, Dr Clark says, will afford Halley the
recognition
he deserves. The projected
expedition, which he has entitled 'In the Wake
of the Paramore', will also have scientific merit.
- - -
This voyage took him and his crew to Rio de
Janeiro, down past South Georgia, up again to
Newfoundland and back to England. From these
travels Halley published, in 170 I, a 'New and
Correct Chart shewing the Variations of the
Compasse in the Western and Southern Oceans'.
More sophisticated successors to this primitive
cartographic effort proved indispensable to
seamen for more than a century, before a slow
change in the terrestrial magnetic field rendered
them inaccurate.
セj
_
----_
I
..
_--"
00,000 will have to be raised before he
embarks, and Sir Vivian Fuchs, who led the first
cross-Antarctica
expedition,
is
providing
support for his efforts to do this.
38
The data collected should help to refine the
existing mathematical model of Earth's magnetic
field, called the international geomagnetic
reference field. 'It is common to measure the
size but not the direction of the magnetic field.
That's because you need to know true north to
measure the direction,' says Dr Clark.
@]--
Dr Clark hopes that his measurements will plug
any gaps in its coverage of the Atlantic Ocean
and, he points out, it is also useful to have
ground-based measurements as a comparison. It
is easy to forget just how significant Halley's
Atlantic journey really was. It was the first
dedicated scientific expedition on the seas and
Paper 1 Reading
Halley became the first civilian who was
appointed naval captain to pursue what many
regarded as an obsession with declination. Does
Dr Clark possess the credentials to make his
parallel voyage a success?
t==T---
iL-l
22
__
I
-----J
_
_
A 'On our expedition we can use global
positioning satellites to determine that.' The
British Geological Survey and the United
States Navy have offered to supply instruments. By chance, a Danish satellite will be
taking similar measurements over the globe.
And does he share Halley's obsessive trait? 'I am
prepared to give up my life for eight months to
do this, so I suppose some people might think
I'm obsessed. But I wouldn't want to sail across
the Atlantic again without a good reason. Halley,
and his fascinating life, have given me a real
sense of purpose.'
E
It will involve making the measurements that
Halley made, but with far more precise
instruments. These measurements need to
be updated because the terrestrial magnetic
field is slowly but constantly changing.
F
In addition, the charts that he produced are
celebrated by cartographers - they are said
to be the first maps that used lines to
delineate physical quantities. The contours
became known briefly as 'halleyan' lines.
G
'Halley led a remarkable life: Dr Clark says.
'He was not only a respected scientist but
also led expeditions. He was not just an
astronomer but also did research in
geophysics. While he was Astronomer
Royal, he mapped the positions of the stars,
and also found time for other interests.'
B Ifall goes well, Halley's accomplishments will
be celebrated once again. Dr Clark, himself
a keen sailor, plans to commemorate the
three-hundredth anniversary of Halley's trip
by retracing the route of the Paramore.
C As well as spending two years in Antarctica
and working in the geomagnetic group at
the British Geological Survey, he has already
sailed the 13,000 kilometres from Rio de
Janeiro to England. He envisages that the
expedition will be completed in four stages,
with four different crews.
o
So it was that Halley, one of only two men
in the land at that time paid to conduct
scientific research, set sail for the Cape
Verde Islands with the grand plan of charting
declination in the North and South Atlantic.
The trip was quickly aborted because of
crew insubordination, but Halley returned
to the seas a second time.
39
Test 2
Part 3
Read the following newspaper article and answer questions 23-28 on page 41. On your answer
sheet, indicate the letter A, S, C or D against the number of each question, 23-28. Give only one
answer to each question.
The Tartan Museum
The modern, cheese-wedge buildings ofScotland's national museum contrast sharply with its
historic Edinburgh location. But would its contents be as striking? Sally Varlow went to visit
the museumjust before it opened
You cannot miss it. At first it was only the
outside of the new Museum of Scotland that was
unmissable, stuck on the corner of Chambers
Street in Edinburgh, with its huge, yellow
sandstone tower and cheese-wedge buildings,
topped by a hulk of a hanging garden. Last
winter the building was greeted with a mix of
modernist architectural applause ('masterpiece',
'stunning'), cautious approval ('striking') and
outright hostility. This winter, now that the
inside is almost ready for the opening, the
exhibitions themselves look set for a similar fate.
Forget
the
does-it-tell-a-nation's-story,
is-itchronological debate. The answers are definitely yes; it
is a many-splendoured dream-coat of stories, each
hung about a precious historic object, and there is an
outline timescale that helps visitors get their bearings
but does not strait-jacket the displays. And no, it does
not let its lovely national treasures - such as Mary
Queen of Scots' jewels and the Holyrood chapel silverget swamped in national pride.
The real issue here. assuming that the collections
are properly preserved. is whether people will find the
museum interesting enough to come back. Dr David
Clarke. the head of exhibitions, insists that a visit
should be a pleasurable. visual experience, and that it is
designed not for specialists but for those with little
prior knowledge. Despite this liberalism. Clarke is a
convincing purist when it comes to what is on show.
Mock-ups and scenes from the past that rely heavily on
imagination are out. For Clarke. they are tantamount
to 'giving a complete statement of certainty about what
the past was like. which '. he explains, 'would be wrong.
The public deserves the truth.' The result is that, at this
museum. what you see is what the experts know. But
the question for today's visitor is whether the objects'
stories can be told vividly enough merely with explanation panels. captions and multi-media interpretation
40
and using barely 30 computers in total around the
museum.
Less than three days before the opening, it is still
difficult to be sure. Some impressions are clear. though.
and it is not just the panoramic views of Edinburgh
Castle that take your breath away. Step inside and
what immediately hits you is the sequence of spaces.
Galleries open one into another. different sizes,
different shapes. all with pale walls that are woodpanelled to look like large blocks of stone and inset
with deep display cases. Shafts of daylight stream
through arrow-slit windows and cascade down from
the roof lights. There is room to ponder and enjoy
every item on display.
Thanks to the 12-member Junior board. set up
three years ago with 9- to l2-year-olds drawn from all
over Scotland, the museum also has a Discovery
Centre. What the group really wanted was to be able to
ride through the displays. Dr Clarke admits. They lost
that one, but won a dedicated children's hands-on
centre in what should have been the temporary
exhibition gallery. As a result. the Twentieth Century
gallery, on the top floor. is the only temporary
exhibition. Due to change after three years, it is a
hotchpotch of objects chosen by Scottish people and
other personalities as the items that have had most
impact on life in Scotland in the twentieth century. The
Prime Minister's suggestion was an electric guitar.
Others went for televisions. Thermos flasks and
favourite toys. Although the idea is fun. somehow it
feels like a lightweight solution that has floated up to
the top of the building. not a proper attempt to address
serious issues. It may seem less frothy when the
computerised bank of personal reasons and recollections goes live next week.
Overall. Dr Clarke seems right when he suggests
that 'objects open windows on the past more vividly
than anything else'. As for the modernist architecture:
it works brilliantly from the inside and the top, but
whether it is in the right location is another matter.
Paper 1 Reading
23
How does the writer expect people to react to the exhibitions?
A
S
C
D
24
What does the writer say about the historical focus of the exhibitions?
A
S
C
D
25
There should be something for everyone with an interest in Scottish history.
They should stimulate the visitors' own imaginations.
They should show only what is factually accurate.
They should recreate history in as realistic a way as possible.
the
the
the
the
design
lighting
items on display
number of galleries
What does the writer think of the temporary exhibition?
A
S
C
D
28
adherence to a strict historical timescale is the most important aspect.
historical background of a period is characterised through particular objects.
displays are not always easy to place in a historical context.
importance of national treasures in a historical context is exaggerated.
What is the most impressive aspect of the inside of the museum, according to the writer?
A
S
C
D
27
The
The
The
The
How does Dr Clarke feel about the historical displays?
A
S
C
D
26
They will be more interested in the buildings than the exhibitions.
There will be a predominance of negative feelings.
Their expectations are too high to be satisfied.
There will be no consensus of opinion.
It deserves a better location in the museum.
Its realisation does not satisfy the original concept.
Its contents should be more accessible to children.
It is difficult to understand the rationale for it.
What is the writer's overall impression of the museum?
A
S
C
D
She
She
She
She
thinks it provides inadequate coverage of Scotland's historic past.
finds its approach insufficiently different from that of any other museum.
considers the building to be impractical for its purpose.
feels unsure as to whether the exhibitions will live up to their setting.
41
Test 2
Part 4
Answer questions 29-47 by referring to the interviews with talented people on pages 43-44.
Indicate your answers on the separate answer sheet.
For questions 29-47, answer by choosing from the sections of the article (A-E). Some of the
choices may be required more than once.
Which person
42
says he is keen to avoid producing uninspired work?
29
.
admits to making technical errors in his work that he is unlikely to repeat?
30
.
disagrees with a commonly held view about the kind of work he does?
31
.
surprised the interviewer by his lack of relevant experience at the start of
his career?
32
..
had been trying for a long time to achieve recognition?
33
.
admits that he is no longer motivated by the same things as when he
was younger?
34
..
continued with his education after becoming disillusioned with the work he
was doing?
35
.
mentions the respect he has for a fellow performer?
36
.
is uncertain about the funding he will get for his current work?
37
.
says he only became committed to his work when he recognised his own
talents?
38
.
was about to abandon his career ambitions at one point?
39
.
is praised by the interviewer for risking a change of direction in his work?
40
.
describes how he would be satisfied with a low level of commercial success?
41
.
describes the benefits of a particular working relationship?
42
.
talks about the difficulties he might encounter with a new form of work?
43
.
became well-known as a result of a television appearance?
44
.
describes how he felt when he started to work with others who shared his
views?
45
.
is optimistic that his recent success will make up for past disappointments?
46
..
has a career history that prompts the interviewer to say his success was
inevitable?
47
.
Paper 1 Reading
Fame and Fortune
Imogen Edwards-Jones interviews some of the new British talent, from poet
to pop star, heading for the top
A
Nick Grosso, in his early 30s, is the author
of three critically acclaimed plays. He is
currently adapting his first play, Peaches,
into a screenplay. 'It's low budget but we
don't know how low,' he explains. 'It
certainly won't be over £30 million, but
then it could be 30 quid.'
Although obviously gifted, the most
extraordinary thing about Nick is that
before he wrote Peaches he had never
been to or read a play in his life, 'When I
wrote the play, I never even imagined it
would get put on,' he says. 'It's set in a
car. I probably wouldn't do that now
because I know the logistical problems. I
knew absolutely nothing then.'
He left school at 16, only to return a year
later, After A-levels, he enrolled at the
Young People's Theatre, 'I realised I wanted
to write for actors. I wanted my writing to be
heard rather than read because of the
rhythm and rhyme,' he says, 'Suddenly I
was surrounded by like-minded people, It
was the first time I'd been in an educational
environment and actually enjoyed myself. It
was very stimulating,'
B
Comedian Simon Pegg, 28, has come a
long way in his career since studying
drama at Bristol University. He is currently
writing a television comedy series, and has
just finished a punishing tour around the
country with comedy star Steve Coogan,
He's always worked hard, Even as far
back as Bristol, he was honing his art in
comedy clubs. 'It was very theoretical at
university,' remembers Simon, 'It made me
realise I didn't want to be a straight actor
and that I'd always been more interested
in comedy, People think that comedy is
the hardest job in the world and it really
isn't. If you've got the courage and
you've got good material, it's a wonderful
thing to make people laugh.'
He has performed with the comic team
Funny Business, but it is his relationship with
Steve Coogan that has proved the most
fruitful. 'He saw my show and, as I was a
huge fan of his, he could probably see me
mimicking him,' admits Simon, 'It was
terrifying the first time I met him but we've
become good mates. We have a great
rapport, We make each other laugh and
it's a really creative atmosphere,'
C
Ciaran McMenamin, 24, came to the
public's attention when he disco-danced
into their living rooms as the lead in the
series The Young Person's Guide To
Becoming A Rock Star, The criticol
reaction was extremely positive and his
subsequent rise has been meteoric. 'It's
been a really good showcase for me,' he
says with a smile, 'I'm now in a situation
where I can pick and choose what I do,
which is what I've always wanted.' It is an
unusually comfortable position to be in,
especially when you consider that he has
only just graduated, But glance at
Cloron's early career, and it's obvious
such recognition was always on the cards,
43
1
Test 2
Encouraged by his mother, he went
from playing lead roles at school to the
Ulster Youth Theatre, where he stayed for
four years, 'Basically I was using acting as
an excuse not to do homework,' laughs
Cioron 'But I suddenly decided I wanted
to make a go of it because I had a knack
for it, and a passion for it,'
Now he is more or less sitting back and
waiting for the plaudits to roll in - but ask
him what he thinks of the fame game and
he suddenly becomes pensive, 'When
you're 18, you think you'll love the photos
and the interviews but you soon realise it's
not what you're acting for, It's not about
that, It's about getting respect for doing
good work,'
D
Neil Taylor, 25, is the lead singer in the pop
band Matrix, which has just signed a threealbum deal with Domino Records, Neil
and the other half of Matrix, Rick Brown,
are already tipped to be huge when their
single, Chimera, is released shortly, 'The
record company's idea of good sales is
very different to mine,' he says, 'They're
talking smash hit, but I've no idea, For me,
if two people buy it, I'll be happy.'
Unlike so many new pop sensations, Neil
has actually worked very hard for his
success, He left school at 16 and has been
trying to break into the music business ever
since, 'It's funny how things happen,' he
says, 'I'd been slogging away doing
student gigs for eight years and I was
starting to get a bit jaded, I was just about
to give up when this happened.' By 'this'
he means meeting Rick Brown, who
already had contacts at Domino, and
forming Matrix, It couldn't have happened
at a better time, 'There were times when I
was thoroughly depressed - and I've been
in some atrocious bands, But hopefully it
will all have been worth it,'
44
E
Poet and author Stephen Richards is 27
years old and has won more prizes,
awards and academic honours than
anyone twice his age, He is already well
known on the poetry circuit, where he has
been touring and giving several readings
a week for the past six years, Now his first
novel, Hidden, will be published in March,
'It's a story of obsessive love, It was a very
strong idea that I couldn't do as a poem.'
Stephen was a huge fan of creative
writing
at
school,
but
became
disenchanted with education later on, 'I
decided not to go to university but it
wasn't until I became very bored with
stuffing envelopes at a theatre that I
decided I should,' After university, he
published his first work, a children's book,
in 1992, 'I don't think my parents expected
me to be a writer - they always thought
I'd be a reader because that's all I did as
a child,' With his poetry receiving such
critical acclaim, his move into novels is
indeed brave, 'There's a framework with
my poetry and less scope for me to do
something hideously wrong,' he explains,
'Because a novel can be any length of
words, there are more words that could
be bad words, My main ambition is not to
get into a pattern where I'm just churning
stuff out without worrying about the
quality,'
Paper 2 Writing
PAPER 2
WRITING (2 hours)
Part 1
You recently took part in an exchange programme in Canada where you stayed with a
Canadian student for four weeks. The editor of the English language newspaper at your
college has now asked you to write an article for the newspaper, describing what you
enjoyed about your visit, explaining any problems you had and encouraging readers to take
part in the exchange programme.
Read the extracts from the letters from the editor of the newspaper and from the Canadian
student below and, on page 46, the original advertisement for the exchange programme, on
which you have made notes. Then, using the information appropriately, write the article,
describing what you enjoyed about the exchange programme, outlining any problems you
had and persuading more people to take part .
... and so, can you write an article for the paper telling us
about your visit? It sounded great! Don't forget to tell us
about the problems as well as all the good bits. I'd like
your article to persuade more people to do an exchange
because it's so good for their English. I hope they'll read
your article and seriously consider taking part.
Thanks ....
... We had such a great time, didn't we? I'm really glad you enjoyed it. It's
always a bit scary going somewhere new but I hope we made you feel at home.
I knowyou were a bit worried about your English but you were great. Just
think - you spoke nothing but English for 4 weeks! It must have been tiring!
I'm sorry we didn't have time to show you the sights a bit more but the
camping trip was good, wasn't it? Mum wants me to apologise again for the
fact that you had to share a room with me but it was the only way we could
manage it.
I'm really looking forward to visiting you next year.
45
Test 2
studenxchagproセm
IMPROVE YOUR
ENGLISH AND MAKE
A friendセ
true
----
We offer exchange programmes
in
Canada,
USA
Choose to stay for
and
Britain.
=1 - 8 weeks.
We find the families and then
match
really kind food very
good
you up
with
somebody
セィ・ゥイ
your own age so you can share
social life.
BGM] B]セ M M] セ ]Mセ
All
our
host
amilies will show you the local
area and include you as a member
Rocky
best
セ
not much to
__ do in the
evenings,
but ...
Mountains bears!
great
camping
the family. In return, you agree
to host the foreign student in
your family the next year.
You
need to
pay your travel
costs and bring pocket money
more than
I thought
セ
セゥ、ョGエ
we do the rest.
Phone
today
for
take
enough!
more
information - 0208 456 8475.
Now write your article as outlined on page 45 (approximately 250 words). You should use your own
words as far as possible.
46
Paper 2 Writing
Part 2
Choose one of the following writing tasks. Your answer should follow exactly the instructions given.
Write approximately 250 words.
2
There is going to be an international music festival in your area. You have seen the following
notice in the local newspaper.
International Music Festival- Judges Wanted
Can you help) Thousands of groups and musicians have applied to play in our 3-day festival. We need judges to help us
decide which groups and musicians to accept. If you are interested in working with us, please write explaining:
• which types of music you think we should have
• what your own tastes in music are
• what would make you a good judge.
Write your letter of application.
3
It has become very popular for students to work in another country during their vacation. You
have been asked to write the entry on your country to be included in a new book called A
Guide to Temporary Jobs Around the World, covering the following points:
• types of holiday jobs available and how to find them
• pay and conditions
• advice about possible problems students may face when working in your country.
You should write about 2 or 3 vacation jobs.
Write your contribution for the guidebook.
4
You are a member of the students' committee at a college where there are many students
from allover the world. The college has a lot of sports facilities which students can use in
their spare time. There is also a wide range of recreational activities which students can
participate in. The committee is concerned that many students are not taking advantage of
all there is on offer.
You have been asked to write a leaflet which:
• informs the students about the facilities and activities that are available
• points out the benefits of taking up these opportunities
• encourages students to use the facilities and join in the activities.
Write the text for the leaflet.
5
An international group of business people is coming to your company for a one-day visit, in
order to observe working practices. Your manager has asked you to write a letter to the
leader of the group, including:
• a brief introduction to your company
• the programme for the day's visit
• your views on what the group will learn about good working practices from their visit.
Write your letter.
47
Test 2
PAPER 3
ENGLISH IN USE (1 hour 30 minutes)
Part 1
For questions 1-15, read the text below and then decide which answer on page 49 best fits each
space. Indicate your answer on the separate answer sheet. The exercise begins with an example
(0).
Example:
0'-- A
B
=
j⦅G Cセ
=
D
Driving from Beijing to Paris
'Every (0) ..... begins with a single step.' We might (1) ..... this proverb for the 16,000 km
Beijing to Paris car rally, and say that every rally begins with a (2) ..... of the wheel. From
China, several hundred courageous men and women will (3) ..... out for Paris in pursuit of
what, for many, is likely to prove an impossible (4) ....... Everybody is prepared for the worst
and expects a high drop-out (5) ..... , especially on the rally's difficult first (6) ..... across
central China and over the high mountain (7) ..... of the Himalayas. 'If twenty-five cars
(8) ..... it to Paris, we'll be doing well,' says Philip Young, the rally organiser.
Now planned as an annual event, the first Beijing-Paris car rally took place in 1907. It was
won by Prince Borghese, an Italian adventurer, who crossed the (9) ..... line just a few
metres (10) ..... of the only other car to complete the race. Nowadays, not many people
know about Prince Borghese, but at the time his achievement was (11) ..... as comparable
to that of Marco Polo, who travelled from Venice to China in the thirteenth century.
According to the (12)
means that the (13)
, all the cars in the rally must be more than thirty years old, which
roads and high altitude are a (14) ..... test of both the cars and the
drivers. A sense of adventure is essential. One driver said, 'Our (15) ..... is to have a good
time, enjoy the experience and the magnificent scenery - and the adventure of a lifetime.'
48
Paper 3 English in Use
0
® journey
B
travel
C
route
0
way
1
A
adapt
B
moderate
C
improve
0
form
2
A
revolution
B
circle
C
rotation
0
turn
3
A
head
B
move
C
set
0
try
4
A
vision
B
fantasy
C
hope
0
dream
5
A
rate
B
number
C
speed
0
frequency
6
A
period
B
stage
C
time
0
round
crossings
B
passes
C
directions
0
passages
7 A
8
A
get
B
take
C
have
0
make
9
A
closing
B
final
C
ending
0
finishing
10 A forward
B
ahead
C
front
0
advance
11 A thought
B
referred
C
regarded
0
noted
12 A orders
B
rules
C
laws
0
customs
13 A crude
B
undeveloped
C
broken
0
rough
14 A firm
B
strict
C
severe
0
grave
15 A aim
B
target
C
proposal
0
intent
49
Test 2
Part 2
For questions 16-30, complete the following article by writing each missing word in the correct box
on your answer sheet. Use only one word for each space. The exercise begins with an example
(0).
been
Blue whales
Blue whales, the world's largest animals, have (0) ..... sighted again in British waters for the
first time in (16) ..... least twenty years. Indications that a population of blue whales was
inhabiting the waters west (17) ..... Scotland came for the first time from the United States
Navy, (18) ..... surveillance system picked up the songs of a lot of different whales.
American zoologists subsequently identified the blue whale song among (19) ......
Now marine biologist, Carol Booker, (20) ..... actually seen a blue whale there herself. She
has no doubt about what she saw, because they have distinctive fins which are very small
for (21) ..... size. She says, 'Worldwide they were almost extinct and (22) ..... seemed they
had completely vanished from the North Atlantic, so you can imagine how I felt actually
seeing (23) ..... ! However, it is certainly (24) ..... soon to say if it is an indication of a
population recovery.' She goes (25) ..... to say, 'What it does show (26) ..... the importance
of this area of the ocean for whales, and (27) ..... essential it is to control pollution of the
seas.'
Bigger than (28) ..... dinosaur known to man, blue whales are the largest animals ever to
(29) ..... lived on earth. A blue whale is more than six metres long at birth and, (30) ..... fully
grown, its heart is the same height as a tall man and weighs as much as a horse.
50
Paper 3 English in Use
Part 3
In most lines of the following text, there is either a spelling or a punctuation error. For each
numbered line 31-46, write the correctly spelt word or show the correct punctuation in the box on
your answer sheet. Some lines are correct. Indicate these lines with a tick (.I) in the box. The
exercise begins with three examples (0), (00) and (000).
Examples: II 0
./
,
!
00
lOOO
point where
00
dominate
000
The guitar in Rock and Roll
o
In just over forty years, the guitar has risen from practical obscurity
00
to a point, where life would seem very strange without it. The first
000 instruments to domminate rock and roll were the piano and the tenor
31
saxophone,
but it wasn't
too long before the guitar caught-up.
32
Fashions in musical instruments may come and go, but the guitar
33
is here to stay. It is the perfect acompaniment to the human voice.
34
It is more portable than the piano, relativly inexpensive and readily
35
adaptible to almost any musical style. The learner guitarist of today
36
has one distinct advantage over his predecessor forty years, or so ago,
37
which is that the guitar he or she buys brand new will be perfectly
38
playable. Musicians are indebted to todays guitar makers for this.
39
Things were far thougher four decades ago. Many guitar stars started
40
out as mere mortals strugling to either buy or build their first guitar.
41
Much experimentation was involved, a lot of it crazy and futile. The
42
appeal of rock and roll led to desparate measures on the part of Britain's
43
youth, as they attemted to own the types of guitar they saw their new
44
heroes' playing on television. Good guitars were expensive, but people
45
with construction skills and helpful parents were able to make almost
46
the real thing, although many efforts to build guitars had disastrious
results.
51
Test 2
Part 4
For questions 47-61, read the texts on pages 52 and 53. Use the words in the boxes to the right of
the texts to form one word that fits in the same numbered space in the texts. Write the new word in
the correct box on your answer sheet. The exercise begins with an example (0).
Example:
セQ⦅o 「 U ・ ェ ョ
セi
EXTRACT FROM AN ARTICLE
Our passion for chocolate
Some experts believe that the reason for our (0) .....
with chocolate lies in its chemical content, but most
tend to put its attraction down to psychology. It has not
OBSESS
been (47) ..... proven that the chemical substances
contained in chocolate lead to our need for it. The
(48) SWEET
, the flavour, texture and calories make it
(49) DESIRE
(48)
Some people are born with a (50) ..... for
sweet things and chocolate readily meets this need
(49)
because of its (51) ..... in every corner of the world. We
grow to associate it with rewards, gifts and love. We
also use it for emotional comfort. Most bars contain
only a small percentage of cocoa solids. Those who are
fans of 'real chocolate', which can contain up to 70%,
claim it is a much (52) ..... option, and less (53) ......
52
(0)
(47) SCIENCE
(50) PREFER
(51) AVAILABLE
(52) HEALTH
(53) ADDICT
Paper 3 English in Use
LEAFLET
The Cheltenham Park Hotel
If you are looking for a hotel designed for (54) ..... , which is
also (55) ..... priced, your search may be over. Situated in a
(54) RELAX
quiet, leafy square, we are five minutes' walk from the town
(55) REASON
centre and ten minutes from the park and sports centre. All
(56) SPACE
sixty-five of our (56) ..... bedrooms, many of them enjoying
(57) TASTE
views of the surrounding countryside, have been (57) .....
(58) IMAGINE
designed and furnished. Each room has satellite colour TV
(59) CHOOSE
and telephone. Our restaurant, with its (58) ..... selection of
award-winning international cuisine and carefully (59)
.
menus, ensures that each meal is an absolutely (60)
.
(60) FORGET
(61) MEMORY
experience. Whether you are here for business or pleasure,
your visit will be (61) ......
53
Test 2
Part 5
For questions 62-74, read the following memo from an airline executive to his secretary regarding
a passenger who has lost his luggage. Use the information in it to complete the numbered gaps in
the formal letter written to the passenger. Write the new words in the correct boxes on your answer
sheet. The words you need do not occur in the memo. Use no more than two words for each
gap. The exercise begins with an example (0).
Example:
0 I
communication
MEMO
TO:
Sally Roget
FROM:
Dave Collins
I've just had a message on my answer phone from Mr Crystal about his
missing bags. Could you write to him to confirm the situation as it now
stands. Tell him that we know that he checked them in at the airport
and that he has a baggage ticket showing this. I was pleased to hear
him say that the people in the lost luggage office were very helpful
when his bags failed to turn up.
I told him in a previous letter that his luggage was still missing.
Unfortunately, nothing has changed. Please tell him that I'm very sorry,
but even though we've made a thorough search, we still can't find it.
Please tell him we're incredibly sorry about all this. We will, of course,
be making it up to him financially. However, we do need to know what
was in the suitcases and roughly how much it's worth. If he has any
questions, he should give me a call as soon as possible.
54
Paper 3 English in Use
FORMAL LETTER
Thank you for your recent (0) ..... in which you refer to the unfortunate problem with your
luggage. I would like to update you on the situation at (62)
We (63) ..... that your bags
were checked in at the airport and that you have the (64)
support this. We are also
pleased that you mention the fact that our Lost Luggage (65) ..... were extremely helpful
when your luggage did (66) ..... on the carousel at the airport. I (67) ..... you in previous
correspondence that your luggage had not been found. Unfortunately, the situation remains
(68) ...... I regret, therefore, that despite having (69) ..... this matter extensively, we have
been unable to (70) ..... either of your two pieces of luggage. We would like to offer our
apologies for this most unfortunate incident. In order to (71)
you we require precise
information about the (72) ..... of your suitcases, with their (73)
values. Should you have
any further queries, please do not hesitate to (74) ..... me.
55
1
Test 2
Part 6
For questions 75-80, read the following text and then choose from the list A-I given below the best
phrase to fill each of the spaces. Indicate your answers on the separate answer sheet. Each correct
phrase may only be used once. Some of the suggested answers do not fit at all.
Climbing Big Ben
It has long been possible to climb Big Ben, the famous clock that stands outside
Parliament, but few visitors to London know this. Brian Davis, claims it is the most
accurate clock in the world and he should know, (75)
.
He greets his tour group at the foot of the clock tower, where 334 steps separate them
from the top or 'belfry'. It is 11.30 a.m. and he aims to be there when Big Ben strikes
noon. Some people have brought ear plugs but are quickly reassured that they won't be
needed. The bell is loud (76) ......
We drag ourselves up the first 114 steps and into a little museum. This is the clock tower
prison room. It looks very inhospitable (77) ...... We continue to tackle the steps in stages
and reach the belfry five minutes before midday. Here Brian points out that, strictly
speaking, Big Ben is the name of the bell (78) ......
When Big Ben booms, I don't put my fingers in my ears because I want to experience the
full might of the noise. Imagine a clap of thunder breaking directly over your head
(79) ...... I could feel it in my teeth. Above the clock face is a mechanism, controlled,
Brian explains, not by technology but by a pile of old coins. And with that he leads us
down again, a man who clearly enjoys (80) ......
A
B
C
D
E
F
G
H
I
56
and so we move on and up quickly
having taken such a long time to build
and then repeated several more times
having spent so much time talking about it
having a job in such an important place
but it is not really that uncomfortable
and is not like any of the other clocks
having a sound that is difficult to hear
and not the clock as people often believe
Paper 4 Listening
PAPER 4
LISTENING (approximately 45 minutes)
Part 1
You will hear part of a radio programme in which an expert on theatre history is talking about the
life of a famous actress called Helen Perry. For questions 1-8, complete the sentences.
You will hear the recording twice.
The common view that acting was an unsuitable career for a woman was shared by
Helen admitted that her greatest problems in acting involved
1-------,0
In her fifties, Helen had to have a dangerous
___________---10
which saved her career.
Helen's broad popularity reflects her skill as both a
{セj
I
and a classical actress.
"----------------
Helen was so popular that a brand of
'--
0
was named after her.
Evidence of Helen's skill as a writer can be found in some of the
___________---.JG
that she wrote.
We can get an idea of the quality of her later performances from
MNjiセ
I
of the time.
What pleased Helen most was the attention she received from
_ _-------JG
57
Test 2
Part 2
You will hear a talk given by Norma Tainton, a journalist who writes reviews of restaurants. For
questions 9-16, complete the sentences.
Listen very carefully as you will hear the recording ONCE only.
FOOD WRITER
Norma's reviews appear in newspapers and
1L-
0
G
The type of food which Norma especially likes eating is '----Norma says she aims to try dishes which are
iMセg
in some way.
Generally, Norma depends on her guests for information about the
Norma says she sometimes needs to make a note of
____________13
13
1
during a meal.
When considering prices, she is keen that her readers get
Norma prefers to avoid making
___________---'G
in restaurants.
about restaurants.
Norma denies that she gets
{イMセ
58
when she goes to a restaurant.
Paper 4 Listening
Part 3
You will hear a radio interview with the writer, Tom Davies. For questions 17-22, choose the correct
answer A, B, e or D.
You will hear the recording twice.
6
How does Tom feel now about being a writer?
A
B
e
D
G
How does Tom feel about the idea for a novel before he begins writing it?
A
B
e
D
G
He
He
He
He
lacks confidence in himself.
is very secretive about it.
likes to get reactions to it.
is uncertain how it will develop.
Tom's behaviour when beginning a new novel can best be described as
A
B
e
D
セ
It is no longer as exciting as it was.
He used to get more pleasure from it.
He is still surprised when it goes well.
It is less difficult to do these days.
determined.
enthusiastic.
impulsive.
unpredictable.
What does Tom say happens to writers as they get older and better known?
A
B
e
D
Their friends are more honest with them.
Publishers are less likely to criticise them.
They get less objective about their own work.
They find it harder to accept criticism.
59
Test 2
EJ
What does Tom admit about his novels?
A
B
C
D
EJ
are not completely imaginary.
are open to various interpretations.
do not reflect his personal views.
do not make very good films.
What did Tom feel about the first film he was involved in making?
A
B
C
D
60
They
They
They
They
He enjoyed being part of a team.
He found it much too stressful.
He earned too little money from it.
He was reassured by how easy it was.
Paper 4 Listening
Part 4
You will hear five short extracts in which different people are reading from their autobiographies.
You will hear the recording twice. While you listen you must complete both tasks.
TASK ONE
For questions 23-27, match the extracts as you hear them with what each speaker is saying, listed
A-H.
A
I made up my mind about something.
B
I had a piece of luck.
C
My popularity started to decline.
0
I received some bad publicity.
E
I achieved an ambition.
F
My attitude to fame changed.
G
I made a mistake.
H
I turned down an opportunity.
セ
Speaker 1
Speaker 2
iセ
Speaker 3
EJ
Speaker 4
r-
Speaker 5
G
TASK TWO
For questions 28-32, match the extracts with the feeling each speaker expresses, listed A-H.
A
regret
B
relief
C
annoyance
0
optimism
E
anxiety
F
embarrassment
G
indifference
H
disappointment
Speaker 1
iセ
Speaker 2
G
Speaker 3
セ
Speaker 4
iセ
Speaker 5
セ
61
Test 2
PAPER 5
SPEAKING (15 minutes for pairs of candidates,
23 minutes for groups of three)
(This test is also suitable for groups of three candidates; this only occurs as the last test of a
session where a centre has an uneven number of candidates.)
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (the assessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 (3 minutes for pairs of candidates, 5 minutes for groups of three)
The interlocutor first asks you and your partner(s) a few questions. You are then asked to find
out some information about each other, on topics such as hobbies, interests, future plans, etc.
You are then asked further questions by the interlocutor.
Part 2 (4 minutes for pairs of candidates, 6 minutes for groups of three)
You are each given the opportunity to talk for about a minute, and to comment briefly after your
partner has spoken.
The interlocutor gives you a set of pictures and asks you to talk about them for about one
minute. The interlocutor also asks you to let your partner(s) see your pictures.
Your partner / one of your partners is then given another set of pictures to look at and this
candidate talks about these pictures for about one minute. The interlocutor also asks this
candidate to let their partner(s) see their pictures.
If a group of three candidates is being examined, the interlocutor gives another set of pictures
to the third candidate to look at. This candidate talks about these pictures for about a minute.
The interlocutor also asks this candidate to let their partners see their pictures.
When you have all had your turn, the interlocutor asks you to look at each other's pictures
again and answer together another question, which relates to all the pictures.
Part 3 (approximately 4 minutes for pairs of candidates, 6 minutes for groups of three)
In this part of the test you and your partner(s) are asked to talk together. The interlocutor places
a new set of pictures on the table in front of you. This stimulus provides the basis for a
discussion. The interlocutor then explains what you have to do.
Part 4 (approximately 4 minutes for pairs of candidates, 6 minutes for groups of three)
The interlocutor asks some further questions, which leads to a more general discussion of what
you have talked about in Part 3. You may comment on the answers of your partner(s) if you wish.
62
....
Test 3
Test 3
PAPER 1
READING (1 hour 15 minutes)
Part 1
Answer questions 1-12 by referring to the newspaper article about emotional intelligence on page
65. Indicate your answers on the separate answer sheet.
For questions 1-12, answer by choosing from the sections of the article (A-D) on page 65.
Some of the choices may be required more than once.
In which section are the following mentioned?
64
the significance of emotional intelligence in work that is challenging
1
..
increased accuracy in the way emotional intelligence is described
2
.
the means by which we are assessed at work having become more
comprehensive
3
.
the fact that emotional intelligence can be combined with other skills to improve
people's ability to cope at work
4
.
areas in which emotional intelligence cannot be expected to offer solutions
5
.
people having succeeded despite inadequacies in emotional intelligence
6
..
the assumption that people have the academic skills to perform their jobs well
7
.
the negative effect that a lack of emotional intelligence can have on a person's
other skills
8
.
the means of predicting who will excel in the workplace
9
..
the reason why organisations promote emotional intelligence in the workplace
10
..
misconceptions about what emotional intelligence involves
11
.
the kind of staff relations that ensure an organisation has an advantage over
its rivals
12
.
Paper 1 Reading
Emotional Intelligence - The Key to Success
Daniel Goleman examines the 'people skills' that are essential for a place
at the top of your profession
A
The rules tor wor], are ,'hanging, We are heing
judged hy a new v.u.I-r ick - nut just hy hull' clever
we are, or hy our training and expertise, hut also by
how well we h.m.Ilc ourselves and each other. This
yardstick is incrca-mulv used in choosinc who will
over
i'e hired .m.l wh.: wi]] not, who will be セャウ・、
and wh.. will nor. The nell' rules can he used to
indicate Il'ho is likely to become a star performer
and whu i, 11ll1St prone to mcdiocrirv. And, no
rnurt er what tielel Ill' II'\1rk in currently, they
measure the trait- that are crucial to our
markctul.ilit v f'll' future jobs, These rules have
little t o ell) wir]: what we Il'ere tuld at sclioo] was
import.mr. The .il-ilirv ro do IITII in examinations
is largely irrclcv.inr to this standard, The new
measure rakes it fur ,granted that lIT all have
enough intellectual al-ilitv and technical knowhull' to elu our jllbs. It focuses instead on social
skills and persllnal qualities. such as initiative and
erup.n hv, aelaprahilin' and persuasiveness - the
'people skills' rh.u make up what is now commonlv
rcfcrrcc! to as emotional intell iuencc.
'
out', Rather, it means manauinu tcclin.« su thur
they are expressed 。ーALイッ ゥ。エ・ャセ
and l1fecti'TIY'
enabling people to work tugether smuurhh
t owards their common gual.
'
c
More and mUIT businesses are ,eelng thut
encouraging crnotional intelligence skills is a viral
component of management !,hilosophy, Anel rhe
less straiuhrforward the job, the more crnor ional
intelligence matters - if onlv because a deticienC\'
in these abilit ic, can hinder the use 'If wh,He'T;'
technical expertise or inte llccr a pet-on may have.
There are many examples ot !,euple Iyhu kll:e risen
to the top norwithstandinu tLlIYS in cmor iorial
intelligence, hut as work becomes more Cl.mplcx
and collaborative, companies where !'euple wor];
together best h.ive a cornpetirivc eelge. In the nell'
workplace, with its emphasis on tc.unwork and ,1
strong customer onenrarion, this crucial set ,If
emotional competencies is bccominu increasingly
essential for excellence in cvcrv i'lh an.l in cvcrv
part of the world.
' .
,
B
o
In a time when fell' ,guaranrees uf job security have
led to the verv concept uf a 'job' heing rapidly
replaced hy 'pllrrahle sk ills', personal quali ties
hegin ro pIay an important rule m the workplace.
Talked ubour looselv エセIイ
decades under a vatietv of
names, trom 'character' and 'personality' to 'soft
skills', there is, ar last, a more precise
understanding of these human talents as well as a
new name tor them. 'Emotional intelligence' is
generally detined ,15 the ahility to monitor and
regulate l)ne'S UIH1 and others' feelings, and to use
feelings to guide thoughr and action. In our worklife it compnsc» tivc basic elements: self-awareness,
self-regulation, motivation, empathy and adeptness
in social relationships. There is a common
assumption that it simply means 'heing nice',
However, ar strategic moments it may demand not
'heing nice', but rather, fur example, bluntly
confront ini, -omeorie with the uncomfortable
truth, Nur dues emotional intelligence mean
giying free rein (() feelings - 'letting it all hang
Whereas one's IQ undergues fell' changes,
emotional intelligence continues to elel'elop as we
go through life and learn from our experiences: our
competence in it can keep grl'lying. In LlCt, stuelies
that
have
measured
pel ,pIe's
cmot ion.il
intelligence through the vcar- shOll' that most
people grow more adept at handling their own
emotions and impulses, at mouv.u in., them-elves
and at honing their empathy and social adroir ncs-.
There is an old-fashioned word for th is gn 1I1th in
emotional intelligence: marurirv. \Jot \'nh' can
emotional intelligence he learnt, but ゥョLャ Gゥセ ャ L ィ
we can add these' skills to our tlllll kit f,lr sUrl'il,l(
This is especially relevant at a time when It seems
a contradiction to put the word» 'iob' and 'stal-ilirv'
together. Emotional intelligence is no llwgic
formula for uncornpctit ive l)rganisarillns, no
guarantee uf more market share or ,1 healthier
bottom line. Rut if the human inurc.lu-nr is
ignored, then nothing else Il'orb as well ,IS it
might.
'
65
Test
j
Part 2
For questions 13-18, you must choose which of the extracts A-G on page 67 fit into the numbered
gaps in the following magazine article. There is one extra paragraph which does not fit in any of the
gaps. Indicate your answers on the separate answer sheet.
Beginner Takes All
Even before it was published, The Horse Whisperer was the hottest book of the year. A first novel by British
screenwriter Nicholas Evans, it has earned its author record-breaking sums. He talks here about his inspiration
and his triumph
The first months of the year were not kind to
Nicholas Evans, screenwriter, producer and
aspiring director. The year began badly when
Life and Limb, a film project he had been
working on for months, fell through 'almost
overnight'. His disappointment mingled with
stomach-churning worry: it had been two years
since he had earned any money and the
promise of that film had been the only buffer
between him and an increasingly irate bank
manager.
13
Although he was acting very much on impulse,
the seeds for the story had been with him for
some time, sown by a farrier he met on
Dartmoor while staying with a friend. The
farrier had told him the story of a docile horse
that had turned, no one knew why, into a fiend.
Its owners were desperate until they heard of a
gypsy who, simply by talking to the animal,
transformed its temperament in a matter of
hours. Such men, the farrier said, were known
as 'horse whisperers'.
14
'It was a funny time,' he says now. 'I was
observing people, but essentially [ was alone
and I really felt as though my life was falling
apart. [' d tried for ten years to make a go of it as
a film-maker, and here 1was, hugely in debt and
wondering how [ was going to feed the children,
and thinking maybe it was all just folly.'
r 15
I
When pushed, he ventured that Evans might get
$30,000 as an advance on the book. 'I had in
66
mind how much 1 needed to payoff a bit of the
overdraft and keep us going, and it was more
than that. [' d spent seven months on Tile J!orse
Wlzisperer, and there were at least another two
to go. $30,000 was a really difficult figure. I was
also advised to write a 12-page synopsis of the
remainder of the book.'
The events that followed have become publishing
history. Within a week - a week of hotly contested
auctions - the novel had been sold to Transworld
Publications in the UK for 5550,000 and to
Delacorte in the US for 53. I5 million, both
record-breaking advances for a first novel.
As they all agreed to this sum, it was decided
that they should each 'pitch' to Evans. And so,
one night in October, he sat in his study while
four great film-makers rang, one after the other,
to beg for the privilege of paying 53 million for
an unfinished novel. Evans told me all this as we
sat drinking coffee on a wooden verandah
perched above the leafy garden of his home. He
said that he had since turned down an offer to
write the screenplay of Tile Horse Wilisperer.
セ⦅N
He would be involved, he said, but at arm's
length. The success of his novel had inevitably
brought forth the offer of new backing for Life
and Limb, but he was no longer sure that he
wanted to make it. '[ think that [ would be
foolish not to write another novel,' he said.
Paper 1 Reading
A
Evans' imagination was captured. He began
researching the subject with a view to
writing a screenplay - he was, after all, a
film-maker. But disillusionment with the
film world following the demise of Life and
Limb prompted him to write the story as a
book. And so throughout the spring he
drove across the US, stopping at ranches
and learning about horses and the men who
work with them.
B
'It's all been such a fairy tale so far. I don't
want to spoil it. Writing at that level is a very
tough business, and I don't want to become
an employee of these people who I like and
who have paid me so much money. I'd hate
to find myself writing a draft or two and
then have them say, "Thanks Nick, but now
we'll bring in so-and-so". '
C
'We couldn't believe it; we sat there with our
jaws gaping. We'd never sent the
manuscript to New York, we still don't know
how it got there,' Evans says. Nor did they
send it to Hollywood, but within that same
week the major studios were fighting over it.
'My agent in the UK wisely involved an
agent over there and when he phoned us to
say, "I think we can get $3 million outright,"
we laughed in disbelief.'
E
He thought that again towards the end of
August, by which time he had returned
home and written the first half of the book.
'At that point the bank manager was getting
really very heavy with us, and I needed to
know whether it was worth going on. I
plucked up the courage to show it to a
friend who was a literary agent; he read it
and said it was "fine".'
F
A wise man, finding himself in Evans'
position, would have got a job. He could
have gone back to being a television
executive, or begun a television project that
had been on hold. Instead, he made a
decision that most people, Evans included,
would consider insane. He bought a ticket
to America and set off for three months to
research his first novel.
G
In October. together with the first two
hundred pages of the novel. this was sent to
seven UK publishers on the eve of their
departure for the annual spending spree at
the internationally renowned Frankfurt
Book Fair. Within days his agent was on the
telephone to report that he had just turned
down the first offer of $75,000. 'I said, "You
what?" And he said, "It's OK, I just sense
something is happening". '
D As a screenwriter. he had yearned for the
freedom of novelists and, when he had it,
found himself 'in the middle of this
immense and terrifying plain without the
support of screenplay rules to guide me.'
But he carries us smoothly through. Even
so, he remains baffled as to why the story
has captured imaginations in the mindblowing way that it has.
67
Test 3
Part 3
Read the following magazine article and answer questions 19-24 on page 69. On your answer
sheet, indicate the letter A, B, Cor D against the number of each question, 19-24. Give only one
answer to each question.
The Cabinet-Maker
Charles Hurst makes a living from periectlv crafted furniture
Joanna Watt meets him
Charles Hurst gives the impression of being a man
in a hurry. I arrive at his workshop, tucked under a
railway arch in East London, and am greeted with
a quick handshake and the words: 'Well, fire away
then!' Whether this brusqueness is real or a front
hiding a shy streak is not immediately apparent.
But a glance around the workshop reveals that
Hurst is obviously busy, with good reason not to
waste a minute of his time.
The arched space is full of half-made pieces of
furniture and planks of wood in an amazing array
of natural colours. Hurst has been a cabinet-maker
for ten years and has built up a very nice
reputation for himself. His order book is always
full for several months in advance, despite the fact
that he does not really promote himself. Word has
spread that if you want a decent cupboard or table,
bookcase or kitchen units, Hurst is your man.
Of course, finding a furniture-maker is not that
taxing a task. Wherever you live in the countryside,
the craft is alive and well. But finding a cabinetmaker who prides himself on making beautifully
crafted furniture with clean, simple lines is less
easy. 'There are few real cabinet-makers now.
People call themselves furniture-makers,' Hurst
says wearily. As a craftsman who sets himself
exacting standards, he is continually disappointed
by some contemporary furniture. 'I am amazed by
what some furniture-makers get away with, and
saddened by what people will put up with.' He rails
against shoddy, mass-produced furniture, and
craftsmen who churn out second-rate pieces.
Such a quest for perfection is obviously a key to
Hurst's success. That and his talent. This man is
not coy about his ability. Indeed, his blatant selfconfidence is as surprising as his initial brusque
manner. 'I have a huge natural ability,' he says,
with a deadpan expression. 'I have always been
good at making things.' If it were not for the
68
self-deprecating mood into which he slipped
towards the end of our interview, I would have
believed his conceit to be wholly genuine.
Hurst is self-taught. So how did he learn his
craft? 'I asked the right questions and picked it all
up,' he says nonchalantly. Almost all of his
commissions come from private individuals
('l used to do some commercial work for
companies but it was soul-destroying'). Some
clients have returned time and again. 'You end up
doing the whole of their house. That is very
satisfying.' But he is honest enough to admit that
relationships with clients do not always run
smoothly. 'The most infuriating clients are those
who don't know what they want, and then decide
they do when it's too late ... my favourite clients
are the exacting ones.'
If Hurst has every reason to be pleased with
himself, he is also gracious in his praise for others
- where it is due. With a sudden shot of modesty,
he says: 'There are people far better than me. I can
admire other people. After all, I wasn't trained at
Parnharn' (the leading college of furniture design).
However, he is also unremittingly critical of those
craftsmen who 'are trying to be artists and take a
year to make one piece.' He also has little time for
degree shows, in which students exhibit their work
but at the same time are 'trying to make fashion
statements. That can be pretentious. A piece of
furniture is not about making a statement. It has to
be something that people really can usc.'
Confident Hurst may be, even brusque, but you
could never call him or his work pretentious.
Indeed, his parting shot displays a welcome downto-earth approach to his craft and a streak of
humility strangely at odds with his earlier selfconfidence. 'After all, I am only making furniture,'
he says as I make my exit.
Paper 1 Reading
19
When she arrived at the workshop, the writer
A
S
C
D
20
Hurst has few problems selling his furniture because he
A
S
C
D
21
has a tendency to exaggerate.
reveals a natural sense of humour.
becomes more animated than he usually is.
appears more arrogant than he really is.
Hurst believes that it is essential for craftsmen to
A
S
C
D
24
It is a difficult skill to learn.
It is only popular in rural areas.
Consumers will accept poor quality furniture.
Simple designs do not appeal to modern tastes.
The writer says that when Hurst describes his 'talent', he
A
S
C
D
23
advertises locally.
is known to be a skilled craftsman.
uses only natural materials.
has a reputation for being fair.
What does Hurst think has led to the decline in the craft of cabinet-making?
A
S
C
D
22
was not sure if her first impression of Hurst was accurate.
was offended by the way Hurst introduced himself.
thought that Hurst was pretending to have a lot to do.
thought it was obvious that Hurst did not want to speak to her.
create original furniture.
exhibit to a wide audience.
produce functional designs.
invest extra time in perfecting their work.
The writer's final impression of Hurst is that he
A
S
C
D
has an unusual attitude to his work.
believes in the special nature of his work.
enjoys being interviewed about his work.
has the ability to put his work into perspective.
69
Test 3
Part 4
Answer questions 25-45 by referring to the newspaper article on pages 71-72 about scientific
biographies. Indicate your answers on the separate answer sheet.
For questions 25-45, answer by choosing from the sections of the article (A-D). Some of the
choices may be required more than once.
Which section mentions the following?
70
the continuing general scarcity of biographies of scientists
25
.
an increase in the number of ways scientists are featured in the media
26
.
certain parallels between the lives of two people
27
.
the fact that science can become accessible to the non-scientist
28
.
the changing nature of books about scientists
29
.
an attitude which is common to scientists and people working in the book trade
30
.
the lack of trust people sometimes have in scientists
31
.
someone whose scientific research went much further than others had
believed possible
32
.
someone whose life mirrors historical developments
33
.
biographies which include the less positive aspects of a scientist's life
34
.
the lessons to be taken from someone else's life
35
.
growing public interest in the everyday lives of brilliant people
36
.
the greatest difficulty in writing the biography of a scientist
37
.
someone who was modest about the interest of their own life to others
38
.
an achievement that would gain more general recognition if it were in
another field
39
.
the fact that most people's comprehension of science does not go beyond
the basics
40
.
the idea that people who study in different disciplines cannot be of interest to
one another
41
.
the fact that people are not ashamed if they are unaware of the names of
great scientists
42
.
an attitude which dissuades people from following a scientific career
43
.
an expectation that was too optimistic
44
.
the absence of personal information in most scientific biographies
45
..
Paper 1 Reading
Dorothy who?
The only British woman scientist to win the Nobel prize should be a household
name in her own country, says Georgina Ferry, but she is little known
A
8
For the past four years, I have been subjecting
friends and acquaintances to the Dorothy
Hodgkin test. It's very simple: when asked
what I am working on, I tell them I am
wnting the first biography of Dorothy
Hodgkin. If their eyes light up, and they say
things like 'Surely there's one already!' they
have passed.
Even scientists themselves have doubted the
value of the scientific biography. 'The lives of
scientists, considered as Lives, almost always
make dull reading', wrote the late Peter
Medawar, another Nobel laureate, who laid
most of the scientific groundwork that now
makes organ transplants possible.
Why should people in Britain know about
Dorothy Hodgkin? The fact that she is the
only British woman scientist to have won a
Nobel prize ought to be enough. Anyone who
held the same distinction in literature would
be a household name. But Hodgkin, who died
in 1994, was a remarkable individual by any
standards, as many-faceted as the crystals she
studied. Her life reflects some of the greatest
upheavals of the 20th century: among them,
the advancement of women's education and
the globalisation of science.
When I began my research, I set out to read
some scientific biographies. One of Hodgkin's
friends recommended a new biography of
Linus Pauling. Pauling was a close friend and
contemporary of Hodgkin, worked in the
same branch of science and shared a
commitment to campaigning against nuclear
weapons. I hurried to the main bookshop in
the university town where I live, only to
discover that not a single biography of
Pauling was on the shelves. I now realise I
was naive to be surprised that Pauling was
not deemed sufficiently interesting to British
readers, even though he was the most
influential chemist of the 20th century and a
winner of Nobel prizes for both chemistry and
peace.
If scientists propagate this negative view, it is
hardly surprising if publishers and booksellers
share it. Treating scientists differently from
everybody else as biographical subjects is one
of the outstanding symptoms of the 'two
cultures' mentality, the belief that there is an
unbridgeable
divide
of
understanding
between the arts and sciences, still prevalent
in the literary world. Few but the towering
giants of science make it into the biography
sections of bookshops.
Of course it is nonsense to say scientists, as a
group, lead less interesting lives than artists
and writers, or actors, or politicians. For
the
fastidiousness
involved
in
some,
maintaining scientific credibility extends to
any kind of media appearance. A leading
geneticist once told me he was happy to be
interviewed about his work, but did not want
to be quoted directly or photographed,
because he did not want to be perceived as
'self-promoting' .
71
Test J
C
o
The avoidance of the personal conveys a false
impression of the enterprise of science that
discourages young people from joining in, and
fosters more public suspicion than it dispels.
Dorothy Hodgkin was devoted to her
scientific work. Her most important successes
were solving the structure of penicillin and
vitamin B12, which won her the Nobel prize
for chemistry in 1964, and of insulin, which
her group solved in 1969. In each case she
pushed the technique into realms of
complexity others deemed unreachable at the
time.
Fortunately, gaps are appearing in the
smokescreen. Contemporary scientists now
regularly appear in the public eye in contexts
other than the straightforward scientific
interview. For instance, Professor Richard
Dawkins presents prizes to winners of a TV
quiz, and geneticist Steve Jones advertises
cars on television. No doubt these activities
have raised eyebrows in laboratories but they
have done more to make scientists
recognisable as people than any number of
academic papers.
The publishing world is also undergoing a
transformation. Scientific biographies and
autobiographies, if they appeared at all, used
to be rather scholarly but dull and overreverent. The life which the scientist in
question led outside work
marriage,
children, things most people regard as fairly
central to their existence - was often
dismissed in a couple of paragraphs. That
changed with Richard Feynman's Surely
You're ]okinR, Mr Feynman?, the hilarious and
affecting memoir of a man who also
happened to be one of the century's greatest
theoretical physicists.
More recently, even the greatest names in
science, such as Isaac Newton, Charles
Darwin, Albert Einstein and Marie Curie
have been allowed to appear with all their
flaws clearly visible. To the reader, it does not
matter that Einstein's relationship with his
family is 'irrelevant' to his General Theory of
Relativity. The question of how creative
genius copes with emotional ups and downs,
trivial practicalities, the social demands of
ordinary life, is absorbing in its own right.
72
But she also had three children to whom she
was devoted and was married to a frequently
absent husband with a career as a historian.
Her personal life is not strictly relevant to her
work as a scientist, but surely we can all learn
from her capacity to unite the disparate
threads of her life into a coherent whole.
There is much in her life of universal interest,
but it would be disloyal of me to imply that
this does not include the science itself.
Scientific inquiry was the passion of
Hodgkin's life, as it has to be for any
successful scientist.
How to communicate the nature of this
passion is the hardest task for the scientific
biographer. Most readers are not equipped
with enough fundamental scientific concepts
to grasp more complex ideas without a lot of
explanation. Understanding scientific ideas is
not really any more difficult than reading
Shakespeare or learning a foreign language it just takes application. It is sad to think that
educated people, who would be embarrassed
if they failed to recognise the name of some
distinguished literary or artistic figure,
continue to live in happy ignorance of the
rich heritage represented by scientists such as
Dorothy Hodgkin.
Paper 2 Writing
PAPER 2
WRITING (2 hours)
Part 1
1
You are studying at a college in Britain. A television company wishes to feature this college
in a programme it is making about language learning institutions. The college principal has
given you the TV company's letter and has asked you to write them a proposal, suggesting
what the film should include.
Read the extract from the TV company's letter below, with your comments, and on page 74,
the memo from the principal, together with the notes you have made about the possible
people to interview. Then, using the information appropriately, write a proposal for the TV
company, explaining which aspects of the college should be filmed, who should be
interviewed and why.
We want to spend a day filming in your college and
would like you to select the most appropriate aspects
of the college from the list below. We would like to
feature two contrasting parts of the college.
recently
modernised
Possible aspects of college:
• classrooms
show
conversation
class?
• library
no! - - - - , • language laboratory
• canteen
no, but garden
possible?
__ _ _ _ _ _ _ _ _ _ _ - - - - - 1 - v.
noisy
• sports field
In addition, we would like to interview two people.
We would also welcome any other suggestions you
may have.
73
Test 3
MEMO
From: The principal
Re:
Request from TV company
Can you prepare a proposal regarding the TV company's request? Select
what you think should be filmed and explain why. As for the two
interviews, three students, Kim, Peter and Maria, have said they would
be interested. It might be a good idea to invite a teacher. What do you
think? Could you make a choice and explain why it would be good to film
the two people you select? We must make sure the programme gives a
positive impression of the college.
Thanks
M Smith
Possible interviews?
Kim
shy, but English good
Peter - been here ages, knows everything!
Maria - chatty and con-Adent, been on lots of
college trips
How about a teacher? Mr Brown would be good ..,
Now write your proposal for the TV company as outlined on page 73 (approximately 250 words).
You should use your own words as far as possible.
74
Paper 2 Writing
Part 2
Choose one of the following writing tasks. Your answer should follow exactly the instructions given.
Write approximately 250 words.
2
You see this announcement in an international student magazine.
Youth Matters
We are preparing a special edition of our magazine dedicated to the problems that
affect young people in different countries today - in particular, those relating to
work, education or the environment. Write us an article about the most important
aspects of one of these issues facing young people in your country today.
Write your article.
3
A friend of your family is applying for a job with a travel company as a tourist guide for
English speaking tourists visiting your country. The company has asked you to provide a
character reference for your friend.
The reference should indicate how long you have known the person. It must also include a
detailed description of the person's character and the reasons why he or she would be
suitable for the job.
Write the reference.
4
You see this announcement in an English language magazine.
COMPETITION
Think about the place where \OU live. work or study. Is there a leisure Iucility which) ou think it needs" An art
gallery" A sporrs centre'! A multi-screen cinema" Or something else')
Write to us and tell us about one new leisure facility you would like to see.
Ynu should:
• sa) what leisure facility you would like and why you think it is needed
• describe in detail what you would like the leisure facility to provide
• explain which groups of people in your community would most benefit from this facility.
The best entry will win two theatre tickets.
Write your competition entry.
5
You have been asked by your manager to write a leaflet for new employees, covering
aspects of health and safety in your company.
You should mention the following points:
• what types of equipment are used in your company
• how to use them safely
• where to go and what to do if there is an emergency.
Write the text for the leaflet.
75
Test J
PAPER 3
ENGLISH IN USE (1 hour 30 minutes)
Part 1
For questions 1-15, read the text below and then decide which answer on page 77 best fits each
space. Indicate your answer on the separate answer sheet. The exercise begins with an example
(0).
Example:
0
A
B
c
=
Smart shoes
Smart shoes that (0) ..... their size throughout the day could soon be available. A prototype
of such a shoe has already been produced and a commercial (1) ..... may be in production
within a few years. The shoe contains sensors that constantly (2) ..... the amount of (3) .....
left in it. If the foot has become too large, a tiny valve opens and the shoe (4) ..... slightly.
The entire control system is about 5mm square and is (5) ..... inside the shoe. This radical
shoe (6) ..... a need because the volume of the (7) ..... foot can change by as much as 8%
during the course of the day. The system is able to learn about the wearer's feet and (8) .....
up a picture of the size of his or her feet throughout the day. It will allow the shoes to
change in size by up to 8% so that they always fit (9) ...... They are obviously more
comfortable and less likely to (10) ..... blisters. From an athlete's point of view, they can
help improve (11) ..... a little, and that is why the first (12) ..... for the system is likely to be
in a sports shoe.
Eventually, this system will find a (13) ..... in other household items, from beds that
automatically change to fit the person sleeping in them, to power tools that (14) .....
themselves to the user's hand for better grip. There is no reason why the system couldn't be
adapted for use in hundreds of consumer (15) ......
76
Paper 3 English ill Use
0
0
1
adjust
B
fit
C
reform
0
move
A
assortment
B
version
C
style
0
variety
2
A
prove
B
confirm
C
inspect
0
check
3
A
room
B
gap
C
area
0
emptiness
4
A
amplifies
B
develops
C
expands
0
increases
5
A
located
B
sited
C
established
0
laid
6
A
detects
B
finds
C
meets
0
faces
7
A
average
B
general
C
usual
0
medium
8
A
build
B
pick
C
grow
0
set
9
A
exactly
B
absolutely
C
completely
0
totally
10
A
provoke
B
form
C
initiate
0
cause
11
A
achievement
B
performance
C
success
0
winning
12
A
purpose
B
exercise
C
use
0
operation
13
A
function
B
part
C
way
0
place
14
A
shape
B
change
C
respond
0
convert
15
A
commodities
B
possessions
C
goods
0
objects
77
Test :>
Part 2
For questions 16-30, complete the following article by writing each missing word in the correct box
on your answer sheet. Use only one word for each space. The exercise begins with an example
(0).
Example:
Central Park
If you have the chance (0) ..... take a walk through Central Park in New York, you will get a
quick tour of the wide range of cultures and people who live in the city. (16) ..... man speeds
along on a racing bike singing (17) ..... the top of his voice, (18) ..... dances to the beat of
techno music coming from a tape recorder.
Central Park, the first public park built in America, allows for just about (19) ..... conceivable
leisure activity in a rectangle of just over one and a half square kilometres. But it may
(20) ..... that its best use is for the most entertaining sport in New York - people watching.
Visitors can have (21) ..... better introduction to the diversity of New York than a stroll in this
park.
Central Park did not always embrace (22) ..... a variety of human life. Having won a
competition for the park's design in 1858, Frederick Law Olmsted and Calvert Vaux saw the
place as an oasis of calm in a disorderly city. The idea (23) ..... to create a place where the
upper-class citizens of the city could take gentle exercise (24) ..... being disturbed.
However, the park authorities never managed to enforce (25) ..... regime of order. Olmsted
(26) ..... been determined to create the illusion of the countryside in the heart of New York.
The fact that skyscrapers are now visible (27) ..... the tops of the park's tallest trees
(28)
is (29)
78
certainly have horrified him. But this contrast between country and city landscape
gives the park (30) ..... very own special charm.
Paper 3 English in Use
Part 3
In most lines of the following text, there is either a spelling or a punctuation error. For each
numbered line 31-46, write the correctly spelt word or show the correct punctuation in the box on
your answer sheet. Some lines are correct. Indicate these lines with a tick (.I) in the box. The
exercise begins with three examples (0), (00) and (000).
Examples:
Ii
0
0
connected
00
./
00
Isles. Records
000
Ii
1
000
I
An old tradition
o
Ceremonies conected with natural springs of water or wells are very
00
old European customs, which now only survive in a few places in the
000 British Isles Records indicate that decorating wells was once previously
31
quite common. In one small village in England, bisley, all of the wells
32
and springs in the surrounding area, are decorated with thousands
33
of flowers once a year. However no part of the country compares with
34
the hills of Derbyshire, where around thirty or so villages are famous
35
for traditional well-dressing putting flower pictures beside each well
36
every summer. The incredibly strong frames supporting the pictures
37
are first soaked in a near by stream or pond (this extends the life of
38
the exhibit and then covered with a layer of clay, mixed with water and
39
salt. Full-sized drawings of the final picture, most often a religous
40
scene, are laid on the clay. The outlines are then pricked through with
41
a sharp tool. The picture is made by pushing small berrys or seeds
42
in to the clay along the lines, and filling in the colours with moss and
43
flower petals. Each of the peices overlaps the previous one, like tiles
44
on a roof, to reduce rain damage. In this way, the spectaculer flower
45
picture's last about a week, during which time everyone in the village
46
is involved in the anual fair, put on to entertain and amuse tourists.
79
Test 3
Part 4
For questions 47-61 , read the two texts on pages 80 and 81. Use the words in the boxes to the right
of the texts to form one word that fits in the same numbered space in the text. Write the new word
in the correct box on your answer sheet. The exercise begins with an example (0).
Example:
_°-----L
ャゥセ
practitioners
,---I
ARTICLE
Modern medicine presents a problem
Until the 20th century, most doctors were general (0)
.
Of those who (47) ..... , the majority were (48) ..... - not
regarded with much respect in many countries. Experts in
(0)
PRACTICE
other fields were found primarily on the staff of medical
schools. Progress in science brought about fundamental
(47) SPECIAL
changes to this situation.
(48) SURGERY
Modern
science has made
previously (49) ..... developments possible. These include
(49) IMAGINE
the production of standardised drugs, the (50) ..... of the
(50) ANALYSE
constituents of blood and body tissues, and the use of Xrays.
The
techniques
introduction
and
of these
practices
led
and
to
a
other (51)
.....
requirement
for
sophisticated facilities, staffed by highly-trained doctors and
assistants. This has plainly been beneficial. However, as
treatments multiply and life (52) ..... rises, financing these
(53) ..... expensive facilities has become problematic for
governments worldwide.
80
(51) REVOLUTION
(52) EXPECT
(53) INCREASE
Paper 3 English in Usc
EXTRACT FROM A LETTER
A special offer
On behalf of Worldwide Travel, I would like to express our
(54) RESERVE
(54) ..... gratitude to you for your ongoing (55) ..... to our
(55) LOYAL
company. Our records
indicate we have made travel
(56) ..... for you on six occasions in the last twelve months.
To show how (57) ..... we are of your custom, we would like
to offer you a very special deal. On flights to Australasia
(56) ARRANGE
(57) APPRECIATE
(58) BEAT
from January to March, we are making available a reduction
(59) AVAILABLE
of 20% to our most valued customers. This (58) .....
(60) SAVE
opportunity is unfortunately subject to seat (59)
Visit
(61) DATE
our website for details about even greater (60)
and
constantly (61) ..... travel information.
81
Test 3
Part 5
For questions 62-74, read the following extract from a holiday brochure and use the information in
it to complete the numbered gaps in the informal letter written by a woman to her friends. Write the
new words in the correct boxes on your answer sheet. The words you need do not occur in the
holiday brochure. Use no more than two words for each gap. The exercise begins with an
example (0).
Example: セ
great choice
HOLIDAY BROCHURE
Our new brochure brings you an even wider range of self-catering holidays than ever before.
All the villas are located in delightful, quiet rural settings, and come fully equipped to meet
most requirements. Anything else you require may be purchased in the village closest to your
villa, which is always within easy walking distance. The key to your villa can be collected from
the caretaker on arrival. Clean linen is provided on Mondays and Thursdays, and each villa
has exclusive use of a swimming pool. The price of a hire car is included in the cost of the
holiday. Our local representative will be on hand at the airport to give you assistance, if
required. We offer a 50% reduction, applicable to a maximum of two children, when
accompanied by two adults paying the full price. A 10% deposit secures your holiday. Early
reservations are advisable to avoid disappointment.
82
Paper 3 English in Use
LETTER
Dear Jayne & Martin
I've just got hold of this brochure and there's a really (0) ..... of
holidays. The villas, which are all in the (62) ..... , have got nearly
a comfortable holiday. If there's
all the things you might (63)
anything missing you can (64)
from the local village, which can
always be reached on (65) ...... When you get there, you (66) ..... the
key to your villa from the caretaker. You don't have to take
sheets - clean ones are supplied (67) ..... weekly. You'll have a pool
just (68) ..... - won't it be nice not having to share! You have use
of a car for the week, at (69) ..... cost. The local representative
will (70) ..... at the airport if you need (71) ...... Another good thing
is that if you take both of the children with you, as I know you
will, they go for (72) ...... You only have to pay 10% of the total
cost to (73) ..... the holiday is reserved. It all sounds so good I
think you should (74) ..... so you get what you want.
83
Test 3
Part 6
For questions 75-80, read the following text and then choose from the list A-I given below the best
phrase to fill each of the spaces. Indicate your answer on the separate answer sheet. Each correct
phrase may only be used once. Some of the suggested answers do not fit at all.
The birth of writing
Evidence of keeping records dates from around 30,000 years ago, but neither cutting
notches in sticks nor the use of pictures could convey a great variety of meanings. Their
capabilities were far too restricted for societies that were more and more dependent on
detailed and complicated instructions. (75) ..... of the stage of human evolution that has
become known as civilisation - life based on eivis, the Latin word for a dweller. With its
development, people were able to extend their influence over much greater areas, and to
pass on knowledge from one generation to the next. (76) ..... largely through person-toperson
contact.
But once population reaches a certain
level of complexity, both
technological and social, personal contacts are no longer enough. Complexity demands
formal, lasting and widely comprehensible written communication. The development of
writing enabled people to communicate without speech. (77) ..... over great distances, safe
in the knowledge that they did not have to rely on a messenger's memory. (78) ..... that
could be recalled accurately years later. (79) ..... by populations in the future. 'History' had
arrived. Once invented, the effect of writing was to stimulate the creation of yet greater
social complexity. (80) ..... : law, commerce, administration, food production, manufacturing,
education and literature.
A
B
C
D
E
F
G
H
I
84
Leaders could transmit instructions
Instructions to people have been considered necessary
Small communities are able to communicate
They could make records of objects, events and thoughts
Writing is one of the main distinguishing marks
The accumulated wisdom of civilisation would be understood
This had implications for every branch of society
Experts have achieved great success in deciphering ancient scripts
Systems of this kind were normally used
Paper 4 Listening
PAPER 4
LISTENING (approximately 45 minutes)
Part 1
You will hear a tour guide talking to a group of visitors outside an historic country house. For
questions 1-8, complete the sentences.
You will hear the recording twice.
THE HISTORY OF PARKS
The first parks appeared in the
セ
1
century.
-------------'
In past centuries, people thought the wilder aspects of
QMセP
were unsafe.
-'0
Socially, parks are described as becoming an important [
'- - -
セi
was considered socially significant in parks.
The fashion for parks tended to lead to the decline in importance of
I
0
at country houses.
The area around a country house contained mostly
iM M iセ
rather than crops.
The only type of agriculture regularly practised in parks was
I------,[J
The 19th-century development of urban parks was influenced
by both rural parks and by
1------------0
ideas.
85
Test 3
Part 2
You will hear the winner of a competition for young inventors talking about her invention. For
questions 9-16, complete the sentences.
Listen very carefully as you will hear the recording ONCE only.
SONIA'S INVENTION
Sonia's prize-winning invention was judged
to be
I
W
as well as having commercial potential.
Sonia's invention was originally intended for
people who are
____-----..JG
Sonia decided against a speaking thermometer
because of its
_____-----.J0
Sonia says that people in hospitals are often worried
by the attitude of
Sonia explains that her thermometer
is both
I--------------,G
and free of poisons.
Sonia needed help in the design
of the
1--------------,6
Sonia's thermometer is powered by
I
Sonia describes her thermometer as
providing a
86
equipment in her invention.
MNjiセ
___________G
immediately.
Paper 4 Listening
Part 3
You will hear part of an interview with a sculptor who is talking about his life and work. For questions
17-24, complete the sentences.
You will hear the recording twice.
Alan's father originally wanted him to work
as an
1-----------'0
in the family firm.
Alan describes his father as feeling
セjNM
'--
when the sculpture teacher thought little of his work.
The subject that Alan eventually decided to study
at university was
_________-----J13
Alan disagreed with his father's belief that
art was not really a
___________M Njセ
activity.
Alan describes his father's attitude once he had
taken up sculpture as
____------.JEJ
Alan describes the approach at the art college as very
_ _ _ _
M Njセ
Harold Morton disagreed with the way
Alan was taught
Alan accepts that the term
I
iM M MLセ
by the college staff.
---.JG describes the type of work
he does these days.
87
Test 3
Part 4
You will hear five short extracts in which different people are talking about living in a village. Each
extract has two questions. For questions 25-34, choose the correct answer A, B or C.
You will hear the recording twice.
Speaker 1
セ
What does the first speaker like about living in a village?
A
B
C
EJ
the friendly people
the outdoor activities
the peaceful atmosphere
She would prefer a bus service which
A
B
C
the villagers would be able to organise themselves.
would provide daily access to the town.
would be used for short trips within the village.
Speaker 2
8
The second speaker thinks small local businesses are declining because
A
B
C
EJ
What does he think the villagers should do to bring more work to the area?
A
B
C
88
rural crafts are no longer in demand.
local property is getting too expensive.
the local work force is not skilled enough.
use their own savings to set up new businesses
wait for the state to create jobs for the unemployed
look for public money to supplement investment
Paper 4 l.istening
Speaker 3
セ
What does the third speaker think about shopping by computer?
A
B
C
セ
It might prove a useful development.
It might be hard to adapt to it.
It might make an amusing change.
She feels the government should
A
B
C
lower petrol prices for rural areas.
expand the existing public transport service.
develop new transport systems.
Speaker 4
G
What does the fourth speaker think about working at home?
A
B
C
セ
It's an opportunity to make new contacts.
It saves him the daily journey.
It provides him with useful leisure time.
Who does he think should construct the village sports facility?
A
B
C
the local council
the villagers themselves
a group of local teenagers
Speaker 5
セ
a
What does the fifth speaker regret?
A
B
C
moving to the countryside
losing a source of income
not supporting the local amenities
What aspect of village life would she like to be involved in?
A
B
C
improving public transport
supplying necessities
helping with education
89
Test 3
PAPER 5
SPEAKING (15 minutes)
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (the assessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 (3 minutes)
The interlocutor first asks you and your partner a few questions. You are then asked to find out
some information about each other, on topics such as hobbies, interests, future plans, etc. You
are then asked further questions by the interlocutor.
Part 2 (4 minutes)
You are each given the opportunity to talk for about a minute, and to comment briefly after your
partner has spoken.
The interlocutor gives you a set of pictures and asks you to talk about them for about one
minute. It is important to listen carefully to the interlocutor's instructions. The interlocutor then
asks your partner a question about your pictures and your partner responds briefly.
You are then given another set of pictures to look at. Your partner talks about these pictures
for about one minute. This time the interlocutor asks you a question about your partner's
pictures and you respond briefly.
Part 3 (approximately 4 minutes)
In this part of the test you and your partner are asked to talk together. The interlocutor places a
new set of pictures on the table between you. This stimulus provides the basis for a discussion.
The interlocutor explains what you have to do.
Part 4 (approximately 4 minutes)
The interlocutor asks some further questions, which leads to a more general discussion of what
you have talked about in Part 3. You may comment on your partner's answers if you wish.
90
Test 4
Test 4
PAPER 1
READING (1 hour 15 minutes)
Part 1
Answer questions 1-15 by referring to the reviews of video releases from a magazine on page 93.
Indicate your answers on the separate answer sheet.
For questions 1-15, answer by choosing from the reviews (A-F) on page 93. Some of the
choices may be required more than once.
Which film
92
allows viewers to appreciate the director's technical skills?
1
.
is so entertaining that its lack of originality is unimportant?
2
.
has a central character whose personality reflects the setting?
3
.
is a greater achievement in terms of planning than of artistic merit?
4
.
interprets a story in a comparatively straightforward manner?
5
.
is criticised for its extravagant production?
6
.
features an actor who is sometimes good, although not really suited to
his role?
7
.
is an older treatment of a recent cinema release?
8
..
is criticised for paying too much attention to appearances but too little
to the plot?
9
.
is criticised for having a poor script?
10
.
features characters who care little about the harm they may be doing others?
11
.
is described as being rather better than many films of its type?
12
..
moves too slowly at the beginning?
13
.
has characters reminiscent of those in another director's films?
14
.
is described as being more faithful to its source than another film?
15
.
Paper 1 Reading
FILMS ON VIDEO
Film critic Nick James reviews some recent releases
A
o
Abyss
Long before Titanic, director James Cameron made
this sweaty, claustrophobic Cold War thriller about oil
riggers and navy experts trying to rescue a nuclear
submarine stranded many miles beneath water The
banter and self-deprecating bravery of foreman Bud
and his men rekindle memories of similarly laconic
heroes In movies directed by Howard Hawks.
Production design and special effects are hugely
trnpressrve. It's only the dialogue and characterisation
that creak For all the craftsmanship which goes Into
the film-making, the story Itself IS strictly B-movie
material.
Character
A handsome but dour tale, set In tum-of-the-century
Rotterdam. The excessively detailed production and
costume design leave the film looking like a museum
piece. Taking his cue from the surroundings, Jan
Decleir is endlessly morose as the brutal bailiff
Dreverhaven, who behaves ruthlessly when evICting
tenants. HIS antagonistic relationship with his son IS at
the core of the story, but the film-makers seem too
busy laYing on the period detail to do Justice to the
dark and VICIOUS parable.
E
B
The Thin Red Line
The video release of this version of the James Jones
novel about the battle for Guadalcanal directed by
Andrew Marton makes a fascinating counterpart
to Terrence Mallck's new film. Whereas Malick's
approach IS mystical and poetic, Marton made a much
more conventional war movie. albeit one that is often
truer to the book. He concentrated on a single soldier,
and on his relationship with his abrasive sergeant.
Malick's film IS Infinitely richer and more complex, but
Marton's version has ItS moments. The flashback
sequence, In which the soldier dreams of the wife he
longs for, IS handled with a harshness which arguably
works better than Malick's soft-focus Imagery of the
woman on the sWing
C
On Guard
Loosely based on Paul Feval's 1875 novel, this corny
but highly watchable swashbuckler IS a cut above
most musketeer adventures It has a consummate
villain In Fabrlce Luchini's clammy politician,
orchestrating death and destruction behind the
scenes Vincent Perez makes an exuberant (If rather
short-lived) hero, and while Daniel Auteull IS perhaps
too moody a presence for a romp like this, he too has
his moments as an acrobat-tumed-swordsman. The
film-makers peddle costume-drama cliches with so
much Wit and sparkle It never seems to matter.
The Good, the Bad and the Ugly
This digitally re-mastered video re-release shows off
director Leone's craftsmanship to ItS best advantage.
The sound editing, in particular, stands out every
footstep, creaking floorboard or barking dog registers
loud and clear. The storytelling IS relentlessly cruel and
whenever there's a lull, It only takes a burst of
Morricone's magnificent music to quicken the pulse
On a moral level, there Isn't much to distinguish
between the good (Clint Eastwood), the bad (Lee van
Cleef) and the ugly (Ell Wallach), all of whom seern
equally unscrupulous as they maraud across the postCivil War West.
F
The Longest Day
'Forty-eight International stars' trumpets the publicity
for this three-hour Darryl Zanuck war epic. With four
directors and 23,000 extras as well, this IS one
pudding which IS definitely over-egged The early
sequences, in which the battle-hardened veterans
walt for confirmation of when the mvesion will
happen, drag as much for the audience as for the
soldiers. On a logistical level (If not an aesthetic one),
this is an impressive enough feat but it cries out for the
big screen Panned and scanned on video, It IS
inevitably a diminished experience.
93
Test 4
Part 2
For questions 16-21, you must choose which of the paragraphs A-G on page 95 fit into the
numbered gaps in the following magazine article. There is one extra paragraph which does not fit
in any of the gaps. Indicate your answers on the separate answer sheet.
Where the landscape will do the walking
Despite the growth of tourism In the oreo, Roger Bray finds there ore stili undeveloped ports
of Cope Cod, on exposed peninsulo off the eost coost of the USA
On the fragile outer shore of
Cape Cod the pervading sense is
of a universe in which nothing
stands still. The ocean \\'ages its
war of attrition against the
shifting sand, which rises from
the beach into a steep cliff.
Culls \\heel on the wind,
swallow« dart lo« over the
water's edge,
The simple reason is that, here,
more than in most places, to get
off the roads and awav from the
most easilv accessihle" beaches is
to experie"nce the Cape not just
as a holidav retreat for urban
Americans but as it has alwavs
heen,
.
17
This is mainlv because a large
swathe of it was established in 19(11 as a national
park. Our search for recommended hikes took us to
the internet - hut the maps were hard to follow, We
tried bookshops hut to no avail. There were hooks
listing walks. to he sure, hut the routes they covered
were much too short.
Following its directions made for superb hiking. To
cover the whole of the route we wanted to do would
han' involved linear sections totalling about 50
kilometres, There were circular itineraries, however,
varving in length between about 12 and 20
kilometres, though slow going on soft sand makes
them seem longer.
94
19
One route took us along the Old
King's
High\\'ay,
once
a
stagecoach
route,
into
the
middle of an eerie swamp of
Atlantic white cedar, wher« the
sunlight
streamed
hetween
shagg\ harked trunks and where
the park management has built a
boardwalk and provided nature
information.
セᆳ
_I_1
The circuit concluded wit h an
intoxicating hike along the
beach. To our right rose the
huge sandy cliff, threatening to
slide and bun the unwarv.
Henrv Beston, i;1 'fiJI' Olltenm;,t
hoャ sセL
his lvri..al account of a
year spent here in the 192(Js,
describes how, after the cliff was
pushed back (1 metres or so bv a momentous storm,
the long buried wreckage of ships emerged from it,
as fruit from a sliced pudding,
The shingled Whalewalk Inn vvas also a delight, It
lies behind a white painted picket fence on a leafy
road on the fringe of Eastham, It vvas built in 183(J
by Henry Harding, a whaling captain when that
industry was at its peak, Later it was used as a
farmhouse and a salt works. Nowadav», people also
find it a relaxing place to stay,
Paper 1 Reading
A
It continued to the South \Vellfleet sea cliff
where Marconi broadcast the first transatlantic
wireless message in ]'l03, sending greetings in
Morse code from President Theodore Roosevelt
to King Edward VII. The transmitting station
\\'IS scrapped in I CJ20 but a model recalls how it
looked. its antennae suspended between tall
timber masts.
B
If
\\l'
E
We tried several of them Sometimes \\c \\cre
on woodland trails shaded partlv by pitch pine
and black oak, sometimes on high windv cliffs
overlooking the sea, and sometimes on the
foreshore, where we \\'eIT made diminutive bv
the huge sky and curviru; beach of \\hite gold
sand,
F
Henry David Thoreau wrote that 'e\'C'n the
sedentary man here eniovs a breadth of \ie'\\
which is almost equivalent to motion', Perhaps
that was why it proved so difficult to find a
guide for long hikes, People must wonder whv
they need to expend effort when thcv can lot
the landscape do the \\'alking,
G
Staff at the inquirv desk of the Cape Cod
National Seashore's Salt Pond visitor centre
were no help, either. But in the lcntre's
bookshop, we struck gold at last Acbm
Gamble's ln the Footsteps of Tliore.t II , publislu-d
locally two years ago, has a section tracing the
writer's progress in 1849 from Eastham to RalT
Point Beach, where he turncd to\\'ards
Provincetown.
the
Cape»
outermost
community, now a gathering place for wh.il«
watchers,
had sauntered a fe\\' kilometres from the
.ar park to stand for a while- on that great beach,
might still hel\C felt the whirling of the
universe But without a day of serious hiking to
sharpen our appetites, would we have
。ー イ・Lゥ。エlセ、
the food so much'
\\e
C
On the other side, however. there was nothing
hut Olean, jadc green inshore, ink blue farther
out, bd\\'l'en us and the coast of north-west
Spain, Although this was a week of near flawless
\\cather in i\ld\, we were lucky to encounter
onlv a handful of other walkers. In high
summer. when the roads dre clogged and there
are qUCUl'S for r.-staurant tables, it is harder to
find an emprv stretch of beach,
D
Because', for all the impact of
nc.ulv triples the' population in
arc still lonelv parts of this
glacioll peninsula which have
during the last I SO vears.
tourism, which
summer, there
storm-scoured,
changed little
95
Test 4
Part 3
Read the following magazine article and then answer questions 22-28 on page 98. On your
answer sheet, indicate the letter A, B, C or D against the number of each question, 22-28. Give
only one answer to each question.
Under Sarah's Spell
Sarah Janson is a trompe-l'oeil artist whose paintings are designed to deceive the eye hy
creating the illusion of reality. Here she is interviewed hy Joanna Watt
There cannot he many
artists who l10 not sign
their work unless they are
asked to. Sarah Janson, a
trmn/Jc-l'(Jcil artist, is one.
She
IS
nut
remotely
interested in the concept
of the artist as creator, let
alone that of the artist as
genius: 'It's not the artist
who is important, hut the
work,' she states. Janson is
so self-deprecating that
she would almost like you to believe that her
trompe-l'oeil works paint themselves.
All of which does not bode well for a
magazine interview. 'I just don't like to shout
about myself,' she says, and then covers her
face in horror when asked if she minds heing
photographed for the feature, Cut to her
sitting room 30 minutes later (a wonderful
s!,ace in a Hock of artists' studios in London,
filled with paintings and drawings) and you
find two women bent double with hysteria.
Her confidence gained, the interview becomes
a fascinating, amusing (and sometimes
hilarious) encounter.
Janson has been a trompe-l'oeil artist for
sixteen years, after two years' solid drawing at
art school ('the best training any artist can
ever have'}, a degree in graphic illustration
and a stint at a publishing house. But
illustration never really satisfied her, and she
96
joined
a
specialist
decorator, Jim Smart Cone
of the l-est in his day').
Smart asked her to do one
trompe-I'oeil, and that was
it. 'Suddenly my interest
got channelled,' she says,
She left to set up on her
own, 'not really knowing
where I was going, hut
feeling that I was on the
road to somewhere.' Her
instinct was right.
Janson's
observational
ski lls
and
fascination with detail (gained through
illustrating) proved essential qualities for a
trompe-l'oeil artist. 'People often ask me
where they can learn trompe-l'oeil. But no one
can teach you. Trompe-l'oeil is the school of
life. It's all about observation.' She insists (in
that self-deprecating way) that she is still
learning. 'The moment you think that you've
mastered a field you might as well gi\'C up,' She
is also brutally honest about her 'failings' ('I
can't paint bread; it akays looks like grey
concrete')
and
IS
frank
about
her
mathematical abilities. Faced with ,) huge
commission for the domed chapel ceiling at
Lui worth Castle, she became totally confused
when calculating measurements. '1 thought to
myself, "You're not Michelangelo. Who do you
think you are?" This habit of self-questioning
and a reluctance to openly acknowledge her
Paper 1 Reading
skill has spawned an uddly distanced attitude
to her talent. Janson often speaks in the third
person: 'When I finished that ceiling, I
thought, "Well I didn't do it, she did".'
Of course, her trompe-l'oeil schemes can
speak for themselves. [anson's work is in a league
of its own, far al-ovc those who have jumped on
the bandwagon (the art of trompe-l'oeil has
experienced something of a revival, hut not with
entirely satistactorv results) and she has a string
of major corporate and private commissions
behind her. Much of her work is inspired hy
architecture or made for architectural settings.
There is the trompe-l'oeil dining room for one
client. hased on the fa<;ade of a Venetian
palazzo, and the painting at the end of a corridor
in a Hat, which gi\'Cs the illusion that you can
step into two further rooms.
There is always a danger with trompel'oeil, though, that once you get the joke, your
attention is lost, something of which Janson is
acutely aware. 'Trornpe-l'oe i] has to do two
things. First, it must draw you in; it's got to
trick you. Sccondlv, it has to hold you and
then engage your imagination. That is the
most important part.'
While trompe-l'oeil has to he clever, it
must also, Janson believes, he personal to the
client. 'I love the interaction with clients;
that is where the ideas arc horn,' she says.
'Without the rapport, the joh of creating a
trompe-l'oeil scheme becomes rather llifficult.
Some clients have finn ideas about what they
want; others do not. You have to he willing to
listen. You have to get inside a client's
imagination.' Many have become friends, nut
least because Janson practically [ivcs with
them if she works on site.
[anson is generous in praise uf her clients.
'I am very grateful for the mad unes who have
let me loose on their walls.' she confesses. And,
they too, seem delighted with her, which is
why she is constantly husy - despite her
inclination to play down her talent. 'I really
don't like to shout about myself,' she repeats at
the end. 'Like my work, I am verv restrained. I
don't want it to shout. You become hored with
things that shout.' True, perhaps, hut you could
never really become bored with Janson or her
work. It certainly deserves to become better
known, and I am prepared to incur her wrath
while I hlow her trumpet.
97
Test 4
22
After spending time with Janson, the interviewer concludes that
A
B
e
D
23
What motivated Janson to start her own business as a trompe-l'oeil artist?
A
B
e
D
24
e
D
e
D
e
D
It has limited commercial appeal.
The most successful pieces avoid humour.
A small number of people accept it as genuine art.
The difficulty lies in sustaining people's interest.
What does Janson say about her clients?
A
B
e
D
28
It is of an exceptional quality.
Some people regard it as strange.
It is better suited to small locations.
Janson regrets some of the commissions she has taken on.
What does Janson say about trompe-l'oeil as an art form?
A
B
27
It would be a mistake to become over-confident.
Practice is the only way to improve shortcomings.
Experience in different art forms helps develop essential skills.
A lot can be gained from looking at the work of other artists.
What point does the interviewer make about Janson's work in paragraph five?
A
B
26
It was something she was well qualified to do.
She was unhappy with her previous employer.
She was convinced it was what she wanted to do.
It was something that would help her achieve her ambitions.
What advice does Janson give to people interested in becoming trompe-l'oeil artists?
A
B
25
Janson has little faith in journalists.
Janson dislikes interviews in her home.
her initial doubts about Janson were wrong.
her first questions to Janson were threatening.
She prefers to work with clients who have a lot of imagination.
Some clients have ideas which are less practical than others.
She is reluctant to take on commissions if she cannot agree with the client.
A commission is easier if you can discover what kind of ideas the client has.
What does the interviewer say in the last paragraph?
A
B
e
D
She
She
She
She
is puzzled by the way Janson describes her clients.
realises that Janson may not like what she has written about her.
is sure that certain types of art soon lose their appeal.
feels that trompe-l'oeil is unlikely to become a more popular art form.
Paper 1 Reading
Part 4
Answer questions 29-45 by referring to the magazine article about writers on page 100. Indicate
your answers on the separate answer sheet.
For questions 29-45, choose your answers from the writers (A-E). Some of the choices may
be required more than once.
Which writer
says that he is not the kind of writer who wants a solitary existence?
29
.
avoids showing his work to anyone before it has been thoroughly revised?
30
.
thinks that some people may have the wrong impression of a writer's life?
31
.
no longer feels uneasy about the kind of life writing involves?
32
.
points out how much revision can be involved in writing a novel?
33
.
says that on some days he knows in advance that writing will be difficult?
34
.
says that he has a limited amount of inspiration?
35
.
says that it is essential, for a writer's sanity, to spend some time in the
company of others?
36
.
admits that he does not actually work for the whole time he spends at
his desk?
37
.
says that he finds it difficult to assess his own writing in a critical way?
38
.
forces himself to get something written when he is having difficulties?
39
.
thinks that he writes better when working at a fast pace?
40
.
draws a contrast between days when it is easy to write and those when it
is not?
41.
.
requires little persuasion to reward himself for work he has done?
42
.
says that he feels comfortable with the kind of writing day that he has
established for himself?
43
.
does not look forward to reading published opinions of his work?
44
.
always tries to delay the time when he has to start writing?
45
.
99
Test 4
A Writer's Day
We interviewed five contemporary mole novelists to find out how they
approach their writing and how they typically spend their day
A
I'm no good at mixed days - it's either work or play, If it's
a work day, then I'il start with a huge mug of strong
black coffee and then lll go to my study at the top of
the house, It's completely iined with books and has a
'Do Not Disturb' sign on the door
I've learned to start writing early and to have a scene
hanging over from the day before, I'm obsessive about
silence, I can't talk in the middle of work - if I talk, the
morning is over, Momentum is important to my novels - if
I'm too ieisurely, I can feei the tension fading away,
Diaiogue is the best - blissfully easy, like hearing voices in
your head and taking dictation, A few years ago, I was
writing 5,000 words a day - now, though, it's only half
that
When I go out, I do all the things you're supposed to
as a writer, like going out to London clubs, But when
peopie see you at book iaunches they forget that being
a writer is aiso about that little thing in between - sitting
on your own all day, But you've got to have contact
with the outside world and reai people or you can go
completely mad,
B
I'm compieteiy envious of people who write in the
mornings and do what they like in the afternoon, I work
through the day and treat writing like an office job, If it's
not going weil, I keep pushing at it and get it sorted out, I
don't get a lot of ideas, I tend to get Just one and then
run with it, Towards the end of a book, when I think I've
got to get an idea for the next one, I start to feel
panicky, But something always comes along,
My office is in a fiat about ten minutes from our house,
It's good to have a geographical break between home
and work, I arrive about 9 am, have a coffee and then
I'll Just get on with it and work through until lunchtime,
There's a definite post-lunch dip - that's when I have
another coffee, But in the end, the only way I get
concentration back is by pushing it,
My wife picks me up about 6,30 and we go home
together, I've been doing this for ten years now, It's a
routine that suits me and, to be honest. I'm always a little
worried about breaking it,
C
My seven-month-old daughter, Matilda, gets me up
around 630 and I'll play with her for a couple of hours,
then go to my desk, I officially sit there for three hours,
but I'll do an hour's work,
Like a lot of writers, I tend to get a great sense of
achievement very easily, One good sentence entitles
me to half an hour off - two or three lines means I can
watch daytime TV, My study is at one end of the fiat and
my wife and daughter are at the other, In theory, no
100
congress takes place until lunchtime, but actually we
pop in and out all the time, I've never been one of those
writers who likes being isolated - I want people around
me all the time At the moment, I'm plotting my next
novel and am in a dreamy state, It's hard to convince
people that I'm actually working, but this is a crucial part
of the process,
A book takes me about three years in all, I always start
out very slowly and then gather speed towards the end,
I don't think this is a good way to write at all
D
I have a really slow start to the day, I'll do anything to
put off starting work, I have toast, read newspapers - I
have to do the crossword every morning - and deal with
my post, I write quite slowly and not in chronological
order, I've structured the story before I start, so I can hop
around, which I think keeps my writing fresh, Sometimes I
wake up and just know it's not going to work - because
I'm just not in the right mood - but I know that it's only
temporary, Once you've got the first draft down, you
know that It'S going to be OK, It's awful having to
relinquish it to my editor, but I'm curious to know what
other people think, I find it impossible to be objective
about my own words
When I started writing and Just stayed at home I felt
incredibly guilty but now it feels normal Lots of my friends
are creative and don't go to offices, which helps, When
we go out we don't talk about work - we gossip about
the people we know instead, But if I want to use
anything my friends have told me, I always ask,
E
I start writing at about 10,30 am, I don't open any mail
before that so I haven't got anything on my mind and
the desk is clear, ,I write until 130 pm, Sometimes getting
the words out IS like pulling teeth - other days it all spills
out freely,
Someone once said that there was no such thing as
writing, only re-writing, For my first book, I did no less than
12 drafts, With the first draft of a book, I Just try to capture
the energy and try to get something down which I can
work with, I would die of embarrassment if anyone saw
it.
, At lunchtime I like to get out of the fiat, It's odd going
Into the outside world - you feel as if you're in a light
trance, But after a ten-minute walk in the drizzle I'm
usually all right. I spend 90 per cent of my time on my
own, My contact with the outside world generally
happens in great bursts, when I go abroad to publicise
my books,
, I've just finished my third novel and it's a nerve-racking
time, I really dread being at the mercy of book
reviewers, But when it comes down to it, I know what my
book is like - I don't need to be told by other people,
Paper 2 Writing
PAPER 2
WRITING (2 hours)
Part 1
1
Your college contributed a lot of money to support the building
of a new Arts Centre. In
return, the Arts Centre promised to provide a number of things
which would be of advantage
to your college.
Your college principal asked you to attend the opening of the Arts
Centre. At the opening you
were impressed by many of the things that you saw, but you were
disappointed that the
Centre did not seem to have kept all its promises to the college
.
Read the memo from your principal below and, on page 102, the
handout about the Arts
Centre, which you picked up at the opening and on which you
have made some notes. Then,
using the information appropriately, write a letter to the Arts
Centre manager, thanking
him for the invitation to the opening, commenting on what you
liked about the Centre and
explaining why you were disappointed about the promises that
have not been kept. In your
letter, you should also suggest a meeting to discuss some of the
issues further.
MEM O
To:
From :
Secre tary of Stude nt Comm ittee
Princ ipal
Be:
Open ing of new Arts Centr e
Unfortunately, I amtoo busyto attend the opening ofthe new Arts Centre and,
as you are the
secretary ofthe Student Committee, I think it would be appropriate foryou to
go in my place.
As you know, our college contributed a lot ofmoney to help build the Centre and
in return they
promised us:
free use ofrecording studio, music and rehearsal rooms
use oftheatre for annual student productions in December and May
a programme ofunusual, international films to fit in with our cinema courses
use ofArts Library
10% student discount on alltickets.
After the opening, please could youwriteto the Manager ofthe Arts Centre, and
thank him for
the invitation? If any oftheir promises have not been kept, you will need to explain
in your
letter Why these things are important to the college and arrange a meeting to discuss
the
issues.
101
Test 4
LONGRIDGE ARTS CENTRE
At long last longridge has its own Arts Centre.
nice
atmosphere
- great food
brilliant!
セ
セ
why no recording
studio? H V P セ
of students
wanted one!)
only?
Facilities include:
200-seat theatre
300-seat cinema (all the latest big-name films)
」 。 ヲ・
_----------ir--
Art ケイ・iャセg
Arts library
Music and rehearsal rooms for hire
____® student discount on all tickets.
not much use
for our cinema
courses
great
exhibition on
now
do we have
to pay?
Now write your letter to the newspaper editor, as outlined on page 101 (approximately 250 words).
You do not need to include postal addresses. You should use your own words as far as possible.
102
Paper 2 Writing
Part 2
Choose one of the following writing tasks. Your answer should follow exactly the instructions
given. Write approximately 250 words.
2
A technology magazine, International Technology Today, has asked its readers to submit
articles on the impact of mobile phones on modern society. In your article, you should
discuss the different personal and business uses of mobile phones and assess the
advantages and disadvantages of this technology.
Write your article.
3
Your town is hoping to host a sports event next year, which will attract competitors from
other countries. The organisers of this sports event need to ensure that the chosen venue
has an adequate range of facilities for visitors. Write a proposal to the organising committee
to persuade them that your town is a suitable venue. Your proposal should include
information on accommodation, transport and entertainment.
Write your proposal.
4
You have been asked to write a leaflet giving advice to students from other countries about
how to get the most out of studying in your college. The title is Studying and Student Life
and the leaflet must include advice relating to:
• methods of study
• suitable types of accommodation
• social life.
Write the text for the leaflet.
5
You recently visited a trade fair in an English-speaking country and you feel it would be good
for your company to have a stand at this fair next year. The head of the marketing
department has asked you to write a report, describing what you saw and experienced at the
trade fair this year and explaining why your company would benefit from having a stand
there next year.
Write your report.
103
Test 4
PAPER 3
ENGLISH IN USE (1 hour 30 minutes)
Part 1
For questions 1-15, read the article below and then decide which answer on page 105 best fits each
space. Indicate your answer on the separate answer sheet. The exercise begins with an example
(0).
Example:
セ
A
B
=
C
セ
D
=
We really can tell if we are being watched
Stories about how people somehow know when they are being watched have been going
around for years. However, few (0) ..... have been made to investigate the phenomenon
scientifically. Now, with the completion of the largest ever study of the so-called staring
effect, there is impressive evidence that this is a recognisable and (1) ..... sixth sense. The
study (2) ..... hundreds of children. For the experiments, they sat with their eyes (3) ..... so
they could not see, and with their backs to other children, who were told to either stare at
them or look away. Time and time again the results showed that the children who could not
see were able to (4) ..... when they were being stared at. In a (5) ..... of more than 18,000
trials (6) ..... worldwide, the children (7) ..... sensed when they were being watched almost
70% of the time. The experiment was repeated with the (8) ..... precaution of putting the
children who were being watched outside the room, (9) ..... from the starers by the
windows. This was done just in case there was some (10) ..... going on with the children
telling each other whether they were looking or not. This (11) ..... the possibility of sounds
being (12) ..... between the children. The results, though less impressive, were more or less
the same. Dr Sheldrake, the biologist who designed the study, believes that the results are
(13) ..... enough to find out through further experiments (14) ..... how the staring effect
might actually (15) ......
104
Paper 3 English in Use
©
attempts
D
aims
accepted
C
received
D
sure
B
contained
C
comprised
D
enclosed
shaded
B
wrapped
C
masked
D
covered
A
find
B
notice
C
tell
D
reveal
5
A
sum
B
collection
C
mass
D
total
6
A
worked over
B
worked through
C
carried on
D
carried out
7
A
correctly
B
exactly
C
thoroughly
D
perfectly
8
A
attached
B
added
C
connected
D
increased
9
A
separated
B
parted
C
split
D
divided
10
A
pretending
B
lying
C
cheating
D
deceiving
11
A
prevented
B
omitted
C
evaded
D
ended
12
A
delivered
B
transported
C
transmitted
D
distributed
13
A
satisfying
B
convincing
C
concluding
D
persuading
14
A
really
B
carefully
C
definitely
D
precisely
15
A
come about
B
be looked at
C
set out
D
be held up
0
A
tries
B
tests
1
A
genuine
B
2
A
involved
3
A
4
105
Test 4
Part 2
For questions 16-30, complete the following article by writing each missing word in the correct box
on your answer sheet. Use only one word for each space. The exercise begins with an example
(0).
Example:
S
6in._c_e
jャセ M⦅
The toughest runners
These runners are the ones who have completed every London Marathon (0) ..... the first
race in 1981. They are the toughest runners of (16) ...... These athletes, (17) ..... honour of
both their mental and physical strength, have been given a permanent entry in the event for
the rest of their lives, provided that they do not miss a year. Other people have run the race
faster or under greater handicaps, (18) ..... these are athletes with a mission. For (19) ..... ,
the annual event is a way of life, not just a worthy fund-raising exercise (20) ..... a single
challenge. Bill O'Connor is one of these runners. In (21) ..... case, running is a daily ritual
which began in New Zealand (22) ..... , as a youngster, he pounded along the wet sand on
the edge of the Tasman Sea. Now aged fifty, (23) ..... working as a mathematics teacher at
a school in London, he retains his fascination (24) ..... the London Marathon and the activity
of running. He says, 'When the first London Marathon was held, I thought (25) ..... myself
that here was a challenge. I thought that if (26) ..... was only going to be one race, I wanted
to have run in (27) ..... .' But the London Marathon became the most impressive success
story in British sport and Bill O'Connor has been a constant part of it. (28) ..... he ever felt
that he would fail to finish? 'In 1985. It was a beautiful day and I started running much
(29) ..... fast for the first mile and got worried. So I slowed down for the next mile. Yet
(30) ..... I expected I would take at least four hours, I finished in two hours thirty-four
minutes and twenty-nine seconds.' It is his best time so far.
106
Paper 3 Lllglish ill Use
Part 3
In most lines of the following text, there is either a spelling or a punctuation error. For each
numbered line 31-46, write the correctly spelt word or show the correct punctuation in the box on
your answer sheet. Some lines are correct. Indicate these lines with a tick (.I) in the box. The
exercise begins with three examples (0), (00) and (000).
"-
Examples:
i
0
aetronomical
0
,/
00
!
!
00
!
i
!.OOO
night. the
000
Solar eclipse
o
Most astronomicall events that influence the Earth, apart from the
00
occasional asteroid impact, do so in a regular fashion, such as day and
000 night the tides and the seasons. There is, however, one event that has
31
a tremendous impact on the Earth that of the total eclipse. For a few
32
minutes, broad daylight changes, to complete darkness as the Moon
33
totally hides the Sun. This darkness is acompanied by many spectacular
34
effects, and it also provides a rare opportunity for phisicists to make
35
observations' that are impossible at any other time. However, as a total
36
solar eclipse is a sudden interuption of the day, it can also have an effect
37
on plants and animals that are used to the regular cycle of day and night.
38
As total eclipses occur on average once every 360-years at any particular
39
location, there is little chance of any living thing becoming accustomed to
40
them. In fact, there are some amazing stories of the unusual behavour of
41
animals as a total eclipse approaches. In australia, for example, one
42
observer said, I found myself having to calm a distressed parrot, which
43
fell to the ground a moment or so before the total eclipse' Joanna Kale,
44
another observer, found her head surrounded by a cloud of insects that
45
dispersed when the Sun finally emmerged from the eclipse. So, as these
46
examples show, the Suns presence has an astonishing influence on life
on Earth.
107
Test 4
Part 4
For questions 47-61, read the two texts on pages 108 and 109. Use the words in the boxes to the
right of the texts to form one word that fits in the same numbered space in the text. Write the new
word in the correct box on your answer sheet. The exercise begins with an example (0).
Example:
セi
recommendation
REVIEW
Hamlet
If you are planning to go to the cinema this weekend, my
(0) ..... would be to go and see this highly-acclaimed version
(0)
RECOMMEND
of Hamlet. This is the first time the full Shakespeare text has
been brought to the big screen. At no point is it (47)
despite being four hours long. This ambitious (48)
,
is
(47) MONOTONY
(48) ADAPT
noteworthy because of the (49) ..... of its sets and the
(49) ELEGANT
(50) ..... performances. It is interesting to see the portrayal
(50) EXCEL
of Claudius as a (51) ..... man, and Kate Winslet makes a
(51) SYMPATHY
particularly powerful Ophelia. Kenneth Branagh, as Hamlet,
brings to life the (52) ..... of the character.
It is a visual triumph which brings together an impressive
international cast and makes optimum use of its beautiful
location. This certainly is a truly (53) ..... film.
108
(52) COMPLEX
(53) REMARK
Paper 3 English in Use
JOB ADVERTISEMENT
Museum Manager
The Petrie Museum of (54) ..... material from Ancient Egypt
is of international (55)
Recently voted one of London's
top ten little-known museums, it deserves much wider
(56) ...... We are looking for a Museum Manager to take
charge of the day-to-day running of the museum. This new
post combines both a practical and a strategic role. (57) .....
will include taking a lead on the (58) ..... of the museum's
(54) ARCHAEOLOGY
(55) SIGNIFY
(56) RECOGNISE
(57) RESPONSIBLE
(58) COMPUTER
documentation, and devising programmes to increase the
(59) ACCESSIBLE
(59) ..... of the museum.
(60) APPOINT
(61) EDUCATE
The
new
manager
will
oversee
the
long
overdue
redecoration of the building, make several new staff (60) .....
and supervise (61) ..... courses.
109
Test 4
Part 5
For questions 62-74, read the following notes written by a student who went to see the end-of-term
show at her college. Use the information in it to complete the numbered gaps in the review she wrote
for the college magazine. Write the new words in the correct boxes on your answer sheet. The
words you need do not occur in the informal notes. Use no more than two words for each gap.
The exercise begins with an example (0).
very impressed
NOTES
COLLEGE SUMMER SHOW
Absolutely great! Really high standard - nothing amateur about this!
NB Stage done so it could be speedily moved around for different bits of the show.
1.
Jazz band - a really lively 3D-minute programme featuring Janette Maclaine, who sang
a nice choice of well-known songs (everyone thought the same - she was the star of
the show).
2. Drama society - short play by David Owen (who will be graduating at the end of term)
about some of the major problems in today's world. A bit gloomy, but all the students
in the cast played their parts really well and it did make me think.
3.
Mini-plays - short and had everyone in fits of laughter.
4. Close - all the performers on stage, everyone sang and danced - brought everyone in
the audience to their feet shouting for more.
All in all, this was an evening no one will forget.
110
Paper 3 Ellglish ill Use
COLLEGE MAGAZINE REVIEW
THE SUMMER SHOW
I was (0)
by the high standard of this year's summer show - it was good enough to have been
performance. The stage had been (63) ..... to allow for good continuity between the
a (62)
different parts of the show.
To (64) ..... , a jazz band entertained the audience with a really lively half-hour performance,
including a lovely (65) ..... of popular songs. Everyone was in total (66) ..... that Janette Maclaine
was the star of the show.
Next, the drama society performed a short play written by David Owen, a student in (67) ..... year
at the college. The play addressed some of the most (68) ..... issues in contemporary society.
I found it (69) ..... depressing, but the (70) ..... was superb and it was thought-provoking.
The series of plays that followed didn't (71) ..... and they were such a contrast - everyone in the
audience found them very (72) ......
The evening ended with a song and dance routine that brought the (73) ..... audience to their
feet.
An occasion that will (74) ..... for a long time!
111
Test 4
Part 6
For questions 75-80, read the following text and then choose from the list A-I given below the best
phrase to fill each of the spaces. Indicate your answers on the separate answer sheet. Each correct
phrase may only be used once. Some of the suggested answers do not fit at all.
Ancient forests
Hundreds of years ago, British forests were areas of countryside used for hunting - sources
of deer skins and meat. A typical example was the New Forest in the south of England,
which was claimed and enclosed by King William I in about 1079. In this way, many large
areas of forests were taken by the King for his own personal use. The importance of these
royal hunting forests to the economy of the times is shown by the restrictions (75) ...... With
more and more land being cleared for agriculture, farming was almost brought to a halt in
the enclosed forest areas, the aim being to preserve the trees (76) ...... The King's deer
were protected by strict penalties for illegal hunting and, perhaps most important of all, local
farmers were not allowed to build fences (77) ...... The difficulties that this caused were
recognised, however, and farmers were granted rights (78) ...... By the 15th century, the
use of wood, the principal raw material of the age, had so increased that concern arose
over supplies for building and fuel (79) ...... As a result, the next step in enclosing land was
for tree planting. This grew swiftly in importance as a source of income for the King. These
enclosures had the effect of reducing still further the land available to ordinary people for
feeding animals, (80) ...... These problems continued until the late 19th century, when new
laws were passed to prevent further enclosure of land.
A
B
C
D
E
F
G
H
I
112
which
which
which
which
which
which
which
which
which
were no longer sufficient to meet the demand
therefore changed considerably over the centuries
supplied food for the deer and sheltered them beneath their branches
might prevent animals from moving freely
was consequently ideal for animal farming
led to even more disputes than the earlier ban on building fences
were placed on those unlucky enough to live there
allowed them to feed their livestock for limited periods in the open forest
were their principal source of warmth and food
Visual ma teri als for the Spe aki ng tes t
c".
,
'
"
,
セ
Cl
Visual materials for the Speaking test
C2
Visual materials for the Speaking test
C3
Visual materials (or the Speaking test
C4
Visual materials for the Speaking test
C5
Visual materials for the Speaking lest
Get Fit!
C6
visuoi ma terials for the Spea kil1K tes t
C7
Visual materials {or the Speaki ng test
C8
visual materials for the Speaking test
•
C9
visual materials (or the Speaking test
C10
Visual materials for the Speaking test
C11
visual materials for the Speak ing test
C12
Visl/al materials fo r th e Speaking test
•
C13
Visual materials (or the Speaking test
C 14
ViSlldl materials for the Speakin g test
C15
visual materials for the Speaking test
-
e16
Paper 4 Listening
PAPER 4
LISTENING (approximately 45 minutes)
Part 1
You will hear a journalist called Peter Smith talking about a trip he made to the Arctic seas around
the North Pole. For questions 1-8, complete the sentences.
You will hear the recording twice.
ARCTIC TRIP
After reading a book called
___________--.JW,
Peter decided to sail to the North Pole.
Peter says that when sailing in this part of the world, you feel as if you are
1
0
Peter says it is essential to have the necessary
I
In summer, the temperature of the water always remains
1L..-It is necessary to have [L..-セ
8
0
in the cabin.
1
0
1
0
1--------------,0
The crew couldn't explain why there were
Peter was disappointed not to see any
at the surface.
in the sea.
during the trip.
People usually visit the area as part of
and see very few places.
113
Test 4
Part 2
You will hear the headteacher of a school talking to a group of parents about an international student
exchange programme. For questions 9-16, complete the sentences.
Listen very carefully as you will hear the recording ONCE only.
INTERNATIONAL EXCHANGE PROGRAMME
The school's exchange programme is called
セGM
I'-----
Children first get to know their exchange partners by taking part in a
'- - -
13
I
scheme.
The programme is not only intended for students who enjoy using
1--------,0
The two countries most often visited on the programme are
iLMセ
and
Some students suffer from problems such as homesickness and
[--------,G
To help students who have problems, a qualified
1--------------,6
is always available.
Local visits are described as being
___________
Students enjoy visiting
114
M Njセ
__________
and also educationally valuable.
M N jセ
parks most of all.
Paper 4 Listening
Part 3
You will hear part of an interview with Norman Cowley, a well-known novelist and biographer. For
questions 17-23, choose the correct answer A, B, C or D.
You will hear the recording twice.
[3
How does Norman Cowley feel about his first novel?
A
B
C
D
8
o
What was Norman Cowley's reaction to one very bad review of his second novel?
A
B
C
D
He was surprised as he thought this book was well written.
He thought the detailed criticisms of the book were unjustified.
He thought the review was written in a clever and amusing style.
He did not regard the critic as well qualified to judge his work.
What value does Norman Cowley see in book reviews now?
A
B
C
D
セ
proud of the directness of the writing
pleased by the way the characters interacted
worried by the over-refined style he used then
sad that he could never write anything like it again
They
They
They
They
encourage writers to try new subjects.
motivate less committed writers.
give young writers long-term guidance.
are part of a necessary selection process.
Norman Cowley thinks that if a writer uses people he knows well in a book,
A
B
C
D
those characters will be very realistic.
it will become rather tedious to write.
readers will find the dialogue very natural.
the writer will have to alter them in some way.
115
Test 4
セ
Norman Cowley believes that some modern novels
A
B
C
D
セ
are much too violent.
contain too much fantasy.
don't analyse the characters sufficiently.
don't describe the setting adequately.
What does Norman Cowley see as the main thing a novel should give the reader?
A
B
C
D
セ
psychological theories
a new angle on life
a thrilling story
beautiful language
What does Norman Cowley like about writing a biography?
A
B
C
D
116
basing a narrative on actual events
getting to know a famous person very well
deciding how to describe a complex personality
making the subject known to a wider audience
Paper 4 Listening
Part 4
You will hear five short extracts in which different people are talking about the means of escape they
use to cope with the demands of their working lives.
You will hear the recording twice. While you listen you must complete both tasks.
TASK ONE
For questions 24-28, match the extracts with what each speaker finds demanding about their work,
listed A-H.
A
emotional involvement
B
an excess of information
C
clashes of personality
D
everyday problems
E
arguments about procedures
F
extended working hours
G
being in the public eye
H
lack of physical space
Speaker 1
8
Speaker 2
セ
Speaker 3
セ
Speaker 4
EJ
Speaker 5
セ
TASK TWO
For questions 29-33, match the extracts with what attracts the speakers to their different means of
escape, listed A-H.
A
the feeling of being artistic
B
the warmth of the relationships
C
the fulfilment of a childhood ambition
D
the idea of taking a risk
E
the chance to overindulge yourself
F
the change of activities
G
the luxury provided
H
the spirit of co-operation
セ
Speaker 1
Speaker 2
Speaker 3
Speaker 4
Speaker 5
セ
G
G
G
117
Test 4
PAPER 5
SPEAKING (15 minutes)
There are two examiners. One (the interlocutor) conducts the test, providing you with the
necessary materials and explaining what you have to do. The other examiner (the assessor) is
introduced to you, but then takes no further part in the interaction.
Part 1 (3 minutes)
The interlocutor first asks you and your partner a few questions. You are then asked to find out
some information about each other, on topics such as hobbies, interests, future plans, etc. You
are then asked further questions by the interlocutor.
Part 2 (4 minutes)
You are each given the opportunity to talk for about a minute, and to comment briefly after your
partner has spoken.
The interlocutor gives you a set of pictures and asks you to talk about them for about one
minute. It is important to listen carefully to the interlocutor's instructions. The interlocutor then
asks your partner a question about your pictures and your partner responds briefly.
You are then given another set of pictures to look at. Your partner talks about these pictures
for about one minute. This time the interlocutor asks you a question about your partner's
pictures and you respond briefly.
Part 3 (approximately 4 minutes)
In this part of the test you and your partner are asked to talk together. The interlocutor places a
new set of pictures on the table between you. This stimulus provides the basis for a discussion.
The interlocutor explains what you have to do.
Part 4 (approximately 4 minutes)
The interlocutor asks some further questions, which leads to a more general discussion of what
you have talked about in Part 3. You may comment on your partner's answers if you wish.
118
Paper 5 frames
Test 1
Note: In the live test, there will be both an assessor and an interlocutor in the
room.
The visual material for Test 1 appears on pages Cl, C4 (Part 2), and C2-3 (Part
3).
Part 1
(3 minutes)
Interlocutor:
Good morning (afternoon/evening). My name is ..... and this is mv
colleague,
And your names are
)
Can I have your mark sheets, please?
Thank you.
First of all, we'd like to know a little about you.
(Select one or two questions and ask candidates in turn, as
ap propriate.)
•
•
•
•
Where do you both/all live?
How long have you been studying English?
Have you been studying English together?
What countries have you visited?
Now I'd like you to ask each other something about
(Select one or two prompts in any order, as appropriate.)
•
•
•
•
things you particularly like about living in this country.
entertainment and leisure facilities in this area.
your reasons for studying English.
a change you would like to make to your life in the future.
(Ask candidates one or more further questions in any order, as
ap propriate.)
•
•
•
•
How important do you think English is in this country?
How would you feel about going to live abroad permanently?
What interesting events have happened in your life recently?
Who do you think has had the greatest influence on your life so
far? (Why?)
• What are your earliest memories of school?
Thank you.
119
Paper 5 [rames
Part 2
(4 minutes)
Interlocutor:
In this part of the test, I'm going to give each of you the chance to
talk for about a minute, and to comment briefly after your partner
has spoken.
First, you will each have the same set of pictures to look at. They
show people making music.
Indicate the pictures on page CI to the candidates.
(Candidate A), it's your turn first. I'd like you to compare and
contrast two or three of these situations, saying how the people
might be feeling, and what part music might play in their lives.
Don't forget, you have about one minute for this.
All right? So, (Candidate A), would you start now, please?
Candidate A:
[Approximately one minute.]
Interlocutor:
Thank you.
Now, (Candidate B), can you tell us which of these people you
think seems to be enjoying their music the most?
Candidate B:
[Approximately twenty seconds.]
Interlocutor:
Thank you.
Interlocutor:
Now, I'm going to give each of you another set of pictures to look
at. They show moments of peace and quiet.
Indicate the pictures on page C4 to the candidates.
Now, (Candidate B), it's your turn. I'd like you to compare and
contrast two or three of these pictures, saying how the people
might be feeling, and why moments like these might be necessary
in their lives.
Don't forget, you have about one minute for this.
All right? So, (Candidate B), would you start now, please?
Candidate B:
[Approxinwtely one minute.i
Interlocutor:
Thank you.
Now, (Candidate A), can you tell us which picture you think best
illustrates the idea of peace and quiet?
Candidate A:
[Approximately twenty seconds. I
Interlocutor:
Thank you.
120
Paper 5 frames
Part 3
(approximately 4 minutes)
Interlocutor:
Now, I'd like you to discuss something between/among yourselves,
but please speak so that we can hear you.
Here are some pictures of people who have different hopes and
dreams.
Indicate the pictures on pages C2 and C3 to the candidates.
Talk to each other about these people's hopes and dreams, saying
how difficult it might be to make them come true, and then decide
which two are most likely to become reality.
You have about four minutes for this. (Six minutes for groups of
three. )
Candidates:
[Approximately four minutes. (Six minutes for groups of three.) I
Interlocutor:
Thank you.
So, which two dreams have you chosen?
Part 4
(approximately 4 minutes)
Interlocutor:
Select <I/1Y of the following questions as appropriate:
• How important is it for people to have hopes and dreams?
• What hopes for the future of the world would you like to see
become reality?
• What aspects of life today would have seemed impossible to
people in the past?
• Our hopes and dreams change as we get older. What differences
are there between children's and adults' dreams?
• Instead of accepting the world as it is, what could we do to
make it a better place?
Thank you. That is the end of the test.
121
Paper S frames
Test 2
Note: In the live test, there will be both an assessor and an interlocutor in the
room.
The visual material for Test 2 appears on pages C5, C8 and CI0 (Part 2), and
C6 (Part 3).
Part 1
(3 minutes / 5 minutes for groups of three)
Interlocutor:
Good morning (afternoon/evening). My name is
colleague, .
And vour names are
and this is my
?
Can I have your mark sheets, please?
Thank you.
First of all, we'd like to know a little about you.
(Select one or two questions and ask candidates in turn, as
appropriate.)
•
•
•
•
Where do you both/all live?
How long have you been studying English?
Have you been studying English together?
What countries have you visited?
Now I'd like you to ask each other something about
(Select one or two prompts in any order, as appropriate.)
•
•
•
•
things you particularly like about living in this country.
entertainment and leisure facilities in this area.
your reasons for studying English.
a change you would like to make to your life in the future.
(Ask candidates one or more further questions in an)' order, as
appropriate.)
•
•
•
•
How important do you think English is in this country?
How would you feel about going to live abroad permanently?
What interesting events have happened in your life recently?
Who do you think has had the greatest inf1uence on your life so
far? (Why?)
• What are your earliest memories of school?
Thank you.
122
Paper 5 frames
Part 2
(6 minutes/4 minutes for pairs of candidates)
• These tasks are suitable for groups of three.
• Give one set of pictures to each candidate in turn and, after the
final long turn, elicit comments as indicated.
Interlocutor:
In this part of the test, I'm going to give each of you the chance to
talk for about a minute, and to comment briefly after you both/all
have spoken.
You will each have two different pictures. They show people
aiming for perfection in what they are doing.
(Candidate A), it's your turn first. Here are your pictures. Please let
(Candidateis) B (and C)) see them.
Indicate the pictures on page CS to (Candidate A).
I'd like you to compare and contrast these pictures, saying how
difficult it might have been for these people to acquire their skills,
and what might have motivated them to aim for perfection.
Don't forget, you have about one minute for this.
Would you start now, please?
Candidate A:
[Approximately one minute.]
Interlocutor:
Thank you. Now, (Candidate B), here are your pictures. Please let
(Candidatets) A (and C)) see them.
Indicate the pictures on page C8 to (Candidate B).
Remember to say how difficult it might have been for these people
to acquire their skills, and what might have motivated them to aim
for perfection.
Would you start now, please?
Candidate B:
[Approximately one minute.]
Interlocutor:
Thank you. Now, (Candidate C), here are your pictures. Again,
please let (Candidates A and B) see them.
Indicate the pictures on page CiO to (Candidate C).
Remember to say how difficult it might have been for these people
to acquire their skills, and what might have motivated them to aim
for perfection.
Would you start now, please?
Candidate C:
[Approximately one minute.]
Interlocutor:
Thank you. Now, would you like to look at each other's pictures
again, and say which of these people you think has put the most
effort into acquiring their skills?
You have only a short time for this, so don't worry if I interrupt
you.
123
Paper 5 [rames
Candidates:
IApproxinwtely two minutes {or groups o] three; one minute {or
pairs o] candidates. I
Interlocutor:
Thank you.
Part 3
(4 minutes / 6 minutes for groups of three)
Interlocutor:
Now, I'd like you to discuss something between/among yourselves,
but please speak so that we can hear you.
I'd like you to imagine that a leaflet is being produced to encourage
people living in the cities to take more exercise. Here are some
pictures which are being considered for the leaflet.
Indicate the pictures on page C6 to the candidates.
Talk to each other about how successful these pictures would be in
encouraging city people to take more exercise, and then choose
two pictures to include in the leaflet.
You have about four minutes for this. (Six minutes for groups of
three.)
Candidates:
[Approximately {our minutes. (Six minutes {or groups o] three.)]
Interlocutor:
Thank vou.
So, which two pictures have you chosen?
Part 4
(4 minutes / 6 minutes for groups of three)
Interlocutor:
Select any o] the {allowing questions as appropriate:
• What other ways are there of keeping fit and healthy?
• How far do you agree that you have to spend a lot of money to
sta y fit and healthy?
• Some people say that nowadays we are more interested in
looking after ourselves than looking after others. What's your
opinion?
• With new technology, people will be able to do almost anything
they want to do without leaving their homes. What would the
disadvantages of this be?
• Modern medicine is making it possible for people to live longer.
Do you think this is a good thing? (Why (not)?)
Thank you. That is the end of the test.
124
Paper S frames
Test 3
Note: In the live test, there will be both an assessor and an interlocutor in the
room.
The visual material for Test 3 appears on pages C7 and C9 (Part 2), and ell
(Part J).
Part 1
(3 minutes)
Interlocutor:
Good morning (afternoon/evening). My name is ..... and this is mv
colleague, .
And your names are .....
Can I have your mark sheets, please?
Thank vou.
First of all, we'd like to know a little about you.
(Select one or two questions and ask candidates in turn, as
appropriate.)
•
•
•
•
Where do you both/all live?
How long have you been studying English?
Have you been studying English together?
What countries have you visited?
Now I'd like you to ask each other something about
(Select one or two prompts in any order, as appropriate.)
•
•
•
•
things you particularly like about living in this country.
entertainment and leisure facilities in this area.
your reasons for studying English.
a change you would like to make to your life in the future.
(Ask candidates one or more further questions in any order, as
appropriate.)
•
•
•
•
How important do you think English is in this country?
How would you feel about going to live abroad permanently?
What interesting events have happened in your life recently?
Who do you think has had the greatest influence on your life so
far? (Why?)
• What are your earliest memories of school?
Thank you.
125
Paper 5 frames
Part 2
(4 minutes)
Interlocutor:
In this part of the test, I'm going to give each of you the chance to
talk for about a minute, and to comment briefly after your partner
has spoken.
First, you will each have the same set of pictures to look at. They
show people measuring things.
Indicate the pictures on page C7 to the candidates.
(Candidate A), it's your turn first. I'd like you to compare and
contrast two or three of these situations, saying why the people
might be measuring these things, and how important it is for them
to be accurate.
Don't forget, you have about one minute for this.
All right? So, (Candidate A), would you start now, please?
Candidate A:
[Approximately one minute.]
Interlocutor:
Thank you.
Now, (Candidate B), can you tell us in which situation you think it
is most important to be accurate?
Candidate B:
[Approximately twenty seconds.]
Interlocutor:
Thank you.
Interlocutor:
Now, I'm going to give each of you another set of pictures to look
at. They show people exploring different environments.
Indicate the pictures on page C9 to the candidates.
Now, (Candidate B), it's your turn. I'd like you to compare and
contrast two or three of these pictures, saying what you think
makes people want to explore, and what risks they may be taking.
Don't forget, you have about one minute for this.
All right? So, (Candidate B), would you start now, please?
Candidate B:
[Approximately one minute.]
Interlocutor:
Thank you.
Now, (Candidate A), can you tell us which of these people you
think is taking the greatest risk?
Candidate A:
[Approximately twenty seconds.]
Interlocutor:
Thank you.
126
Paper 5 frames
Part 3
(approximately 4 minutes)
Interlocutor:
Now, I'd like you to discuss something between/among yourselves,
but please speak so that we can hear you.
Here are some pictures showing worldwide issues which worry
people nowadays.
Indicate the pictures on page ell to the candidates.
Talk to each other about these issues, saying why people find them
worrying, and then decide in which two cases improvements need
to be made most.
You have about four minutes for this. (Six minutes for groups of
three.)
Candidates:
[Approximately four minutes. (Six minutes for groups of three.ti
Interlocutor:
Thank you.
So, which two issues have you chosen?
Part 4
(approximately 4 minutes)
Interlocutor:
Select any of the following questions as appropriate:
• What do you think we as individuals can do to make
improvements to our world?
• How important is it for us to understand different cultures and
customs? (Why (not)?)
• It is a fact that today most of the world's wealth is in the hands
of relatively few people. What could be done about this?
• Do you think human beings ever learn from the mistakes they
have made in the past? (Why (not)?)
• One day all the nations of the world might live together
peacefully. How likely do you think this is?
Thank you. That is the end of the test.
127
Paper 5 frames
Test 4
Note: In the live test, there will be both an assessor and an interlocutor in the
room.
The visual material for Test 4 appears on pages C12, C14, C13 and C16 (Part
2), and C15 (Part 3).
Part 1
(3 minutes)
Interlocutor:
Good morning (afternoon/evening). My name is
colleague, ...
and this is rnv
And your names are ..... ?
Can I have your mark sheets, please?
Thank you.
First of all, we'd like to know a little about you.
(Select one or two questions and ask candidates in turn, as
appropriate.)
•
•
•
•
Where do you both/all live?
How long have you been studying English?
Have you been studying English together?
What countries have you visited?
Now I'd like you to ask each other something about
(Select one or two prompts in any order, as appropriate.)
•
•
•
•
things you particularly like about living in this country.
entertainment and leisure facilities in this area.
your reasons for studying English.
a change you would like to make to your life in the future.
(Ask candidates one or more further questions in an)' order, as
appropriate.)
•
•
•
•
How important do you think English is in this country?
How would you feel about going to live abroad permanently?
What interesting events have happened in your life recently?
Who do you think has had the greatest influence on your life so
far? (Why?)
• What are your earliest memories of school?
Thank you.
Part 2
(4 minutes)
Interlocutor:
128
In this part of the test, I'm going to give each of you the chance to
talk for about a minute, and to comment briefly after your partner
has spoken.
Paper S frames
First, you will each have the same set of pictures to look at, but
your pictures are in a different order. They show different ways of
giving a presentation to an audience. Please do not show your
pictures to each other.
Indicate the pictures on page C12 to Candidate A and page C14 to
Candidate B.
(Candidate A), it's your turn first. I'd like you to describe two of
these pictures, saying how the presentation is being given, and
what effect the method of presentation might be having on the
audience.
Don't forget, you have about one minute for this.
I'd like you, (Candidate B), to listen carefully and tell us which two
pictures have not been described.
All right? So, (Candidate A), would you start now, please?
Candidate A:
[Approximately one minute.i
Interlocutor:
Thank you.
Now, (Candidate B), can you tell us which two pictures (Candidate
A) has not described?
Candidate B:
IApproximately twenty seconds. I
Interlocutor:
Thank vou.
Interlocutor:
N ow, I'm going to give each of you another set of pictures to look
at. Again, they are the same pictures but in a different order. They
show people working in the food business. Please do not show
your pictures to each other.
Indicate the pictures on page C1.3 to Candidate B, and page C16 to
Candidate A.
Now, (Candidate B), it's your turn. I'd like you to describe two of
these pictures, saying what the people might find satisfying about
their work, and what problems they might experience.
Don't forget, you have about one minute for this.
I'd like you, (Candidate A), to listen carefully and tell us which two
pictures have not been described.
All right? So, (Candidate B), would you start now, please?
Candidate B:
[ApfJroximately one minute.i
Interlocutor:
Thank vou.
Now, (Candidate A), can you tell us which two pictures (Candidate
has not described?
B)
Candidate A:
[Approximately twenty seconds.]
Interlocutor:
Thank you.
129
Paper 5 frames
Part 3
(approximately 4 minutes)
Interlocutor:
Now, I'd like you to discuss something between/among yourselves,
but please speak so that we can hear you.
Here are some pictures showing people who work in the media.
Indicate the pictures on page CI5 to the candidates.
Talk to each other about what skills people might need to do these
different jobs in the media, and then decide which job would be the
most, and which the least, challenging.
You have about four minutes for this. (Six minutes for groups of
three.)
Candidates:
[Approximately four minutes. (Six minutes for groups of tbree.ii
Interlocutor:
Thank vou.
So, which two jobs have you chosen?
Part 4
(approximately 4 minutes)
Interlocutor:
Select any of the following questions as appropriate:
• What attracts people to working in the media?
• Some media personalities become very famous. What problems
can this bring?
• What are the advantages and disadvantages of having a large
number of television channels to choose from?
• News now appears on television 24 hours a day. Do you think
this is a good thing? (Why (not)?)
• Some people say satellite television has led to a loss of national
identity. What's your view?
Thank you. That is the end of the test.
130
Marks and results
Paper 1 Reading
Candidates record their answers in pencil on a separate answer sheet. One mark is given for
each correct answer to the multiple-matching tasks. Two marks are given for each correct
answer to the multiple-choice and the gapped-text tasks. The total score is then weighted to 40
marks for the whole Reading paper. The Reading paper is directly scanned by computer.
Paper 2 Writing
An impression mark is awarded to each piece of writing. Examiners use band descriptions
similar to the ones below to assess language and task achievement.
The general impression mark scheme is used in conjunction with a task-specific mark
scheme, which focuses on criteria specific to each particular task, including relevance, length,
omissions, range of structure and vocabulary, and layout; following the conventions of writing
letters, reports, erc., is part of task achievement.
Allowances are made for appropriate colloquialisms and American usage and spelling.
General impression mark scheme
Band 5
Minimal errors: resourceful, controlled and natural use of language, showing good range of
vocabularv and structure. Task fully completed, with good use of cohesive devices, consistently
appropriate register. No relevant omissions.
NB Kat neccssanlv a flawless performance.
Verv positive effect on target reader.
Band 4
Sutficienrlv natural, errors only when more complex language attempted. Some evidence of range
of vocabularv and structure. Good realisation of task, only minor omissions. Attention paid to
organisation and cohesion; register usually appropriate. Positive effect on target reader achieved.
Band 3
Either (a) task reasonably achieved, accuracy of language saristacrorv and adequate range of
vocabularv and range of structures
or (b) an ambitious attempt at the task, causing a number of non-impeding errors, bur a good
range of vocabularv and structure demonstrated. There may be minor omissions, but content
clear!v organised. \'Vould achieve the required effect on target reader.
Band 2
Some attempt at task but lack of expansion and/or notable omissions or irrelevancies. Noriceahlc
lifting of language from the input, often inappropriately. Errors sometimes obscure
communication and/or language is too elementary for this level. Content not clearlv organised.
\'Vould have a negative effect on target reader.
Band 1
Serious lack of control and/or frequent basic errors. Narrow range of language.
Inadequate attempt at task.
Very negative effect on target reader.
Band 0
(a) Fewer than 50 words per question.
or (b) Totallv illegible work.
or (c) Total irrelevance (often a previously prepared answer to a different question).
All these comments should be interpreted at CAE level and referred to in conjunction with a
task-specific mark scheme.
131
Marks and results
Paper 2 sample answers and examiner's comments
The following pieces of writing have been selected from candidates' answers. The
samples relate to tasks in Tests 1-4. Explanatory notes have been added to show
how the bands have been arrived at. The comments should be read in conjunction
with the task-specific mark schemes included in the keys.
Sample A (Test 1, Question 1 - Letter)
students at Fordham college and would like to express our
ilke to state that we are fully aware of Fordham's parking p rot7lems.
ancl are rherefore regularly faced with the difficulrles ro fincl a parking space.
has to find a soiurlon for this
but we are afraid we can not agree tb»: the uセャョPヲ イュセャエゥHャョ
of rhe students and rhe professors are regular users of rhe park.
the breaks and even for lessons outside in the summer. We
Lセッイョゥァ
HWイNセヲcイZGP Sゥヲc
definitely
Park is
there, gOing
C;""'E'endaie ,r/'ark
is also of great benefit for the Fordham Residents.
undertook a survey and conducted Interviews among the residents.
of the survey, In which the residents were asked how often they use the
freC1u,mtlv used. 78 percent of the Residents visit It regularly, one third of
used for a variety of activities by Residents of all ages. For
with fresh air in an urban environment. Children have a
Park offers a relaxing
for
an,> are safe from traffic dangers. Further many active Residents use the
c,,'ass
Greendale
interviews
C;reendale
a priv'ate c'ut:
arguments show that Greendale Park is the centre of the social life in Fordha,'11
alternative solution would be the building of an underground car park next
",rc;n!1 cci.i.r« aM Construction Engineering have agreed to find suitable solutions
l'\/e hope
rurned into
students
hea,'"' from you.
at
Lセ」キ、ィ。イョ
Coiiege
Comments
Content (points covered)
Good realisation of task. All content points covered.
Organisation and cohesion
Clearly organised with attention paid to cohesion.
Range
Ambitious attempt at complex structures.
Register
Generally appropriate but slightly informal at times e.g. we hope to hear from you.
Some awkwardness (e.g. Dear editor).
Accuracy
Errors sometimes occur where complex language is attempted (e.g. difficulties to filld).
Target reader
Would be fully informed. Positive effect.
Band 4
132
a
Marks and results
Sample B (Test 1, Question 3 - Competition entry)
TO: INTERNATIONAL MAGAZINE.
COMPETITION TASK. 'Three things for the future."
from: JULIA
The very first item I'd include in the capsule is a pack with lots of seeds, all kind of plants that I
could possibly gather. The reason why I'd send those for the future is because the humanity is just
about to lose the nature, destroing forests, hunting animals and fish, killing them, ruinning rivers
and polluting the air and destroing the ozone camade. So, the idea is to give them - the men of
the future - the opportunity to replant trees and plants, minimizing the effects of the mess we
have been doing in this generation (the present).
The second thing is a tape, which contents shows all the wars we had in the past and all the
conflicts we still have and the attomic bomb that made Yroshima desapear from the earth. Also
the racism against any religion or color or diferences between nations. Perhaps they could iearn
with our mistakes and promote the peace and the justice and equality for every single man, giving
children the right of been born and to grow up with dignity. Later to give the old man the well
deserved rest and the fair place in the society.
Finally a picture of every race, at least to gather in a picture one face from every continent of
this planet. Hopefully it would show them how equal we are and rise a felling of love and care among
people and aproach human been from each other. Help them see how good the future can be and
that depends on them. Happyness and peace are built by those hands that aim to promote, keep
and reassure others lives. That is not easy, but on the other hand it's possible and it worth it.
Even if I don't win this competition I'm happy because I could express myself and whoever read
my letter will have a chance to think about it a/I.
Comments
Content (points covered)
All points addressed.
Organisation and cohesion
Clearly paragraphed, but lacks clear introduction.
Range
Some attempt at range but marred by error.
Register
Appropriate.
Accuracy
Some impeding errors (e.g. destroing the ozone camade, aproach human been from
each other).
Target reader
Would be slightly confused.
Band 2
133
Mcnks and results
Sample C (Test 2, Question 1 - Article)
0, Canada!
Do you think your English needs improvement? Do you enjoy beautiful environment, good food
and friendly people? Then learning English in Canada seems to be the right solution for you! I went
there for four weeks and I regret nothing. It must be said that I was quite nervous about going to
a, for me, completely unknown country, all by my self, having to speak English 24 hours a day. But it
turned out that my worries were totally unjustified.
To begin with, my host family were the most friendly people imaginable. I did have to share a
room with the daughter but that merely made us become even closer friends. The house was lovely
and they cooked absolutely delicious food! Unfortunately they didn't have much time to take me
sightseeing around the city and, to be honest, the nightlife wasn't the most exciting.
What was exciting, though, was the adventurous camping trip to Rocky Mountains, were we had
to cook our food over an open fire and got to see wild bears in their natural habitat.
You have to pay for your own travel costs and bring some pocket money and I must say that it
was more expensive than I expected but it's definitely worth every pennyl Not only do you improve
your English but you make friends for life as well. When you book you also agree to host the
Canadian student in your family the next year and I'm already looking forward to seeing her again!
This is something J highly recommend you to do, you can choose to go for 4-8 weeks but I would
say that four weeks gives you the best value for money. Now go and book straight away and enjoy
your trip to beautiful Canada!
Comments
Content (points covered)
Task fully completed, with points expanded as appropriate.
Organisation and cohesion
Very effectively organised, good use of cohesive devices.
Accuracy
Not a flawless performance, but resourceful, controlled and natural use of
language.
Range
Wide range of language. Evidence of control of complex structures.
Register
Consistently appropriate. Very positive and enthusiastic.
Target reader
Would be enthused and would consider taking part.
Band 5
134
Marks and results
Sample 0 (Test 2, Question 4 - Text for the leaflet)
Do more sport!
It is common knowledge that sport is healthy and that everybody needs a break from time to time!
Why not taking up a new sport or participating in one of the recreational activities our college
provides?
The gym for example is open for everybody. For those who never trained I recommend a lesson with
a sports teacher, which is for free. But there are so many other possibilities. If you like swimming
you can either go to the pool on your own, with some friends, or take part in the swim-training to
make it more professional. There are also some squash courts inside and some tennis courts
outside. A possibility for everyone who likes running after a ball. You can book tennis-lessons at the
sport secretary. For everyone who would like to take up a martial art to train his reflexes and his
general condition there are three possibilities: Judo, Karate and Kung-Fu. Trainings are three times
a week for every martial art. You can get further information about the timetables at the sport
secretary. Everybody who likes football, basketball or hockey can sign in for the training on the
Internet.
This October starts a new set of winter-sports which our college provides together with the iceskating and curling centre 'ISCC' about five minutes on foot from here. You can participate in the
ice-skating program or take up a sport the most of you have never heard of: curling.
For all the skiers and snowboarders of you: there is some further information about snowboard and
ski weekends on the internet.
Good luck with your new sport!
Comments
Content (points covered)
All points covered.
Organisation and cohesion
Satisfactory organ isa tion.
Accuracy
Some non-impeding errors (e.g. why not taking).
Range
Adequate.
Register
Consistently appropriate.
Target reader
Would be informed.
Band 3
135
Marks and results
Sample E (Test 3, Question 1 - Proposal)
WHAT THE FEATURE FILM SHOULD INCLUDE
INTRODUCTION
A currenz; student of Evendine College was requested by the college nrinrin",: to write this propoee! to a
television comeany on what the feature film of the college should include.
PLACES TO FILM
the classrooms would be a great idea. They show tipical conversational classes. as the chairs and
desks are arranged in a circle shape. This refers to the fact that everybody is envolved a
of the group.
fantastic
The library seems to be the other very good choice to record. It has been modernised
state-of-the-art equiement heles the students besides the wide range of books.
PLACES NOT TO FILM
Unfortunately the collage does not have a sports field, not even a garden Is
as the college is
based in Central London.
It apeears that the canteen is too noisy and overcrowded, so the fJlm should not shcw it.
The language laboratory is being built at the moment, so there is not too much to fjfm in this area. It
should be mentioned in the interviews, though.
INTERVIEWS
could promote
For the interview one student and one teacher might be preferable. Maria is a student
the college most because she has been on lots of college tries (the company
want to as.k her about
these), and she is a very talkative and confident girl,
here for a long
Mr Brown is the favourite teacher of most students in the college. He's been
time, he's very intelligent and has a good sense of humour.
CONCLUSION
and sc
In short, the classrooms and the library could give an ideal picture of the
mentioned student (Maria) and teacher (Mr Brown).
Hoeefully this propoeel gives a better insight into what the feature film should include.
Comments
Content (points covered)
All points covered.
Organisation and cohesion
Clearly organised into paragraphs with suitable headings. Attention paid to
cohesion.
Accuracy
Some non-impeding errors (e.g. envolved, circle shape, collage).
Range
Good range of vocabulary and structure, but awkward in places.
Register
Consistent.
Target reader
Would be informed.
Band 3
136
」ッオャHセ
the
Marks and results
Sample F (Test 3, Question 5 - Text for the leaflet)
ASPECTS OF HEALTH AND SAFETY IN THE ILAVA HOSPITAL
Firstly, I should remind you that we work with the 'material' which is alive, with human beings. We
have to make every effort to help their physical and mental necessities and keep them safe away
from contageous illnesses. Furthermore, we have to keep ourselves health and safe as well.
EQUIPMENT WE USE, NEEDLES
As you sureiy know, except giving medicine to patient per oral, we apply injections as well. The most
common accidents among nurses are uncareful and unreasonable using dirty needles. It might
happen to every nurse or doctor that in the moment of putting the lid on the already used needle,
she or he might accidently pinch or hurt their finger. Stay calm and do not hasitate.
HOW TO USE NEEDLES SAFELY
At first, do not forget to wear gloves. It is the most important thing which you have to keep in your
mind all the time.
Secondly, after applying an injection, put immediately the lid on very carefully. Remember, there is
no rush. Do not hurry to do other work you have been asked. Your health and safety is as
important as health and safety of our patients. Be aware of illnesses you might meet at our ward.
WHERE TO GO AND WHAT TO DO IF THERE IS AN EMERGENCY
In case of having an accident with the already used needle, do not hesitate, wash your hands
precisely and find a nurse who is in charge. Carefully follow her instruction and fill in the accident
questionnare which you will be given.
Comments
Content (points covered)
All points addressed.
Organisation and cohesion
Clearly organised into headed sections.
Accuracy
A number of non-impeding errors.
Range
Some evidence of a range of language appropriate to the task.
Register
Satisfactory.
Target reader
Would be informed.
Band 3
137
Marks and results
Sample G (Test 4, Question 1 - Letter)
Dear IY1r Smith.
First of all I would !ike to thank you for your invitation to the great opening of the
I had the chance to attend with pleasure last night.
HIョLセイゥェ。・
Art Centre which
I must ac!mit that I was impressed both by the event itself and the brand new
i am atJso,'ureiv
posirive that immense theatre and cinema wi/I help to promote culture among our ioca i residenrs. Having
a marvellous time in the Cafe, I still remember its unforgettable ambiance and c!elicious food I had the
chance to try. The Art gallery surprised me with magnificent exhibition which I am going to recommend to all
our students. The Arts Library, which offers wide range of art materials, is going to be one of the best
sources of art knowledge for our college.
However, I noticed the lack of the recording studio which was wanted by 60% of the students. ,A,s our college
contributed
to the building of the new Arts Centre, our students were
to be entitled
to free use of both music and rehearsal rooms and the handout I received yesterday did not mentioned this
privilege. As you probably know our college organises cinema courses focusing mainly on unusual,
international films whereas the programme of your cinema includes only the latest, commercial movies which
do not fit into our courses. Since the Art Centre is the only one in our region we would !ike to ta.ke advantage
of the theatre for our annual productions and of the Arts Library. According to
arrangements all
whereas
our students had the right to 10% discount on all tickets and as far as I know nothing has
on your handout given me yesterday our students are granted only 5% discount
I am absolutely aware of the fact that the Arts Centre is a new venture and there are
many
problems to solve but I hope that the inevitable amendments will be made to improve the cooperation with
our college.
We
for further partnership relations.
Yours 0incP,r'eiv
The secretary of Student Committee
Comments
Content (points covered)
Candidate has omitted to suggest meeting.
Organisation and cohesion
Clear paragraphs. Good use of cohesive devices. Effective balance of positive and
negative points.
Accuracy
Very few errors (e.g. did not mentioned, best sources of our knowledge).
Range
Evidence of range but with some awkwardness (e.g. partnership relations,
absolutely aware).
Register
Wholly appropriate and consistent.
Target reader
Would not be fully informed.
Band 2
138
Marks and results
Sample H (Test 4, Question 2 - Article)
Our life is dominated by the mobile phones. They're everywhere. 'Ring, ring' has become a part of us.
You can't hide yourself, because they will get you. People tend more to leave their wallet at home
than this little toy, which is a miracle of modern technology.
As most of our electronic equipments, the mobile phone has changed its design and its influence
on our society very quickly. I remembered the time, when just the minority of the people had had
one and the reason, why they had need it, was completely different. They spent a respectable
amount of money and the service was limited. We made a distinction between personal and
business use, because the first one wasn't very common.
But nowadays, it is a basic tool like television and everyone in the Western World has access to it.
We like to chat with friends, want to be everytime and everywhere, even in the bed being reachable.
Honestly, it can be really practical, when you're late and tell it to your friends. Business people
might phone home, while they're on a meeting in another city. As a result we can communicate in
our complex world, efficiently and quickly.
But, what is the strongest impact? Why do I see children of an age of ten years, writing messages
rather than playing with friends? Are we too lazy and want only machines controlling our !ifes? I do
not hope so. Obviously there are many advantages, like saving time, fast connection and also being
reachable, but on the whole: Personal contact is replaced by a new form of exchange. Then we
express feelings, emotions and opinions through a machine, which reduces the miracle of the human
being.
Comments
Content (points covered)
All points addressed.
Organisation and cohesion
Organised into paragraphs, some attempt at linking.
Accuracy
A number of non-impeding errors (e.g. electronic equipments, a respectable
amount ol money, why they had need).
Range
Amhitious attempt.
Register
Consistent.
Target reader
Would be informed.
Band 3
139
Marks and results
Sample I (Test 4, Question 3 - Proposal)
Organising Committee
the sports event next year,
to
information about 'YOKOHAMA' that seerns
range of accommodation, transport and ・ョGセN・イ Z[ L」ョ ・ セ
rhe
cities in Japan. Numerous hoiidaymakers ccme
appropriate accommodation according to
and developed well, so several means of tr:m"nn,e-t:;;t:r;'n
Generally. the public transport system in Japan
very reiiable.
nearest international air port is 45 minutes away by bus, The only
8.00am to IOOOam in the morning, but this could be sorted out by ectr c
Enter-tain,"nent
.
ᄋyoLイHoLhゥセエカQa
a modern city. but also a historical city. This means the
use to be a capital city of Japan in 13th century so some
On the other hand, modern facilities - an exciting amusemenr.
- are there. Should someone feel tired during their stay, she/he
Y()'.C'H!.,'v1.h:s next to Tokyo. a capital city of Japan. So, people could go
Tokyo, shopping and arts - such as theatres in Ja.oa"es.e
All
art:
r':'')0,,'''(.'':0
recommending 'YOKOHAMA' for the
where
YOKOHAMA, considering its excellent accommodation
tr;;r:1:,;'r;rs:
Lイセャ PョGLB
Comments
Content (points covered)
All points covered. Good realisation of task.
Organisation and cohesion
Attention paid to organisation and cohesion with appropriate headings. Effective
introduction and conclusion.
Accuracy
Sufficiently natural but with occasional minor slips (e.g. The city lise to he, anyone
who baue their own interests) and problems with articles (e.g. a capital city). In
places generally accurate even when more complex language attempted.
Range
Evidence of range of vocabulary (e.g. according to their tastes or budgetsi and
structure (e.g. I haue no hesitation in recommending, 45 mil/lites away by Ems).
Register
Appropriate.
Target reader
Positive effect. Target reader would be informed, and would consider the proposal.
Band 4
140
Marks and results
Paper 3
English in Use
One mark is given for each correct answer. The total mark is subsequently
weighted to 40.
Paper 4
Listening
One mark is given for each correct question. The total for any version of the
Listening paper is weighted to give a mark out of 40 for the paper.
For security reasons, several versions of the Listening paper are used at each
administration of the examination. Before grading, the performance of the
candidates in each of the versions is compared and marks adjusted to compensate
for any imbalance in levels of difficulty.
Paper 5
Speaking
Candidates are assessed on their own individual performance and not in relation to
each other, according to the following four analytical criteria: grammar and
vocabulary, discourse management, pronunciation and interactive communication.
These criteria are interpreted at CAE level. Assessment is based on performance in
the whole test and not in particular parts of the test.
Both examiners assess the candidates. The assessor applies detailed analytical
scales, and the interlocutor applies a global achievement scale, which is based on
the analytical scales.
CAE typical minimum adequate performance
The candidate develops the interaction with contributions which are mostly
coherent and extended when dealing with the CAE level tasks. Grammar is mostly
accurate and vocabulary appropriate. Utterances are understood with very little
strain on the listener.
Analytical scales
Grammar and vocabulary
This refers to the accurate and appropriate use of grammatical forms and
vocabulary. It also includes the range of both grammatical forms and vocabulary.
Performance is viewed in terms of the overall effectiveness of the language used.
Discourse management
This refers to the coherence, extent and relevance of each candidate's individual
contribution. In this scale, the candidate's ability to maintain a coherent How of
language is assessed, either within a single utterance or a string of utterances. Also
assessed here is how relevant the contributions are to what has gone before.
141
Marks and results
Pronunciation
This refers to the candidate's ability to produce comprehensible utterances to fulfil
the task requirements. This includes stress, rhythm and intonation as well as
individual sounds. Examiners put themselves in the position of the non-ESOL
specialist and assess the overall impact of the pronunciation and the degree of
effort required to understand the candidate.
Interactive communication
This refers to the candidate's ability to use language to achieve meaningful
communication. This includes initiating and responding without undue hesitation,
the ability to usc interactive strategies to maintain or repair communication, and
sensitivity to the norms of turn-taking.
Global achievement scale
This refers to the candidate's overall performance throughout the test.
Marks
Marks for each scale are awarded out of five: the assessor's marks are weighted
singly and the interlocutor's mark is double-weighted. Marks for the Speaking test
are subsequently weighted to produce a final mark out of 40.
142
Test 1 Key
Reading
Paper 1
(1 hour 15 minutes)
Part 1
1 A
10 D
2 B
3 D
4 D
7 B
5 B
6 C
13A
14 E
15 D
11 A
12 B
18 A
19 G
20 B
21 D
24 A
25 A
26 D
27 B
29 C
37 E
45 A
30 B
38 A
46 E
31 A
39 C
32 C
40 D
8 A
16 C
9 E
34 E
42 C
35 B
43 D
Part 2
17 F
22 C
Part 3
23 C
Part 4
28 E
36 B
44 A
Paper 2
Writing
33 C
41 C
(2 hours)
Task-specific mark scheme
Part 1
Question 1
Content (points covered)
For Band 3 or above, candidate's letter must:
• respond to the article
• summarise the information from the survey
• present conclusions.
Organisation and cohesion
Letter format with opening/closing formulae. Early mention of reason for writing
and logical organisation of points.
Range
Language of evaluation, comparison, and suggestion.
Register
Formal or semi-formal. Tactful but firm and polite.
Target reader
Would he informed about how the college students and/or the local residents feel
about the decision.
143
Test 1 Key
Part 2
Questio11 2
Content (points covered)
For Band 3 or above, candidate's article must:
• state which two sports they most enjoy watching
• give reasons for their choice
• discuss whether sports in their country have been influenced by sports from
abroad
• give reasons for this influence/lack of influence.
Organisation and cohesion
Clear organisation with appropriate paragraphing.
1\(1I1ge
Language of opinion.
Register
May mix registers as long as appropriate.
Target reader
Would be informed.
Questio11 3
Content (points couered)
For Band 3 or above, candidate's entry must:
• nominate three items
• explain why these items would be of interest in the future.
Organisation and cohesion
Clear paragraphing.
Range
Evaluative and descriptive language.
Range of models for future reference/recommendation etc.
Register
May mix registers, if appropriate to the approach taken by the candidate.
Target reader
Would consider the entry.
Questio11 4
Content (points covered)
For Band 3 or above, candidate's report must:
• outline strengths and weaknesses of education in their country
• suggest at least one future development.
Organisation and cohesion
Clear.
Headings an advantage.
Top and tail letter format acceptable.
144
Test 1 Key
Range
Language of opinion, assessment (perhaps suggestion/description).
Register
Unmarked - formal, but personal views acceptable.
Target reader
Would be informed.
Question 5
Content tpoints covered)
For Band 3 or above, candidate's proposal must:
• describe the company/type of company they would like to work in and why
• explain what they would like to do/will do in the company
• outline the benefits of the placement for the company.
Cirganisation and cohesion
Clearly ordered in paragraphs. Memo/letter layout acceptable.
Range
Language of business.
Register
Formal to unmarked.
Target reader
Would be informed and would consider the proposal.
Paper 3
English in Use
(1 hour 30 minutes)
Part 1
1 C
10 A
2 A
11 C
3 D
12 B
4 B
5 C
6 A
13D
14 D
7 C
15 C
8 D
9 C
Part 2
16 our
22 who
29 as
17 in/during
23 themselves
30 the
18 which/that
19 even/Even
24 have
25 at
26 how
20 be
27 us
21 instead
28 this
Part 3
31 varieties
35
32 reference
33 different,'/different',
34 bought
Portuguese
36 ./
37 successful
38 of,
39 along
40 immediatelv
41 lead
42 customers
43 Olvero,
44./
45./
46 future.
Part 4
47
52
56
61
enthusiasm
persuasive
apparently
wrappll1g
48 product
49 truly
50 evolution
51 inclusion
53 increasingly
54 traditionally
55 resourceful
57 factual
58 primarily
59 uninterrupted
60 manufacturers
145
Test 1 Key
Part 5
62 too complicated/too complex/too confusing/from obvious
63 follow/understand/
comprehend/get
64 he deserves/he should/he merits
65 too often/excessively/too
much/too frequently
66 believe in/believe/take seriously
67 boring/predictable/NOT
tedious
68 walk out/get out
69 wrong parts/wrong roles
70 too loud/too noisy
71 be seen
72 new ideas
73 professional
74 keen on/enthusiastic about/fond of/
crazy about/devoted to/happy with
Part 6
75
E
76 A
Paper 4
77H
Listening
78 D
79 B
80 F
(approximately 45 minutes)
Part 1
2 (the) landowners/ land (-)
1 international (golf) competition(s)/golf internationally
owners
3 championship
4 (the) cities/( the) towns/( the) urban areas/ the city
6 grow fast/quickly
7 (a) nature reserve(s)/a place for
5 (urban) parks/a park
children to see animals and trees
8 (local) community/rlocal) communities
Part 2
9 familiar (faces and other)
10 (written) diaries/diary
11 (up) lots of/a lot of
film(s)/many films/plenty of film(s)/many rolls of film(s)
12 throwaway/out the/get rid
of/dispose of (the)
13 positions/places/angles
14 sky
15 (camera) setting(s)
16 level/height
Part 3
17 D
23 C
18 B
19 A
20 C
21 D
22 B
27 F
28 H
29 B
30 F
24 D
Part 4
25 D
34 B
26 G
Transcript
31 H
32 G
33 D
This is the Cambridge Certificate in Advanced English, Listening Test. Test
One.
This paper requires you to listen to a selection of recorded material and
answer the accompanying questions.
There are four parts to the test. You will hear Part Two once only. All the
other parts of the test will be heard twice.
There will be a pause before each part to allow you to look through the
questions, and other pauses to let you think about your answers. At the end
of every pause you will hear this sound.
tone
146
Test 1 Key
You should write your answers in the spaces prouided on the question paper.
You will haue ten minutes at the end to transfer your answers to the
separate answer sheet.
There will now he a pause. You must ask any questions now, as you will not
be allowed to speak during the test.
[pause]
PARTl
Now open your question paper and look at Part One.
r pause]
You will hear part of a lecture in which a man called Tom Trueman talks
about golf courses and the enutronment, For questions 1 to 8 complete the
sentences.
You will hear the recording twice. You now baue 30 seconds in which to
look at Part One.
[pause]
tone
Lecturer:
Good afternoon. I'm here to talk about the rather delicate question of golf
courses in the countryside. I want to look at the growth of golf in this country
and make some suggestions regarding its future development.
A few years ago, a report was published by the body that governs the sport
nationally. At that time, the popularity of golf was expanding rapidly on the
back of all the publicity surrounding the success of certain local golfers in
international competitions.
The report said that people who didn't belong to existing golf clubs, but who
wanted to start playing the game, found that there simply weren't enough
facilities to go round. So, the report concluded, around 700 courses would
have to be built to meet the demand.
Following that report, there was, as you can imagine, enormous interest
amongst landowners, not to mention businessmen, who suddenly realised that
there was money to be made out of golf. Now, the ordinary beginner couldn't
really afford to pay for a high standard of facilities, but, for some reason,
developers tended to build championship golf courses, so that quite a few of
the hundreds built across the country failed financially.
And, of course, not everybody likes golf courses anyway. They cause changes
to the local environment and are used only by those with money, and that often
means people driving out from the cities, rather than the local population.
A further objection to golf courses is that, although they don't involve much
building, the smooth close-cut grass gives them the ordered appearance of
urban parks, because developers seem to be obsessed with the idea of
stripping everything out and starting again. The land is levelled out, then
artificial bumps are introduced, alien species of plants, often imported from
abroad, are put in; trees that grow fast are particularly popular, as are new
varieties of grass that provide a good walking surface. And, of course, this
means that wild animals and other forms of native wildlife are uprooted and
suffer as a result.
147
Tcst 1 Kcy
But my point is why should all this destruction be necessary? Why do all golf
courses have to look the same? I believe that, with a little bit of imagination,
many courses could easily be turned into nature reserves, where interesting or
rare plant varieties could be preserved. Many of the arguments raised by the
critics would be answered in this way and I think this is an approach that
should be considered before any more golf courses are built in this country.
Most importantly, courses should be designed to attract rather than drive away
wildlife. A knock-on effect of this would be another layer of use, as
schoolchildren and others could come to study the natural habitats that would
be preserved, making the golf course much more an integral part of the local
community as well as the local ecology.
So, what can ...
[pause]
tone
Now you will hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part One.
[pause]
PART 2
Part Two
You will hear a radio talk giuen by a photographer. For questions 9 to 16,
complete the sentences.
Listen uery carefully as you will hear the recording once only. You now haue
45 seconds in tuhich to look at Part Two.
[pause]
tone
Interviewer:
Ian:
148
It's a task that usually takes only a fraction of a second, yet the results of
taking just one photograph can be magical. Ian Hasson is lucky enough to
earn a living taking pictures, but for many of us, it's just a hobby that we'd like
to be better at. Here's Ian with a few useful tips.
If you're like most of the amateur photographers that I come across, then it
isn't pictures of famous celebrities that you're interested in, but rather pictures
of familiar faces or places that induce groans of 'oh no' when you show them
off. And you want to put these familiar scenes in an album with a little penned
note beneath each one ... because these days, photography has taken over
from written diaries and the idea of capturing moments in time has become
pictorial ... our photo albums have become a kind of diary for us.
Unfortunately, it isn't as simple as 'take a shot - put it in the album'. What
many people don't realise is that whatever your focus is - people or scenery or
whatever - you've got to be prepared to use up lots of film. You won't get a
great shot the first time. When you get all your films back from being
developed - then it's important to throwaway the ones that aren't any good ...
Test 1 Key
if you put everything in an album, the bad ones really do detract from the
better ones. You've got to get rid of them. Then you can show off the prize
shots.
How do you get these? Well the advice itself can be pretty straightforward. If
you're trying to do landscapes, for example, then I think you should try a
variety of positions. Get down on your knees or ... stand on a rock or
something. Also you can try varying your main focus ... take the view with
plenty of sky and then do the opposite - try it with hardly any sky. Shoot lots
and make sure that the pictures are as sharp as you can get them.
As for shots of people or portrait photos, have a good look at all the camera
settings before you even mention to your friends that you're about to take a
photo. For example, if you need it, is the flash on? If you spend a lot of time
messing around with the settings, you'll end up with a picture of someone
looking fed up.
With children, you've really got to avoid getting them to pose at all, in fact
you'll get the best shots if they're completely unaware. Also, to avoid
distortion, you've got to get down to their level. Sit or kneel so that you're the
same height as they are. And remember, it doesn't matter whether everything
else is in focus as long as the subject's eyes are sharp. So start focusing on
the eyes and everything else should be OK.
[pause]
That is the end of Part Two.
[pause]
PART 3
Part Three
You will hear an interuieui on a train with two friends, Jane and Chris, chefs
iohc: both won prizes in the National Railway Chef of the Year competition.
For questions 17 to 24, choose the correct answer A, B, Cor D.
You will hear the recording twice. You now haue one minute in uhich to
look Lit PLirt Three.
[pause]
tone
Greg:
Chris:
Jane:
Greg:
Servinq more than 200,000 meals a year would be a challenge for any chef,
but step up constraints of time, space and a demand for culinary excellence
and you have the life of a railway chef. Chris and Jane, the idea of having to
cook in cramped surroundings, with limited ingredients and a very tight
schedule, as you did in the recent competition, must have been a terrifying
prospect ...
Well, hardly - I actually operate under those restrictions every day!
That's true, of course, we both do - but there's always the added danger that
things can go wrong, and the challenge of preparing a top-quality, threecourse meal for four - which costs no more than £50 - and in front of all those
judges!
Well, Jane, you were a runner up and Chris came first. I gather you faced
some stiff competition from the other finalists.
149
Test 1 Key
Jane:
Chris:
Greg:
Chris:
Greg:
Jane:
Chris:
Greg:
Jane:
Chris:
Jane:
Greg:
Chris:
Jane:
Greg:
Chris:
Jane:
Greg:
Chris:
Jane:
Chris:
Greg:
150
No doubt about that. All the chefs who entered the competition were brilliant in
their own way - but someone has to win! But the real problem is trying to be
creative as the train hurtles through the countryside at over 100 miles an hour
- there's little room for mistakes - and you have to be able to keep your
balance!
Actually, I'd only been a railway chef for three months. And I can tell you that
life on board is no easy ride. There's no nipping out to get the extra bunch of
parsley, or a lemon.
But you're used to working under pressure all the same, aren't you? How do
you set about being organised?
You've just got to make sure you're focused on the job. Being able to keep an
eye on a dozen things at once is also an advantage!
But do you actually enjoy what you're doing?
There's plenty of scope to express yourself as a chef in the job - and the open
kitchen means that customers will often compliment you personally on the
food. That's one of the biggest highlights of the job.
I'd certainly go along with that. Very few restaurant chefs have the chance to
experience that.
And what about the menus, who decides what to cook?
They're decided in advance for the whole railway network by two extremely
famous chefs, who are actually brothers. I suppose we both find it restricting.
Hmm. I do get a bit frustrated from time to time - think I could be a little more
adventurous - but it's all a question of adaptability - which I suspect Jane is
better at than I am!
Not at all - I can be quite inflexible when the mood takes me!
So what would be a typical routine for you both?
You have to start at around 5.30 in the morning - check that all the ingredients
have been delivered - then it's a mad rush to get everything ready.
And precious little time to rest any other time during the day, as you often have
to set tables on other trains and help other staff. Timing's particularly tight, you
see. In other restaurants orders come in and go out over two or three hours,
but we have to turn round before the passengers reach their stations. It's all a
bit nerve-racking.
So what motivated you to do this in the first place?
I've been on the move ever since I left college. So when I got engaged, I
decided it was time to settle down. So when I saw this job, it seemed a
reasonable compromise between personal commitments and my reluctance to
stay in one place.
For me it was something that just caught my eye - not just ordinary run of the
mill stuff. And, if you get the time, you get a good view out of the windows!
And how do you stop things from spilling over when the train moves?
It's not a problem for me. I was a chef on a liner, so I've got plenty of
experience of cookery in motion!
Yes, but I think it helps if you only half fill saucepans with boiling water - even
so, they often spillover and you start saying nasty things to yourself about the
driver - and it's not usually his fault!
Let's just say that you quickly learn not to put things under the grill without
keeping an eye on them!
Has either of you had any major disasters?
Test 1 Key
Chris:
Greg:
Jane:
Chris:
Greg:
Chris:
Jane:
Greg:
[laughs] I'd only been in the job for three days and I had this huge roast in the
oven. I opened the door, turned around for a moment, distracted, I suppose,
and it just flew out. Fortunately it landed in the sink, so it was okay.
And what qualities would you say it was necessary for a railway chef to have?
From my point of view, dedication and determination - you won't get anywhere
without these!
And, let's admit it - a sense of humour. There have been times when I would
have resigned long ago if I hadn't had that!
And what of the future?
Who knows? - perhaps the first chef on a trip to the Moon?
Now, that would be a challenge! But somehow, I doubt I'll be with you on that
one. I'm terrified of flying!
Well, now, if you don't mind, we thought our listeners might be interested in
the recipes for your prize-winning meals ...
[pause]
tone
Now you will hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part Three.
[pause]
PART 4
Now look at the fourth and last part of the test. Part Four consists of two
tasks.
You will hear five short extracts in which different people are talking about
works of art they would buy if they had £20,000. Look at Task One. For
questions 25 to 29, match the extracts as you hear them with the works of
art the people would buy, listed A to H. Now look at Task Two. For
questions 30 to 34, match the extracts as you hear them with the comment
each speaker makes about the world of art, listed A to H.
You will hear the recording twice. While you listen you must complete both
tasks. You now have 40 seconds to look at Part Four.
[pause]
tone
Speaker One:
If the money were handed to me on a plate, then I'd go and look at all sorts of
places - for things like drawings and watercolours of a bygone age. The
money would go further in the non-contemporary field. You have to pay an
awful lot for oil paintings but you certainly get the best prices at sales, where
they always have bright, colourful catalogues giving you all sorts of information
about the paintings, although you might miss something vital if you don't read
the small print! Naturally, you have to be careful - you wouldn't want to buy a
forgery! You need a good eye to spot something authentic - it's not always
that obvious at first sight.
151
Test 1 Key
Speaker Two:
Speaker Three:
Speaker Four:
Speaker Five:
I can't think of anything nicer than having lots of money to spend on art. The
only question is whether I'd go for the big one or spread it around! I'd probably
go for a single collection of drawings I came across at an exhibition by a
modern artist a short while ago. Actually, a few years ago, I acquired a
painting quite cheaply by an artist who now sells for thousands but you should
never buy art with the intention of turning it into a money-spinner. In my
opinion, art should be accessible - not something remote and unreachable and not something hidden away from the public eye.
Collecting works of art is my passion - but, to be frank, you need space. Every
single corner of my small house is jam-packed with paintings - so I'm not sure
where I'd put any new ones! But, if I saw something I liked, I'd just have to
have it. No matter where it goes! I'd like a landscape - particularly one from
another country - but not necessarily an old master. I really regret not buying
more when I was younger but at the time I just couldn't find the ready cash. I'd
be a millionaire by now if I'd followed my instincts! That's what being a real
collector means. Even if your furniture has to disappear!
I'm what you might call a sort of professional. I'm a kind of, well, art
middleman. I buy catalogues from all the best dealers. So if I had that kind of
money to spend, I'd do what I always do: think what's going to sell well - buy
it, then rent it out for exhibitions. The secret is to buy first works from those
artists who haven't really found their style. To be honest, that's the kind of
thing I like to see hanging on my own walls - but to succeed, as it were, it also
helps if you have a good eye for a money-spinner - and a bit of luck!
If I were given a sum of money like that, I'd buy something eye-catching,
something that everyone would notice - even if they didn't like it! I'd probably
go for a giant statue that I would place in my hallway, or in a park near my
house. There's only one reason to collect a work of art: because you love the
image and you want to live with it forever and there has to be some kind of
message as well. It's not just about investing money or making a fortune. I
always think it's amazing that many great artists didn't even become famous
until after they died.
[pause]
tone
Now you will hear the recording again. Remember you must complete both
tasks.
[The recording is repeated.]
[pause]
That is the end of Part Four. There will now be a ten-minute pause to allow
you to transfer your answers to the separate answer sheet. Be sure to follow
the numbering of all the questions. The question papers and answer sheets
will then be collected by your supervisor.
[Teacher, pause the recording here for ten minutes. Remind your students
when they have one minute left.]
That is the end of the test.
152
Test 2 Key
Paper 1
Reading
(1 hour 15 minutes)
Part 1
1 D
10 A
2
c:
11 B
3 B
12 A
4 B
13 D
5 D
6 C
7 A
14 C
15 B
18 B
19 G
20 E
21 A
22 C
24 B
25 C
26 A
27 B
28 D
30 A
38 C
46 D
31 B
39 D
47 C
32 A
40 E
33 D
41 0
34 C
42 B
8 B
16 A
9 D
35 E
43 E
36 B
44 C
Part 2
17 D
Part 3
23 D
Part 4
29 E
37 A
45 A
Paper 2
Writing
(2 hours)
Task-specific mark scheme
Part 1
Question 1
Content (points couered)
for Band 3 or above, the candidate's article must:
• describe what candidate enjoyed about exchange programme
• outline any problem(s)
• encourage reader to take part.
Organisation L11zd cohesion
Clear paragraphing. Letter format acceptable with appropriate opening and closing
formulae.
Range
Language of description and persuasion.
Register
May mix registers if appropriate to approach taken by candidate.
Target reader
The editor would consider printing the article. The reader would be interested and
consider enrolling on the programme.
153
Test 2 Key
Part 2
Question 2
Content (points covered)
for Band 3 or above, the candidate's application must:
• describe the type(s) of music suggested for festival
• describe the candidate's own musical tastes
• suggest why the candidate should be employed as a judge.
Cirganisation (1I1d cohesion
Letter layout with appropriate opening and closing formulae. Clearly paragraphed.
Range
Language of description, explanation and recommendation.
Vocabulary of music.
Register
Consistently formal or unmarked.
Target reader
Would be informed and consider the application.
Question 3
Content (points covered)
for Band 3 or above, the candidate's contribution must:
• mention at least two jobs
• refer to pay and/or conditions
• refer to possible problems.
Org(1I1isLItion and cohesion
Clearly organised into paragraphs.
Range
Language of explanation and advice.
Register
Consistently formal, unmarked or informal.
Target reader
Would be informed and would consider the contribution for the guide book.
Question 4
Content (points covered)
for Band 3 or above, the candidate's text for the leaflet must:
• include information about facilities and/or activities
• point out benefits of taking up opportunities
• encourage readers to use facilities/join in activities.
Cirganisation LInd cohesion
Clearly organised into paragraphs.
Headings would be an advantage.
154
Test 2 Key
Range
Vocabulary relevant to facilities/activities chosen.
Register
Unmarked or informal.
Target reader
Would be informed about facilities/activities on offer and their benefits and feel
encouraged to participate.
Question 5
Content (points covered)
For a Band 3 or above, the candidate's letter must:
• give a brief introduction to the company
• describe the day/programme
• refer to the (good) working practices the group will see/learn.
Organisation and cohesion
Letter layout with appropriate opening and closing formulae.
Range
Language of descri ption, explanation and vocabulary appropriate to the world of
work.
Register
Consistently unmarked or formal.
Target reader
Would be informed.
Paper 3
English in Use
(1 hour 30 minutes)
Part 1
1 A
10 B
2 D
11 C
3 C
12 B
4D
SA
13D
6B
14C
7 B
8 D
9 D
15 A
Part 2
16 at
17 of
18 whose
22 it
23 one
24 too
29 have
30 when/if
19 them/others/these
20 has
21 their
25 on
26 is
27 how
28 anv
Part 3
31 caught up
36 years or
42 desperate
32./
33 accompaniment
34 relatively
35 adaptable
37 ./
38 roday's
39 tougher
40 struggling
41./
43 attempted
44 heroes
45./
46 disastrous
155
Test 2 Key
Part 4
47
52
57
61
48 sweetness
49 desirable
scientifically
50 preference
51 a vaila bility
53 addictive
54 relaxation
healthier
55 reasonably
56 spacious
58 imaginative/unimaginable
tastefully
59 chosen
60 unforgettable
memorable
Part 5
62 present/the moment
63 accept/realise
64 evidence to/proof to/documentation to/
receipt to/document(s) tolNOT paper/certificate
65 department/personnel/workers
66 not appear/arrive/NOT revolve/move/turn, etc.
67 informed/notificd/advised/NOT
wrote
68 the same
69 looked intolinvestigated/gone into/examined/explored/worked
on
70 locate/recover/get back/ retrieve/return
71 compensate/reimburse
72 content] s)
73 approximate/estimated/possible/actual
74 contact/ring/phone/telephone
Part 6
75 D
76
Paper 4
F
nA
Listening
78 I
79 C
80 E
(approximately 45 minutes)
Part 1
1 Her parentslfamily//Helen(')s parentslfamily
2 rernem bering/mcmorising/learning
(her/the lines) (by heart)
3 (throat) operation
4 (great) comedy (actress/actor)/comic/
comedian/comedienne
5 (a) perfume(s)/scent(s)
6 letters/correspondence
7 (reading) (the) reviews
8 (her/the) audience(s)
Part 2
9 (things like) (tourist) guidebooks (for tourists) ACCEPT guide books
10 Chinese (food/meals) NOT misspelling of Chinese
11 original/different
12 swcet(s) (course)/pudding(s) (course)/dessert(s) (course)
13 (any foreign word(s)/words
in (a) foreign language(s)/other languages/another languagelforeign names ALLOW foreign
vocabulary/vocabulary in (a) foreign language(s)
14 (good) value (for money)
15 (a) recommendation(s)
16 different/special treatment
Part 3
17
D
B
18 D
19 A
20
24 D
25 C
26 A
21 A
22 A
H
28 E
Part 4
23 E
32 C
156
27
29 G
30
B
31 D
Test 2 Key
Transcript
This is the Cambr idge Certificate in Advan ced English Listeni ng
Test. Test
Two.
This paper require s you to listen to a selectio n of record ed materi
al and
answer the accom panyin g questio ns.
There are four parts to the test. You will hear Part Two once only.
All the
other parts of the test will be heard twice.
There will be a pause before each part to allow you to look throug
h the
questio ns, and other pauses to let you think about your ansioers.
At the end
of euery pause you will hear this sound.
tone
You should write your answer s in the spaces provid ed OJ1 the questio
n paper.
You will have ten minute s at the end to transfe r your answer s to
the
separa te answe r sheet.
There toill nou/ be a pause. You must ask an y questio ns
be allowe d to speak during the test.
IlOW,
as you uull not
[pause]
PART 1
Nou/ open your questio n paper and look at Part One.
[pause 1
You will hear part of a radio progra mme in which all expert Oil
theatre
history is talking about the life of a famous actress called Helen
Perry. For
questio ns 1 to 8, comple te the sentenc es.
You will hem' the record ing twice. You now have 30 second s ill
which to
look at Part Cne.
[pause]
tone
Presenter:
Vernon:
We have in the studio today Vernon Hall, an expert on theatre
history, to tell
us all about Helen Perry, one of the greatest actresses of all time.
Helen Perry was born in 1847, right in the middle of the ninetee
nth century,
when the theatre was the main form of public entertainment. Her
acting career
didn't actually get off to a very promising start, which was not surpris
ing given
that acting was considered an unsuitable career for a young woman
. So she
waited until she was 22 before going on stage to avoid her parents
'
disapproval.
Once on the stage, she found that she had other problems. Althoug
h her
first part was very small, she had great trouble learning the lines
and,
according to her, this was something she found difficult through
out her acting
career. Howev er, this did not prevent her from becoming an incredi
bly
successful actress. People who saw her act said that the thing
that made her
so special was her voice - apparently, it had an almost hypnot
ic quality.
Howev er, it nearly brought her career to an abrupt end when
she was in her
fifties. Her voice just got lower and huskier and she quite often
lost it when she
157
Test 2 Key
had a cold. Finally she had a very risky throat operation - which paid off,
because she went on acting for another 25 years after that.
Helen Perry is now remembered as a great classical actress but she was
actually very skilful. She was, for example, a great comedy actress which was
what really gave her broad popular appeal. And she was immensely popular.
At the height of her fame, people could buy all sorts of mementos like
postcards and paperweights with her picture on. She was one of the first stars
to have a perfume named in her honour, and that brand, simply called 'Helen',
remained on sale until quite recently.
It's always been known that several famous plays were written for her, but
what isn't so well-known is that she had literary talent herself because we
have the letters she exchanged with one writer and they show she had great
style and wit.
Some people feel that she should have retired earlier, when she was at her
peak, but personally, I disagree. We have no film of her acting, of course, but
from the reviews of her performances towards the end of her career we can
see that although she had difficulty walking, she is still described as magnetic.
She picked up quite a few honorary degrees from various universities,
something which had never happened to an actress before. She was pleased
to get academic recognition, of course, but what really pleased her was the
way that the audiences loved her, and that was all the recognition she really
needed. She'll certainly never be forgotten.
[pause]
tone
Now you will hear the recording again.
[The recording is repeated]
[pause]
That is the end of Part One.
[pause]
PART 2
Part Two
You will hear a talk given by Norma Tainton, a journalist who writes
reviews of restaurants. For questions 9 to 16, complete the sentences.
Listen very carefully as you will hear the recording once only. You now have
45 seconds in which to look at Part Two.
[pause]
tone
Journalist:
158
Good evening. My name's Norma Tainton. I'm a journalist and I write a regular
newspaper column which features reviews of the restaurants where I've been
eating recently. I also contribute to things like guidebooks which provide
reviews of restaurants for tourists. Although I did once try to write a cookery
book, I've never really been involved in the restaurant trade as such, I'm
primarily just a writer with an interest in food.
Test 2 Key
So what does the job involve ? Well, it means eating out six days
a week and
people wonder how I cope and, of course, it is important to try and
eat a
different type of meal each day. If it's fish today, then it'll be a curry
or pasta
tomorrow for example, and while I'm particularly fond of Chines
e food, it'd be a
mistake to have a Chinese meal too often.
I'm particularly interested in dishes where the chef has done someth
ing
original; there's no point just having a steak and salad because
there'd be
nothing to write about. Also important for me is eating with someo
ne. That way
I get to see other things from the menu, plus someone else's impres
sion of the
place. I also tend to rely on my guests to try the puddings too, becaus
e that
really isn't my sort of thing, although I might just try a spoonful of
a sweet to
get an idea.
I always carry a notebook in my handbag, but I don't take notes
during the
meal, preferring to scribble down my ideas when I get home. Someti
mes
though, I need to note down any foreign words, because it'd be
embarrassing
to get things wrong in another language.
Of course, I don't have to pay for the meals I eat, but I try noneth
eless to
think about the price in terms of value for money. I think that's the
most
important service I can offer my readers. When it comes to the
food, service,
atmosphere and so on, I can only give my opinions. They decide
if the whole
package is worth spending their money on, so I don't make recomm
endations
as such, I just offer factual information, rather than specifically
recommending
anyon e place.
One thing people always say to me is that surely I'm now so well
known that
I get special treatment in restaurants. But nobody knows I'm coming
because I
book a table under another name, so I don't receive different treatme
nt from
anyone else.
People often ask me if there's one memorable meal ...
[pause]
That is the end of Part Two.
[pause]
PART 3
Part Three
You will hear a radio intervi ew with the writer, Tom Davies. For
questio ns
17 to 22, choose the correct answer A, B, Cor D.
You will hear the record ing twice. You now have one minute in which
to
look at Part Three.
[pause]
tone
Interviewer:
Tom Davies:
My guest today is Tom Davies. He has written a series of highlyacclaimed
novels, as well as a play and two successful filmscripts. He has
said, 'I love
the solitude, the sheer pleasure of writing, the secret excitement.'
Tom, writing
is a solitary business, but does it go on being exciting?
Well, writing lli an exciting process, although there are good days
and bad
days, obviously. I remember when I started, I used to sweat for
so long over
1S9
Test 2 Key
past that stage
one sentence that it really wasn't much of a pleasure. But I got
out, it ill
and yes, I do find that when things go well, when things are working
very absorbing.
won major prizes?
Interviewer: But surely less secret these days, now that you've
work-in-progress at a literary
Tom Davies: Possibly. I recently read out a whole chunk of my
s in the past I'd
festival because it's one way of trying these things out, wherea
somehow
would
I
been too frightened that if I talked about what I was writing,
g to
intendin
am
I
lose control of it. But I think generally I don't talk about what
But
go.
to
going
write, because I'm still not entirely sure myself which way it's
and
out
it
try
can
once something is down in a first or second draft, then you
see how it sounds.
many as ten or fifteen ideas
Interviewer: And you've said that at anyon e time there are as
one to
for novels floating around in your head. How do you choose which
follow up?
of urgency and it's not a
Tom Davies: You've got to find the idea that's got the right kind
desk every
rational decision. It's patience and luck and turning up at your
there, then
not
morning even when nothing seems to be coming. If you're
a good day
then
,
nothing is precisely what will happen. But once I get started
would be two or three hundred words.
Interviewer: And then do you hone it, do you go back over it?
I won't look at it again
Tom Davies: I go back all the time until I get to the stage when
from a different
because you need the distance of time to look back and see it
perspective.
cript to and say, 'Look,
Interviewer: And is there anyone who you can then give this manus
before I go any further, tell me what you think of this.'?
permitted to be as brutal
Tom Davies: I give the finished draft to certain old friends who're
for writers as
as they like. That's very useful because I think there's a danger
won't tell
ers
they get older, as their reputations get established, that publish
are very
friends
al
them if they've any serious doubts about a piece. So sceptic
important to give you the benefit of a truthful opinion.
Interviewer: And you trust these friends?
friend of mine said, 'Look, I
Tom Davies: Absolutely. The first time I tried this, years ago, a
about it.' And
think this novel's absolutely terrible, put it in a drawer and forget
if you give
that
learnt
I
I didn't speak to him for eighteen months. But after that
of thing.
kind
that
someone your novel to read, you've got to allow them to say
These days I wouldn't take it so personally.
you write about yourself,
Interviewer: And although you've denied any suggestion that
r your work,
there are actually all sorts of bits and pieces of you dotted allove
aren't there?
in a novel without giving
Tom Davies: Someone said that you can't write two hundred words
s that's why I've
Perhap
something of yourself away and I suppose that's true.
always been a bit defensive about my work.
haven't, strangely, had a lot
Interviewer: Now, despite those two successful filmscripts, you
Why's that?
of luck translating your stories onto the big screen, have you?
because we
And
film.
English
Tom Davies: Oh well, my first experience was of a low-budget
I
and
d
plicate
had so little money to work with, it was wonderfully uncom
n each
betwee
in
then
thought, 'Oh what a brilliant life. I could write novels and
one, I could do a film.'
Interviewer: Because it's so much easier?
160
Test 2 Key
Tom Davies:
Interviewer:
Tom Davies:
Interviewer:
Well, it was such fun being away on location surrounded by fabulou
sly
competent people, all taking fierce pride in their ability to do someth
ing so well
and very quickly. The panic of the ticking clock, the things going
wrong and
then somehow being solved at the last minute, all that was marvel
lous for
someone who usually spends his time locked up in an empty room.
So it's actually harder to write a good screenplay?
No, I wouldn't say that. Indeed, I don't think a screenplay is a literary
form in
itself. It's more a set of instructions, a bit like a recipe. And you
can fool
yourself into thinking that you can see what's going to be on the
screen, but
actually too many people intervene in the finished product, you're
just a part of
the process, so it's quite unlike a novel where you're in sole charge
, as it were.
Tom, there, unfortunately, we have to leave it. Thank you ...
[pause]
tone
Now you will hear the recording again.
[The record ing is repeate d.]
[pause]
That is the end of Part Three.
[pause]
PART 4
Now look at the fourth and last part of the test. Part Four consists
of two
tasks.
You will hear five short extracts in which differe nt people are reading
from
their autobiographies. Look at Task One. For questions 23 to 27,
match the
extracts as you hear them with what each speaker is saying, listed
A to H.
Now look at Task Two. For questions 28 to 32, match the extracts
with the
feeling each speaker expresses, listed A to H.
You will hear the recording twice. While you listen you must comple
te hoth
tasks. You now have 30 seconds in which to look at Part Four.
[pause]
tone
Speaker One:
Speaker Two:
So there I was, all of a sudden it had all happened for me. All those
years of
struggle, to become 'an overnight success'. 'Lucky you!' my friends
said, but
luck didn't come into it, just perseverance in the face of all the
rejection. And
did it all seem worth it now? Now that I'd finally made it? Well,
I didn't have
much time to get carried away with it all. The record company
wanted the next
record. How was I going to follow it? Had I used up all my inspira
tion? Was I
just a 'one-hit-wonder', destined to be instantly forgotten? These
thoughts kept
me awake at night.
That day the phone never stopped ringing. Everyone wanted to
know, 'Have
you seen the paper?' Well, imagine what it's like to have your photog
raph
plastered all over the front page with a story like that. TV star
in police
161
Test 2 Key
Speaker Three:
Speaker Four:
Speaker Five:
enquiry' it said and the article was full of things they'd just made up, and plain
lies. Well, it hadn't happened to me before and I wasn't really ready for it, but I
thought, 'Well, that's the way it goes. It's the price of fame, as they say. I won't
even bother denying such a load of rubbish.' So I didn't react and pretty soon
the whole thing had blown over.
I suppose I first realised what had happened when I went to my regular
restaurant and instead of showing me to 'my table', the head waiter asked me
if I'd booked. I suppose most people would have got depressed but in a funny
sort of way I was glad. I thought, 'I've made my money and now there's a new
generation of comedians taking over and people don't find me funny any
more.' But I'm not going to miss it, all those people coming up to you in shops
and expecting you to be funny all the time, all those idiots telling you jokes in
restaurants. Oh, it'll be bliss not to have to put up with that any more.
So then I had to tell the others. We'd known each other since we were kids,
we'd formed the band in our teens and now I was going to tell them I was
going solo. But I knew it was exactly the right thing for me to do at that time.
We were right at the top and the only way was down. And anyway, I'd got the
feeling they'd had about enough - all that touring, it was wearing us all out. So
I figured they wouldn't take it badly - in a way they'd be glad I'd made the
decision for them. And I was looking forward to taking up a new challenge.
The next day it began to sink in. My big break, my first major role in a major
film and I'd let it go. It was a strange feeling. I mean, I should have been
devastated but the more I thought about it, the more I realised they'd only
been taking me for a ride. Just because I was a relative unknown, they'd
thought they could get me on the cheap. Well, I thought, nobody treats me like
that. I was right to tell them what they could do with their lousy offer. What a
cheek! I almost rang them back to give them a piece of my mind but I thought
better of it. Still, better parts' II come my way soon, I said to myself, and I was
right.
[pause I
tone
Now you will hear the recording again. Remember you must complete both
tasks.
[The recording is repeated.]
[pause]
That is the end o{ Part Four. There will now be a ten-minute pause to allow
you to transfer your answers to the separate answer sheet. Be sure to [olloio
the numbering o] all the questions. The question papers and answer sheets
will then be collected by your supervisor.
[Teacher, pause the recording here for ten minutes. Remind your students
when they have one minute left.]
That is the end of the test.
162
Test 3 Key
Paper 1
Reading
(1 hour 15 minutes)
Part 1
1 C
10 C
2 B
11 B
3 A
4 D
5 D
6 C
7 A
8 C
9 A
12 C
Part 2
13 F
14 A
15 E
16 G
17 C
18 B
20 B
21 C
22 D
23 C
24 D
26 C
34 C
42 D
27 A
35 D
43 C
28 D
36 C
44 A
29 C
37 D
45 C
30 B
38 B
Part 3
19 A
Part 4
25 B
33 A
41 B
Paper 2
Writing
31 C
39 A
32 D
40 D
(2 hours)
Task-specific mark scheme
Part 1
Question 1
Content (points covered)
For Band 3 or above, the candidate's proposal must:
• explain which aspects of college should be filmed
• suggest interviewees
• justify choice.
NB acceptable to address proposal to Principal.
Organisation and cohesion
Clear paragraphing or sections with suitable linking. Headings may be an
advantage. Letter format acceptable with appropriate opening and closing
formulae.
Range
Language of suggestion and justification.
Register
If addressed to TV company, consistently formal or unmarked.
If addressed to Principal, any as long as consistent.
Target reader
Would be informed.
163
Test.3 Key
Part 2
Quest ion 2
Conten t (points covered)
For Band 3 or above, the candid ate's article must:
in depth
• discuss one issue (either work, educat ion or the enviro nment)
.
• relate this to young people
Organ isation and cohesi on
Clearly paragr aphed. Use of linking devices.
Range
Langua ge of explan ation and argume nt.
Register
May mix registers if approp riate to approa ch taken by candid ate.
Target reader
Would be inform ed and consid er publish ing article.
Quest ion 3
Conten t (points covered)
For Band 3 or above, the candid ate's referen ce must:
• indicat e how long they have known the person
• describ e the person 's charac ter
• explain why the person would be suitabl e for the job.
Organ isation and cohesio n
Clear organi sation with approp riate paragr aphing .
Range
of charac ter and
Langua ge of descrip tion, explan ation and reason ing. Vocab ulary
of work.
Register
Consis tently formal or unmar ked.
Target reader
Would be inform ed and consid er applica tion.
Quest ion 4
Conten t (points covered)
For Band 3 or above, the candid ate's compe tition entry must:
• describ e one leisure facility
• explain why it is needed
• explain which groups in the commu nity would benefit.
Organ isation and cohesio n
Clear paragr aphing .
Range
Langua ge of descrip tion, opinio n and explan ation.
164
Test 3 Key
Register
May mix registers if approp riate to approa ch taken by candid ate.
Target reader
Would be inform ed.
Quest ion S
Conten t (points covered)
For a Band 3 or above, the candid ate's leaflet must:
• refer to type(s) of equipm ent used
• describe how they should be used
• explain proced ure for emerge ncies.
Organisation and cohesio n
Clearly organis ed into paragr aphs.
Headin gs may be an advant age.
Range
Langua ge of inform ation and advice.
Vocabu lary related to safety and equipm ent.
Register
Any as long as consist ent.
Target reader
Would be inform ed.
Paper 3
English in Use
(1 hour 30 minute s)
Part 1
1 B
10 D
2 D
11 B
3 A
4 C
5 A
6 C
12 C
13D
14 A
7 A
15 C
8 A
9 A
Part 2
16 one/a/O ne/A
17 at
18 anothe r
19 every/a ny
20 be
22 such
23 was
24 withou t
25 a/this/t hat
26 had
27 over/ab ove/be yond/a cross
28 would
29 what
30 its
21 no/littl e
Part 3
31 Bisley
32 area are
33 Howev er, no
34./
36 ./
37 nearby
38 exhibit ) and
39 religiou s
42 into
43 pieces
44 spectac ular
45 picture s
35 well-dr essing, putting
40 ./
41 berries
46 annual
Part 4
47
50
54
59
specialized/specialised
48 surgeo ns
49 unimag inable/ unimag ined
analysi s
51 revolut ionary
52 expect ancy
53 increas ingly
unreser ved
55 loyalty
56 arrang ements
57 apprec iative
58 unbeat able
availab ility
60 savings
61 update d
165
Test 3 Key
Part 5
63 need/desire/want + for/on/during/from/expect + from/on
62 country/countryside
64 get it/buy it/obtain it
65 foot
66 pick up/will/may/should + get/receive
67 twice
68 for yourselves/to yourselves/for you
69 no extra/further/added/
additional
70 be availablelthere/waiting/present/around/meet you
71 (any)
information/advice/help
72 half( -)price/half( -)rate
73 guarantee/make sure/make
certain/be sure/be certain/ensure that
74 book now/act immediately/decide soon
Part 6
75 E
76 C
Paper 4
77A
Listening
78 D
79
F
80 G
(approximately 45 minutes)
Part 1
1 seventeenth/17th
2 nature/(the) countryside
3 status
symbol/symbol of status
4 tree planting/to plant (a) tree(s)lthe planting of
trees NOT 'tree plantation'
5 (fruit and vegetable) gardens/gardening/fruit(s)
and vegetables
6 grass (land) (fields)/grasslands NOT 'fields'
7 (the)
breeding/keeping (of) (the) animals//animal breeding/animal keeping/husbandry
8 (traditional/common/contemporary) romantic (traditional)
Part 2
10 (people) blind/unable to see/not able to see
11 (big)
9 useful/of use (to people)
(large(r)) size
12 (the/some) nurses/(the/a) nurse
13 unbreakable/not breakable
14 electronic
15 (a) battery/batteries
16 response
Part 3
17 accountant
18 (rather) relieved
19 math(s)/mathematics
20 professional
21 (more) (very) supportive
22 traditional
23 drawing/to draw (like a painter)
24 abstract (art)
Part 4
25 C
34 B
26 A
Transcript
27
B
28 C
29 B
30
A
31
B
32
B
33 C
This is the Cambridge Certificate in Advanced English Listening Test. Test
Three.
This paper requires you to listen to a selection of recorded material and
answer the accompanying questions.
There are four parts to the test. You will hear Part Two once only. All the
other parts of the test will be heard twice.
166
Test 3 Key
There will be a pause before each part to allow you to look through the
questions, and other pauses to let you think about your answers. At the end
of every pause you will hear this sound.
tone
You should write your answers in the spaces provided on the question paper.
You will have ten minutes at the end to transfer your answers to the
separate answer sheet.
There will now be a pause. You must ask any questions now, as you u.ill not
be alia uied to speak during the test.
[pause]
PART 1
Now open your question paper and look at Part One.
[pause]
You will hear a tour guide talking to a group of visitors outside an historic
country house. For questions 1 to 8, complete the sentences.
YOl/ ioill hear the recording twice. You now have 30 seconds to look at Part
One.
[pause]
tone
Tour guide:
So, here we are at Newton House, a typical eighteenth-century English
country house, set in its own beautiful park. Before we go inside, let's look at
the park which really is a classic example of its type, with rolling grassland and
scattered trees.
Park is a word we use a lot nowadays. But if you trace back the history of
the park as an idea, it is actually something which came into being as recently
as the seventeenth century. People in the fifteenth and sixteenth centuries
wouldn't really have understood what a park was, the idea simply didn't exist.
But our ideas about the countryside have changed a lot since then too.
People in past centuries knew about agriculture because most of the
population was involved in it. But nature, in the sense of wild places, was seen
as something dangerous. People wanted civilised, man-made landscapes that
showed how the wilderness of nature could be made safe and beautiful. This
was how parks began.
Well, only rich people had parks, and socially, parkland quickly became
significant as a status symbol, first appearing near large country houses like
this because it was where the richest people, the big landowners, lived. Also
very symbolic socially was tree-planting because trees involve long-term
investment. They express a confidence in the future, and so they were
carefully planted in prominent positions.
What happened during the eighteenth century is that the park became even
more important as a setting for a large house, and the fruit and vegetable
gardens, which had always been attached to houses, became less significant,
often hidden away to one side. This was because if the park was to clearly
distinguish its owner as a wealthy person, it needed to be beautiful but not
very productive.
167
Test 3 Key
The immediate surroundings of the house were predominantly grassland,
therefore, not fields of crops; they would look too much like work. But that
doesn't mean that the land was completely useless. Rich people often
involved themselves in breeding animals, for example, which was regarded as
a kind of acceptable form of agriculture, something more like a sport.
Later, in the nineteenth century, urban parks appeared, taking up some of
the ideas of rural park design, and those coming from Romantic traditions,
common at the time, of what represented the picturesque. These pretty
corners in cities gradually came to be used for the recreation of growing urban
populations. This was quite a different purpose from that of the country park,
which could be seen as representing a kind of barrier around the rich who
were increasingly wanting to distance themselves from local farming
communities, as well as from the growing urban areas.
[pause]
tone
Now you will hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part One.
[pause]
PART 2
Part Two
You will hear the winner of a competition for young inventors talking about
her invention. For questions 9 to 16, complete the sentences.
Listen very carefully as you will hear the recording once only. You now have
45 seconds to look at Part Two.
[pause]
tone
Presenter:
Sonia:
168
Our guest today is Sonia Reed, winner of a competition for young inventors.
Sonia, tell us about your invention.
Thank you. Well, the judges in the competition were looking for a new
invention that would be both useful and commercially viable. Although I knew
my invention was of use to people, I'd never thought about the commercial
possibilities, so winning was a lovely surprise.
Briefly, my invention is a medical thermometer for blind people. Basically, it
differs from a normal thermometer in that it makes a noise, which I thought
would be useful for people who are not able to see. For a temperature of 37
degrees, which is normal, it gives one beep, and then two beeps for 38
degrees and three for 39 degrees.
People have been surprised that it only has three signals, but actually
human temperature varies very little and so that's really all that's necessary.
The aspect that I'm less happy with is the noise itself. It would be better if the
thermometer could speak, like some watches can. It could say something like
Test 3 Key
'forty degrees - see a doctor immediately'. But to do that, it would
have to be
much bigger and I wanted to keep it about the same size as an
ordinary
thermometer.
It still has various advantages over the conventional thermometer,
actually,
even for sighted people. Firstly, in hospitals, nurses take people
's
temperatures, but don't always tell them what it is, they just whip
it away,
which worries people. With one that makes a noise, everyone
knows what the
situation is, even in the absence of a doctor.
And of course, it's good for all sorts of other reasons. It's unbrea
kable and
there is nothing poisonous in it. The idea first came to me actuall
y when I was
feeling unwell. I dropped a glass thermometer which smashed
and the
mercury inside, which is poisonous of course, splashed all over
the floor. I
started to think that thermometers really had a lot of disadvantages
. That's
when I had the idea that maybe an electronic sensor could be
used to record
the temperature. That's where my colleague Colin came in. He
advised me
about the best kind of electronic circuit to use.
Some people are worried that all this bleeping may disturb patient
s in
hospitals, but we don't think so because it switches itself off after
five seconds.
If it didn't, people might leave it on and the battery would run down
very
quickly. As it is, the power will last for a very long time indeed,
so you don't
have to keep on buying a new battery for it. And, as a result of
Colin's design,
you get what I call 'an immediate response'. You don't have to
sit there for
ages with it in your mouth waiting for the mercury to react.
Now, if there are any questions.
[pause]
That is the end of Part Two.
[pause]
PART 3
Part Three
You will hear part of an intervi ew with a sculpto r who is talking about
his
life and work. For questio ns 17 to 24, comple te the sentences.
You will hear the recording twice. You now have one minute to look
at Part
Three.
[pause]
tone
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
My guest today is the artist, Alan Carey, who over the last thirty
years has
established himself as one of this country's leading sculptors, making
a range
of fascinating objects out of metal, stone and other materials. Alan,
welcome.
Hello.
But you don't come from an artistic background, do you, Alan?
Oh, absolutely not. If my father had had anything to do with it,
I'd never have
gone in for sculpture because he was an accountant and ideally
he wanted me
to join his firm, or if not, go into insurance or banking. But none
of these ideas
169
Test J Key
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
Interviewer:
Alan Carey:
170
appealed to me, I'm afraid. I'd been doing sculpture as a hobby through my
teenage years and, although my parents encouraged me in that, it didn't seem
like a prospective career at the time, at least not to my father.
But he got a sculptor to look at your work at one point, didn't he?
Oddly enough, yes. We went to see a man who taught sculpture in a big
London art school who said, 'Well, let's have a look at the work', and this chap
looked at it and said to my father, 'Your son will never be any good, you know',
and my father was rather relieved and said to me, 'You see, you can do it as a
hobby'. And then, when we got home he said, 'Well, what do you want to do?'
and I didn't know ... engineering? ... architecture? I considered various things,
even geology, but finally, in the end, after I'd got a maths degree, I said, 'What
I really want to do is sculpture, you know' and he said, 'Well, you'd better do it
then'.
So, he gave in, in the end?
He did. But I'm glad it happened that way, that I had to struggle to do it,
because he made me dedicate myself to sculpture and do the job properly. He
had the idea that art was for amateurs, and that was the one thing that I did
not want to be. I wanted to do it as a professional. I knew he was wrong, so I
set out to prove it. And, you know, I'm sure that if I had joined his firm, I'd have
done it in a half-hearted way which he wouldn't have approved of anyway. And
I must say, after I'd decided to become a sculptor, he couldn't have been more
supportive.
And so you went on to art college. Did you enjoy it?
At the beginning, I appreciated it a lot because we had a different teacher
every term. This meant you got a good grounding in the basics because you
picked up different things from each one, you know, it might be the material
they worked in, for example, or their technique, or whatever. But eventually I
got fairly restless because it was a five-year course and by about half-way
through I was getting a bit fed up because it was extremely traditional in terms
of approach and I was looking for something more out of the ordinary.
So this was what led you to Harold Morton?
Yes, he was the most advanced sculptor of the time, he was really doing very
different things which I found exciting. And so I sent him some photos of my
work, on the off-chance, and amazingly he offered me a part-time job and so I
managed to combine that with the final years of college, which made all the
difference.
And how would you sum up that experience, what did you get out of it?
Well, we talked about art a lot. He taught me that a sculptor's studio is quite
different from art college. I had to do drawing at college, a subject I never
really understood, and when I got back, he would criticise what I'd done. And
from him, I learnt how a sculptor draws, because I was being taught by
painters, who are looking at things in a different way.
And I suppose it was thanks to him that you started doing abstract art?
Well, yes it was, because I don't do sculptures of people or animals, they're
not meant to be lifelike. So they are examples of what, I suppose, you'd call
abstract art. They are meant to mean something, to make you think.
But you give them titles, don't you? Why?
Well, the titles get attached to them later ...
Test 3 Key
[pause]
tone
Now you will hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part Three.
'pause]
PART 4
Now look at the fourth and last part of the test.
You will hear flue short extracts in which different people are talking about
living in a uillage. Each extract has two questions. for questions 25 to 34.
choose the correct answer A, B or C.
You ioil! hear the recording twice. You now haue aile minute to look at Part
four.
[pause]
tone
Speaker One:
Speaker Two:
Speaker Three:
The town's noisy and filthy and I couldn't live there, though the entertainment's
good, whereas it's pretty quiet here. But it's a major expedition to get into town
to meet my friends. The local council have 'upgraded' our service so there's a
regular bus, which sounds good, doesn't it? Yes, well it ill regular - once a day
instead of once a week. And midday's no good for the disco, is it? And it's a
huge double-decker with three or four on board, if you're lucky. No, we need
something different, something much smaller which could also be booked for
special journeys if people wanted, perhaps owned and run by the community
itself?
There used to be quite a lot going on, agriculture and small firms, traditional
country crafts mainly. Now the farms are suffering and laying off workers, and
city people are buying up cottages so rising house prices are hitting the little
enterprises. And people are giving up and drifting away. These are hard times,
but I'm not sure we're doing enough. We should be taking the future into our
own hands, finding finance for things we want by taking advantage of any
government schemes, like this public-private partnership idea for instance, to
set up new ventures or expand existing concerns so the young can stay in the
countryside. After all, technology is on our side now, isn't it?
I'm thinking of moving into the town. It's manageable here with a car, but
running one now is so dear and I'm not getting any younger. What will I do
when I'm reduced to public transport, that'll be fun, won't it? My granddaughter
says 'shop on the Internet', if I can learn how to use a computer at my age! I
don't think it's fair that we should pay the same for petrol as they do in town
where they've got buses and underground. We need a more flexible system,
special rates for the countryside. Then we could afford to keep our cars and
help our neighbours who haven't got their own transport.
171
Test 3 Key
Speaker Four:
Speaker Five:
I like living here. I work from home - computer technology and e-mail have
changed life completely. No commuting, no waiting at draughty bus stops any
more! But what can you do in your spare time? - chat to friends in the pub?
You can walk or cycle for exercise but that's not very social, is it? I'd like
something for team games - nothing much, a pitch with a club house. There's
some land we could use, but it'll need effort and some cash. The local council
might help with a grant or a loan and we could supply the labour. It would bring
the youth together, give them somewhere to go.
My husband works in the town and we can't afford two cars so I'm stuck here
all day. There's still a primary school for the kids but the grocer's gone and the
post office is threatened with closure and then what'll I do? I think it's partly our
own fault. We all go to the town when we can and so we're not making use of
what's here in the village. Perhaps we should be more conscious of the
community. I wouldn't mind helping to get a grocer's off the ground or start a
mobile one. It might be fun learning how to do that.
[pause]
tone
Now you will hear the recording again. Remember you must complete both
tasks.
[The recording is repeated.]
[pause]
That is the end of Part Four. There will now be a tell-minute pause to allow
you to transfer your answers to the separate answer sheet. Be sure to follow
the numbering of all the questions. The question papers and answer sheets
will then be collected by your supervisor.
[Teacher, pause the recording here for ten minutes. Remind your students
when they have one minute left.]
That is the end of the test.
172
Test 4 Key
Paper 1
Reading
(1 hour 15 minutes)
Part 1
1 E
10 A
2 C
11 E
6 F
3 D
4 F
5 B
14A
12 C
13 F
7 C
15 B
8 B
9 D
Part 2
16 F
17 D
18 G
19 E
20 A
21 C
23 C
24 A
25 A
26 D
27 D
28 B
30 E
38 D
31 A
39 B
32 D
40 A
33 E
41 E
34 D
42 C
35 B
43 B
Part 3
22 C
Part 4
29 C
37 C
45 D
Paper 2
Writing
36 A
44 E
(2 hours)
Task-specific mark scheme
Part 1
Question
Content (points couered)
For Band 3 or above, the candidate's letter must:
• thank manager for invitation to Arts Centre
• comment on positive points of Arts Centre
• explain why writer was disappointed
• suggest meeting.
Organisation and cohesion
Clear paragraphs. Letter layout with opening and closing formulae.
Range
Language of evaluation, explanation and suggestion.
Register
Formal to unmarked. Not aggressive.
Target reader
Would be informed and would consider meeting to discuss issues.
173
Test 4 Key
Part 2
Question 2
Content (points covered)
For Band 3 or above, the candidate's article must:
• mention the impact of mobile phones
• mention at least one type/example of both personal and business use
• refer to advantages and disadvantages of mobile phones.
Organisation and cohesion
Clear organisation with appropriate paragraphing and linking devices.
Range
Language of description. Vocabulary related to mobile phones.
Register
May mix register if appropriate
to
approach taken by candidate.
Target reader
Would be informed.
Question 3
Content (points couered)
For Band 3 or above, the candidate's proposal must:
• persuade reader that town is suitable for event
• comment on
- accommodation
- transport
- entertainment.
Organisation and cohesion
Clearly paragraphed.
Range
Language of description, evaluation and persuasion.
Register
Consistentlv formal or unmarked.
T(lrgct reader
Would be informed.
Question 4
Content (points covered)
For Band 3 or above, the candidate's text for the leaflet must refer to:
• methods of study
• accommodation
• social life.
Organisation and cohesion
Clear sections or paragraphs.
Headings may be an advantage.
174
Test 4 Key
Range
Vocabularv. of school and studv.
.
Register
Any as long as consistent.
Target reeder
Would be informed.
Question 5"
Content (points covered)
For Band 3 or above, the candidate's report must:
• describe experience at trade fair
• recommend company's attendance next year.
Organisation and cohesion
Clearly organised in paragraphs.
Headings may be an advantage.
Range
Language of description and persuasion. Business vocabulary.
Register
Any as long as consistent.
Target reader
Would be informed.
Paper 3
English in Use
(1 hour 30 minutes)
Part 1
1 A
tOC
2 A
11A
3 D
4C
5D
6D
7 A
13B
14D
15 A
12C
8 B
9 A
Part 2
16 all
17 in
18 bur/only/yet
19 them
20 or/nor
21 his
22 where/when
23 and
24 withlfor
25 to
26 there
27 it
28 had/Had/has/Has
29 too
30 although
Part 3
31 Earth :/;/,/32 changes to
33 accompanied
34 physicists
35 observations
36 interruption
37 .I
38 360 years
39 .I
40 behaviour/behavior
41 Australia
42 said, 'I
43 eclipse.' Joanna/eclipse'.
Joanna
44.1
45 emerged
46 Sun's
175
Test 4 Key
Part 4
47
52
55
58
61
monotonous
48 adaptation
complexity
53 remarkable
significance
56 recognition
computerisation/computerization
educational/education
49 elegance
50 excellent
51 sympathetic
54 archaeological/archeological
57 RJresponsibilities
59 accessibility
60 appointments
Part 5
63 adapted/adjusted/altered/(re) arranged/(re)organised/modified/
62 professional
changed/laid out
64 begin/commence/open/start + (with)
65 collectionlcombination/
compilation/range/variety
66 agreement
67 his/the + final/last/senior
68 critical/crucial/important/pressing/notable/serious
69 a little/fairly/quitc/rarher
70 acting/performance
71 last long
72 amusinglfunny/humorous
73 entire/whole
74 be remembered
Part 6
75 G
76 C
Paper 4
77D
Listening
78 H
79 A
80
F
(approximately 4S minutes)
Part 1
1 Far Horizonslfar horizons
2 alone/on your own
3 tools/equipment/(you need)
4 above freezing/above
(centigrade)/above
zero
5 (effective) (some) heating/heat
6 (enormous) tree trunks ACCEPT
trunks
7 polar bear(s)
8 (a) package tour(s)/(a) package
holiday(s)/(tourist) packages/a package
aoc
Part 2
9 open homes/Open Homes
10 pen(-)friend/pen(-)pal
11 (foreign) (other) (their)
languages/a language/a foreign language/another language NOT the language(s)
12 france/Germany ANY ORDER
13 lonelinesslfeeling lonely
14 (professional) (group) leader
15 fun/entertainment/entertaining
16 wild(-)life
Part 3
17
A
18
B
19 D
20 D
21
C
22 B
23 A
25
A
26 D
27
F
28
B
29 D
30
Part 4
24 G
33 F
176
C
31 H
32 B
Test 4 Key
Transcript
This is the Cambridge Certificate in Advanced English Listening Test. Test
Four.
This paper requires you to listen to a selection of recorded material and
ansuier the accompanying questions.
There are four parts to the test. You will hear Part Tu/O once only. All the
other parts of the test will be heard twice.
There will be a pause before each part to allow you to look through the
questions, and other pauses to let you think about your answers. At the end
of every pause you will hear this sound.
tone
You should write your answers in the spaces provided on the question poper.
You will have ten minutes at the end to transfer your answers to the
separate answer sheet.
There will now be a pause. You must ask any questions now, as you will not
be allowed to speak during the test.
[pause]
PART 1
Now open your question paper and look at Part One.
[pause]
You will hear a journalist called Peter Smith talking about a trip he made to
the Arctic seas around the North Pole. For questions 1 to 8, complete the
sentences.
You will hear the recording twice. You now have 30 seconds to look at Part
One.
[pause]
tone
Peter Smith:
I can't pinpoint the exact moment when I made the decision to embark on my
sailing expedition to the North Pole. The previous summer I'd come across a
book entitled Far Horizons which suggested that a voyage of this kind was a
unique experience - and everyone should try it once! So, I put on three layers
of clothing and set off in my boat in July with a small crew to sail to the Arctic
seas near the North Pole. I felt it was time I went in search of adventure!
I'd been told that sailing there shouldn't present any more problems than
you'd expect sailing round the seas in the north of Britain. Well, initially that
was true. But there were differences. The most noticeable is that, up there in
the Arctic seas, you have the impression of being alone. So, if anything breaks
down or goes wrong - for example, one of our large front cabin windows
shattered in the gale we encountered on our first night - you have to have all
the tools you need. We would have been very cold and wet if we hadn't had
the means to make a solid repair. The second big difference is the
temperature. In the winter in those seas, things can get down to minus fifty
degrees. In the summer, it's much warmer and the surface sea water is always
177
Test 4 Key
above freezing but the air temperature never rises much above ten degrees.
This all means two things. The first is that the cabin of your boat must have
effective heating. The second is that you must have proper outdoor clothing.
Another difference is that you meet some things that aren't found on a normal
sailing trip. Not surprisingly, we met gigantic lumps of ice which had broken off
icebergs, and occasionally we saw enormous tree trunks on the sea. We really
weren't sure what they were doing there!
They do say that in those seas you can even spot polar bears, which are
reported to be very dangerous if disturbed. Unfortunately, we weren't able to
catch sight of one, although we did see whales.
For all this effort, though, you're rewarded with a trip to a true wilderness,
which can be reached in your very own boat. More than 250,000 tourists visit
this area each year, but in order to protect the environment, and because of
the difficulty in getting there, most of the tourism takes the form of package
tours. These have only limited access to certain unrestricted areas. But, in
your own boat, you can have the whole area to yourself!
[pause]
tone
Now you will hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part One.
[pause I
PART 2
Part Two
You ioill hear the headteacher of a school talking to a group of parents
about an international student exchange programme. For questions <) to 16,
complete the sentences.
Listen very carefully as you will hear the recording once only. You
45 seconds to look at Part Two.
/10W
have
[pause]
tone
Headteacher:
178
Good evening, I'd like to welcome all those parents whose children have just
started at the school. The purpose of this meeting is to give you information
about the international exchange programme known as 'Open Homes', which
the school runs. For one week a year, pupils are invited to stay with a family
abroad and attend school with a child the same age. A return visit is then
arranged six months later, when our pupils and their families open their homes
and become the hosts.
In general, children aged thirteen to fifteen-years-old, but no younger, seem
to get something out of this trip. Now, I realise that your own children will only
be eleven or at most twelve this year, but we feel that it's important to begin by
making the links that will make a future exchange more successful. So we
Test 4 Key
want children to make a penfriend of their prospective overseas partners a
year or so before the visit. By taking part in this scheme, they will already
know someone in, and a lot about, their destination before they leave.
We've established links with schools in various countries. In the past,
European exchanges have been the most popular, especially amongst
children keen to practise their languages. But this is not the only aim of the
programme, so those more interested in other subjects should not be put off.
One year, we organised a trip to Holland which was very successful, although
none of the children were studying Dutch. Our most regular destination,
however, is France, with Germany coming a close second, although we are in
touch with a school in Poland which is very keen to take part, as is a school in
Canada.
Although most children love the experience, we must be prepared for some
difficulties. This may be the child's first trip abroad, leading to feelings of
homesickness as well as loneliness. A week can seem a long time when you
feel lonely or you're missing home. So each group of pupils is accompanied by
a professional group leader, which means there's always someone with
training on the spot to solve any difficulties, which is a relief for both parents
and host families as you can imagine.
There is variety built in the week and this definitely helps. For example,
children attend lessons together in the morning and then visit a local place of
interest in the afternoon. These trips can be fun as well as educationally
valuable and parents are invited to come along too. In the past we've
managed to combine the pure entertainment of places like theme parks with
the learning opportunities provided by wildlife parks, museums, etc. And
surprisingly, it's actually the wildlife rather than the theme parks which prove
the most popular time and time again.
So I hope I've given you ...
[pause]
That is the end of Part Two.
[pause]
PART 3
Part Three
You will hem' part of an interview with Norman Cowley, a uell-lencnon
novelist and biographer. For questions 17 to 23, choose the correct answer
A, B, Cor D.
You will hear the recording twice. You now have one minute to look at Part
Three.
[pause]
tone
Interviewer:
With us today to discuss his career we have Norman Cowley, renowned
novelist and biographer. So let's start at the beginning, Norman. You did say,
some years ago, that you began high on the mountain, only to go down
sharply while others were passing you on the way up. Do you think now, when
you look back at your first novel, that it had anything that you were not able to
recapture later?
179
Test 4 Key
Norman Cowley:
Interviewer:
Norman Cowley:
Interviewer:
Norman Cowley:
Interviewer:
Norman Cowley:
Interviewer:
Norman Cowley:
Interviewer:
Norman Cowley:
Interviewer:
Norman Cowley:
180
You can't write a worthwhile book, or you can't continue to be a reasonable
writer if you start recapturing what you've done earlier. So there are all sorts of
positive things in my first book that I'll never achieve again - the immediacy of it,
the easiness of the dialogue, the kind of stylistic elegance that comes from not
trying to be too sophisticated. But, on the other hand, I wouldn't want to repeat it.
Now, after the tremendous success of that first novel, your second one was
pretty much damned by the critics.
Oh, more than damned. It was torn apart!
Well, now, that must have hurt, probably more than anything subsequently.
It was shocking, because, and you know this is going to sound silly, but I
couldn't believe the intensity of the attack on it. I remember one awful review
by a longstanding, distinguished critic, who was uncharacteristically attempting
to be witty, I suspect. He wrote that the book was 'paceless, tasteless,
graceless'. Now it certainly had its faults but er ... it had pace, it had its own
kind of taste in tune with the youth culture of the time, and I like to think it had
some grace. It was almost as if the reviewer had deliberately set out to pick
the few good things he could find in the book and wreck them too. It was a
demolition job.
But did this rejection push you in a different direction?
It left me very confused. I thought maybe I should give up and become
something else, but I didn't know what. So I wandered around and finally
started thinking about the next book, 'The Green Wood'. Of course you get
good reviews too, which give you hope, and the bad ones toughen you. Finally
after many, many years, you realise that it's part of it. In a way, it's a pruning
process. It cuts down all but the people who are really driven to be writers. So
there are far more people who write two novels than six or seven.
After a while, people began to see some autobiographical content in your
fiction. Was that fair?
It was half fair. You don't ever put someone into a book completely. You don't
dare because if you do, you've got a dull character. The point is that if you put
people that you know very well, like your wife or children, into a book, they're
real for you already, so you don't have to create them. So they say a few
things that they say every day and they're real for you, but not for anyone else.
It's better if you change them. I love taking people and transforming them to a
degree by, say, putting them in an occupation they don't have and so on.
And what do you think about some of the novels written today with their
extremely violent plots?
I don't care what characters do in a novel. I'm willing to read about the worst
human monster, provided the novelist can make that person come alive. A
novel should enable you to learn more about the depths of human nature.
Some of today's violent novels don't do that. There's no inner voyage. The
writing's descriptive but not revealing. Probably there's such a thing as 'going
too far', but only if you don't fulfil the prescription. You can go as far as you
want but your imagination has to be equal to it.
So the novel is still mainly a kind of psychological journey?
Well, it can be many things: a riddle, a game or a wonderful revolution of
language. I would hate to say novels have to be one thing, but the key is that
they should illuminate human experience in a dramatic way. Otherwise why
read them? You're going to get a better, swiftly-paced, modern narrative on
the average TV show.
Test 4 Key
Interviewer:
Norman Cowley:
Interviewer:
Now, in your selection of subjects for biographical treatment, is there one
aspect of all these people which attracted you?
Well, yes, I feel that I'm in a position to write biographies of people who are
well-known, not necessarily because I'm as large a celebrity as they are,
although I do think I have more insight into them than the average good, worthy
biographer. They approach from the outside and don't understand the
incredible confusion of identities that grows when you come to celebrity from
simpler beginnings. That's what draws me to these people. Also you have the
great advantage of knowing what happened. When you're a novelist ... you
panic about what to do next. You could wreck the book if you go the wrong way.
Now let's turn to your latest novel, which has ...
[pause]
tone
Noll' you u/ill hear the recording again.
[The recording is repeated.]
[pause]
That is the end of Part Three.
[pause]
PART 4
Noll' look at the fourth and last part of the test. Part Four consists of two
tasks.
You will hear five short extracts in which different people are talking about
the means of escape they use to cope with the demands of their working
liues. Look at Task One. For questions 24 to 28, match the extracts with
what each speaker finds demanding about their work, listed A to H. Noll'
look at Task Two. For questions 29 to 33, match the extracts ioith what
attracts the speakers to their different means of escape, listed A to H.
You toill hear the recording twice and while you listen you must complete
both tasks. You now haue 40 seconds to look at Part Four.
[pause]
tone
Speaker One:
Speaker Two:
I enjoy speed in every walk of life. Perhaps it's my weakness but I feel that
time's so precious you mustn't waste it. That's why my car's my means of
escape. I've always loved the sense of danger when driving fast cars and, if I
didn't own the transport company I work in, I'd probably be a racing driver! The
trouble is that because of the company's high profile, I'm often recognised.
Now that's where the car comes in. I rarely take passengers or use it for any
practical purpose. I just get in it and drive for hours. When I'm old and grey, I
don't want to have any regrets. I don't want to think I didn't take advantage of
the opportunities life offered me!
The garden was a wilderness when we moved into our present house. As a
youngster, I'd always wanted a tree house in the garden and now it seems that
I've built the deluxe version. It stands on stilts in the corner of the garden
181
Test 4 Key
Speaker Three:
Speaker Four:
Speaker Five:
where nothing would grow. It even has a balcony and a light inside it! I don't
know what I'd do if I didn't have it to escape to. You see, being an opera
singer is an athletic pursuit and you have to train like an athlete for it. Once I
get on stage, I'm swept along by the sheer feeling of commitment I have to
what I do. You have to have access to grand passions to be able to live the
part ... which is great, but the need to switch off is even greater.
I've been going to watch Rugby football for over 25 years now. The club is
totally amateur. There are no spectator stands and it's absolutely freezing in
winter. The crowds vary between two and three hundred, though, depending
on the fixture. But as soon as I walk into the ground, I completely switch off
from the day-to-day pressure of the bank where I work as managing directoreven if the game gets a bit lively sometimes! You see, I believe team games
give you a better insight into what life is all about: that you have to take the
knocks as well as give them, and that you can achieve more by working
together than you can as an individual.
My means of escape isn't a solitary place. It's the study area part of our first
floor living room and, with five-year-old twins and four older children, it's what
you might call a place with quite a lot of hubbub. I sit here at the end of a long
day and drink tea. Everyone near and dear to me comes in and out and talks
about what they've been doing. My days are always busy because I work as a
consultant in a hospital and every Tuesday I have a special clinic in the
evenings, so I'm absolutely worn out most of the time. It's being at home that
enables me to recharge my batteries.
There's a ranch in the US which I love going to. You ride in the morning in
groups according to your ability and in the afternoons there are lawn games or
whatever. You live in small cabins, which are comfortable rather than
luxurious, and you eat good, plain food. It's so different from being a chief
executive of an oil company, and I find it really relaxing. You see, when the
company was originally founded in 1886, it took four months to get a message
from the Far East. Now people are checking the stock market every two
seconds and asking what you're going to do about so-and-so. Soon everything
will be screened directly into your brain. You'll close your eyes and see the
price of shares!
[pause]
tone
Now you will hear the recording again. Remember you must complete both
tasks.
[The recording is repeated. I
[pause]
That is the end of Part Four. There unll noio be a ten-minute pause to allow
you to transfer your answers to the separate answer sheet. Be sure to follow
the numbering of all the questions. The question papers and ansuer sheets
ioill then he collected by your superuisor.
[Teacher, pause the recording here for ten minutes. Remind your students
when they have one minute left.]
That is the end of the test.
182
Sample answer sheet: Paper 1
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UCLES 2005
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CAMBRIDGE
U N IVE RS ITY PRESS
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ISBN 0 -521 -61373-6
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9 7805 21 6 13736