Reading and Use of English for C1 advanced, Esercizi di Inglese

Scarica Reading and Use of English for C1 advanced e più Esercizi in PDF di Inglese solo su Docsity! Test 5 Reading and Use of English (1 hour 30 minutes) Part 1 For questions 1-8, read the text below and decide which answer (A, S , C or D) best f its each gap. There is an example at the beginning (0) . Mark your answers on the separate answer sheet. Example: o A thoughts B ideas C wits Demotions o A B C D = = - = Why do we love horror films? Why wi ll some people pay good money to be scared out of their (0) ...................... ? As someone who has seen just one horror film in their life, this never ceases to (1) ...................... me. You can keep your horror; to be (2) ...................... , I would rather have surgery without anaesthetic. But according to psychologists, the fear we (3) ...................... is safe: we know that when the film ends, we'll be unharmed. Horror films make our hearts (4) ..................... , and that's part of what (5) ..................... to us: if our lives are uneventful, we seek excitement - in fact, it's good for our nervous system. A study carried out in 1995 showed that the higher people (6) ...................... on a scale that measures sensation-seeking, the more likely they are to be fans of horror films. People in their teens and twenties tend to seek out (7) .................... _ experiences, and this makes them the biggest audience for horror films. That usually (8) .................... with age: maybe we start to realise that real life is scary enough. 1 A daze B baffle C elude o defy 2 A direct B clear C distinct o honest 3 A crave B wish C yearn o long 4 A shake B batter C pound o knock 5 A attracts B engages C entices o appeals 6 A score B mark C grade o point 7 A severe B burning C intense o fierce 8 A fades B dissolves C disintegrates o pales 152 I Test 5 Reading and Use of English Part 1 Test 5 Reading and Use of English Part 2 For questions 9-16, read the text below and think of the word which best fits each gap. Use only one word in each gap. There is an example at the beginning (0). Write your answers IN CAPITAL LETTERS on the separate answer sheet. Example: @J I 0 I N I £ I I I I I I I I I Attention all teachers! Donna-May Photography is (0) ........... ........... of the leading digital photography services in the region. Whatever the event may be - concert, sports day, prize-giving, etc. - your school needs photographs of the pupils, (9) .................... is where we come in. We pride (10) ...................... on offering top-quality service and memorable photos. But (11) .................... of just listening to us (and of course we're biased!), (12) ...................... not read this letter from a happy headteacher? "A huge thank you for the photos you took of our school concert. We're sure our pupils wi ll regard them (13) ..................... . perfect mementos of a very special occasion. (14) ...................... several complications arose before the concert began, Jane, your photographer, stayed calm and unperturbed. Numerous parents were present, and many have commented to me on (15) ...................... well Jane interacted with the children. In the end, everything went very smoothly, and the children had a wonderful afternoon. Next time we arrange an event like this, we'll (16) ...................... in touch!" To find out more, please visit our website, www.donna-mayphotography.com. Reading and Use of English Part 2 Test 5 Reading and Use of English Part 5 You are going to read the introduction to a book about deja vu. For questions 31-36, choose the answer (A, B, C or D) which you think fits best according to the text. Mark your answers on the separate answer sheet. 'I've been here before': the deja vu feeling Most people - two out of three, according to surveys - have experienced deja vu (French for 'already seen'). It is that weird sensation of having 'been here before' or having 'lived this moment already'. You may be visiting some entirely unfamiliar town, for instance, and 'realise' that you have already been in that precise spot, even though you know it is impossible. The feeling goes way beyond any vague sense of having seen or done something similar before - it feels identical to a past experience. Yet trying to pin down the memory is like trying to catch a dream - just as you think you are homing in on it, it turns to vapour. The eeriness of this has led to all sorts of spooky theories. A popular one is that it is the memory of a dream in which the person has lived through the current moment in advance. In recent years, however, neuroscientists have discovered enough about perception and memory to piece together a more plausible explanation. £¥efy conscious experience we have is 'constructed' by our brain out of lots of different components, rather as a car -lIQIrt be made in a factory. We tend to think of an event as a bundle of sensations: sight, sound, etc., but there is actually -u:tt more to it. If you (literally) bump into someone in the street, for example, you will be aware of the sight of them, the ;ouch of them as you bump, the sound each of you makes, and so on. But you will also be aware of the meaning, tone a1d m ention of the sound, the pain from the bump, a sense of irritation or embarrassment; a thought, perhaps, that you, or lhe other person, is clumsy, and so on. There is much more to experience than simple sensations. O-.e very important 'component' that often gets added is a sense of familiarity. This is generated in the deep part of the mat creates emotions. The sense of 'Ah yes! I recognise this! ' usually only gets attached to experiences which 'M<=h" stored memories. Sometimes, though, the part of the brain which generates the feeling of familiarity attaches an experience that is actually quite novel. This is what seems to happen in deja vu. The brain then tries to dig out ;;>iilOCl1I1g memories, but of course they aren't there - hence the maddening feeling of chasing shadows. ra -1OSi people, deja vu is a rare and fleeting phenomenon, intriguing rather than disturbing. And it doesn't seem to lie .rnea/thy - indeed, deja vu is most commonly reported by people who are young, intelligent and well-educated. :hat it is actually a minor brain malfunction, this may seem strange. The explanation may be that young brains are -ere 'recognition sensitive', so they are more easily triggered into familiarity mode. Similar sensitivity may also be a 3lIr intelligence - bright people 'see things' more readily than others, and intelligent people tend to go on to higher ea..c;;gon. So deja vu may be a side effect of having a brain that is quick to recognise things. =a ;r ..r.ortunate few, though, deja vu is a constant companion, and a serious blight on their lives. Dr Chris Moulin is a:15' ist who is studying this strange disorder. He first came across it when he was working in a memory clinic: -aJ a peculiar referral from a man who said there was no point visiting the clinic because he'd already been there, :lE would have been impossible. Deja vu had developed to such an extent that he had stopped watching 1V ......-a:se - seemed to be a repeat. He even believed he could hear the same bird singing the same song in the same tree he went out. .;:a: the sheer tedium of chronic deja vu, the condition can also get people into social difficulties. 'Some patients eYeI)'one they meet is familiar, and this makes them dangerously trusting of strangers,' says Moulin. 'If they :xr. CXJnS<aI1tIy remind themselves that the sensation is false, they are at risk of being exploited.' So next time you find JOI.r5Ieo;" "Te-iving' an experience, don't struggle to recall the previous time. Just sit back and relax. And make sure that :xr- SIQIl on the dotted line until the moment has passed. est 5 Reading and Use of English Part 5 31 What point does the writer make about d(!ija vu in the first paragraph? A Scientists tend to disbelieve people who claim to have had the experience. B The experience is more common than scientists are prepared to admit. C Many previous attempts to explain it were based on unscientific beliefs. o Some evidence of a non-scientific cause cannot be disproved. 32 Why does the writer mention manufacturing a car? A to indicate that our experiences are more complex than we realise B to suggest that many of the experiences people have are similar C to show that different experiences tend to consist of the same components o to emphasise the role of other people in the experiences we have 33 Accord ing to the third paragraph, deja vu seems to be caused by A emotions that are normally linked with different experiences becoming confused. B an experience arousing an emotion which is linked with similar previous experiences. C the brain failing to distinguish between different emotional responses. o a feeling of recognition mistakenly being linked with a new experience. 34 According to the fourth paragraph, deja vu is probably caused by A a person's lack of patience. B the level of education that a person achieves. C a useful attribute of some people's brains. o the environment in which some people are brought up. 35 Chris Moulin gives the example of a man A whose experience of deja vu could not be treated. B who thought that actual and potential experiences duplicated previous ones. C who blamed television for making his condition worse. o who found the fami liarity of his experiences somewhat comforting. 36 What advice does the writer give to people who frequently experience deja vu? A to avoid situations where there is a risk of experiencing deja vu B not to trust others until they have evidence that they will not be exploited C to check with people they meet whether or not they have met previously o not to commit themselves to something on the basis of its apparent familiarity Reading and Use of English Part 5 Test 5 157 Test 5 Reading and Use of English Part 6 You are going to read four reviews of a production of Shakespeare's play Hamlet. For questions 37-40, choose from the reviews A- D. The reviews may be chosen more than once. Mark your answers on the separate answer sheet. Hamlet, by William Shakespeare, at the Granary Theatre Directed by Carol Barlow, starring Paul Mason as Hamlet A Carol Sarlow has come up with a great number of ingenious devices to distinguish her production of Hamlet from the thousands that have gone before. I just wasn't sure how they fitted together to make a coherent whole, and would have been happier with fewer notions, better thought through. Perhaps Sarlow's intention was to hold up a mirror to the fragmentary nature of today's world, and if so, she could be said to have succeeded. Paul Mason, playing the role of Hamlet for the first time, certainly delivers his lines thrillingly, the range and resonance of his voice contributing in no small measure. Yet it remained a performance: his gestures and mannerisms kept reminding us that we were watching an actor. As the final curtain fell, I realised I knew the character of Hamlet no better than I did at the beginning. B Hamlet is a complex character, which gives scope for many different interpretations. However, there needs to be internal consistency: arbitrarily hugging another character one minute and ignoring them the next tells us nothing about Hamlet himself. Paul Mason seems to want to impress us with all the vocal tricks in his repertoire - and there are many - but long before the final curtain, I wished the character had been killed off in Act 1. As director, Carol Sarlow seems to have brainstormed ideas for the production, thrown them up in the air, and let them fall at random. The resu lt is a mishmash that for some unfathomable reason is set in the 1920s. Productions of Hamlet often reflect the spirit of the age, so a number of modern versions focus on notions of mental disorder, but Sarlow's production tells us nothing about Shakespeare's own time, or about today's world . C Paul Mason isn't an obvious choice to play Hamlet - he's too old, and his acting is idiosyncratic; yet somehow he pulls it off. His quirks and eccentricities convey the depth of Hamlet's despair, and his need to present a mask to the world. Initially I found his delivery mannered, but it soon drew me in, and immersed me in the character's predicament and his fractured personality. Sy the end, I could have gone on listening to him for hours. However, Mason was the redeeming feature of the evening. Sarlow continually gives the audience new and highly distracting things to think about. For instance, she sets Hamlet in the 1920s, and the costumes, gorgeous though they are, hard ly lend themselves to carrying a sword, as many of the characters do. It just made the setting neither modern nor of Shakespeare's own time, or even of the time of the historical Hamlet. D How can an audience be made to see a play as well-known as Hamlet with fresh eyes? Director Carol Sarlow has met the challenge with astonishing bravura. Sy moving it into the 1920s, she shows the universality of the play's themes, despite the distraction provided by the stunning costumes. Similarly, Sarlow's sheer inventiveness teeters on the brink of confusing us and overwhelming the play, but just stops short. My jaw dropped as one mind-boggling and exhilarating idea succeeded another. Sut Paul Mason's Hamlet! Why on earth did Sarlow choose him for the part? As a comic character, he might get away with his over-the-top facial expressions, but as Hamlet he made it impossible for the audience to sympathise, let alone identify, with him. His delivery was a parody, with neither intonation nor stress bearing any relation to the meaning of Shakespeare's lines. 158 I Test 5 Reading and Use of English Part 6 A How fast were the pair pedalling? About 100km/h or E more. In fact, they were travelling so quickly that the two police motorcycle escorts had sparks shooting up from their footrests hitting the bitumen as they negotiated the treacherous curves. B This impression of weakness that Mockridge gave was reinforced by his weak vision - he couldn't see F the other side of the road without glasses. It was a defect that barred him from most sports, particularly his beloved Australian Rules Football. He was 18 when he entered the weekly Geelong Amateur Cycling Club 40km road race because he was suffering from lack of exercise. C The next week, and the next, Mockridge again won, G and a cycling legend was born. In the following few months, he won eight of his 11 starts. Mockridge was hailed as an emerging champion and his rise from club rider to Olympic champion was meteoric. D Despite his disappointment, it was during this tour that Mockridge set his sights on making the Australian team for the next Olympic Games. In the lead-up to selection, he won all ten Olympic qualifying races in Australia, then left for Europe. Reading and Use of English Part 7 Any laughter died when Mockridge settled down to his machine-like rhythm and burned off other competitors. Alex McPherson, who was timing the cyclists for the club, waved them past the halfway mark, and hopped into his car to greet the finishers. When he arrived, he found Mockridge waiting and puzzled. His coaches and teammates had given up on him, as Mockridge still trailed well in the rear, but once he was ready to get back to the matter in hand, he settled into some serious pedalling. Ken Graves was being acclaimed the winner by announcers just as Mockridge burst through the pack and cut him down, snatching victory out of almost certain defeat. By then 'Mocka', a freakish and courageous talent, had won two Olympic and two Empire gold medals and countless world records. In his day, his feats were as acclaimed as those of other Austral ian sporting icons, such as cricketer Don Bradman. Test 5 161 Test 5 Reading and Use of English Part 8 You are going to read four descriptions of research being carried out by staff of a music college. For questions 47-56, choose from the extracts (A-D). The extracts may be chosen more than once. Mark your answers on the separate answer sheet. Which section mentions the following? some unexpected information concerning a particular musician a description of the methodology used to generate data the researcher's hope that future research will be carried out into the same materials how some of the material in a planned book will be structured a wish to assist performers the use of source material not previously known exploration of the business context in which performances were given in a particular period the influence that artists had on one another how discoveries in the field of music relate to ones in an academic discipline other than music the use of materials that have previously been studied from a different perspective 8J ~ ~ ~ ru ru ~ ~ [ill [ill 162 Test 5 Reading and Use of English Part 8 Some current research by staff of the Department of Music A gernice Mitchell is engaged in researching law-court records from London in the first half of the 18th century, IU the light they throw on the city's professional music .oorld of the time. While the materials are familiar to legal ~archers , this is thought to be the first time that their -elevance to the history of music has been recognised. One objective of the research is to provide guidance on access to the materials and on their interpretation, in the expectation that more scholars will be encouraged to llVestigate this fascinating resource. To date, Mitchell 's -esearch has concentrated on the opera houses, and the oocuments have yielded considerable new insights into "IJJ11erous issues, including their management, contracts ·th singers, musicians and composers, their working oonditions, and performance fees. Mitchell is about to tJroaden her research, to include a detailed comparison between the 18th- and 21 st-century conditions in which opera houses flourished - or not, as the case may be. B .lames Rowe's project is being carried out in collaboration with London's Science Museum. Visitors are asked to participate in a series of experiments designed to yield iIlformation about the effect of music on the perception oi time passing, and so far, more than 800 people have :aken part. Participants listen to a piece of music, and are :hen asked about its duration and their responses to it, n::luding enjoyment and familiarity. They are also asked about personal details, including their musical preferences and level of musical training, if any. Preliminary findings lIldicate that people who enjoy the music think it lasted lOnger than those who dislike it. In a follow-up experiment, m ilors are asked to memorise a list of random words while .istening: this appears to have the effect of shortening the aerceived duration of the music. Some of the findings ae in line with current theories in psychology about the rerception of time, while others appear to contradict :hem. The results of the research will be published next tear. Reading and Use of English Part 8 C The topic that Colin Saunderson has chosen for his current research is the creative milieu of Paris in the early 20th century, when musicians, painters, sculptors, intellectuals and many others contributed to a ferment of creativity that left its mark on all concerned. Although the topic has already been well researched, a recently discovered archive of unpublished letters is proving a mine of information on the response of the common man and woman - the concert audiences - to the immense creativity they observed. It is also adding some surprising detail on the mannerisms of several famous musicians. The research takes into account amateur music-making at that time, and the use of music in plays. Saunderson hopes the volume he is engaged in writing will provide a more nuanced view of that world than many of the existing studies. One section will quote extensively from the letters, with the extracts presented on a month-by-month basis. The intention is that this will give the reader a sense of history unfolding in front of their eyes. D Ray Hutchinson has published numerous books and articles on the physical and psychological demands of music-making, and in his latest research, he is focusing on how musicians manage the daily challenge of making ends meet, and the influence of career insecurity on their way of life. Many of those who are not on the payroll of a permanent orchestra or music college live a hand-to- mouth existence, all too often forced to supplement their meagre and sporadic income by working in ways that will allow them to take time off when the musical engagements come in; for example, Hutchinson interviewed a professional flautist whose bread-and-butter job, rather incongruously, is as a butler who can be hired by the day! Hutchinson's aim is not only to discover the survival strategies that musicians employ, but also to share tips and resources, in order to help them to maximise their professional opportunities. Test 5 163 Test 5 Listening (approximately 40 minutes) Part 1 fl§ You will hear three different extracts. For questions 1-6, choose the answer (A, B or Cl which fits best according to what you hear. There are two questions for each extract. I Extract One You hear two members of an amateur choir discussing a forthcoming concert. 1 The woman is worried that A the choir may not be ready for the concert. B some choir members are missing too many rehearsals. e the concert may not attract a large enough audience. 2 What is the man doing when he speaks? A asking the woman to help him with something he is going to do B trying to avoid doing something he had agreed to do e explaining why he will do something late Extract Two You hear two people talking about making new friends. 3 The man says that, compared with southerners, people in the north of the country A are easier to get to know well. B are more likely to talk to strangers. e are more open to making long-term friendships. 4 What does the woman say about making friends in her dance class? 166 A It took longer than she had expected. B Other people were too busy to spend time with her. e She was generally ignored by other people. Test 5 Listening Part 1 Extract Three hear two friends discussing a television programme about genetics. 5 What is the man's opinion of the programme? A It was less informative than he had anticipated. B It make him realise he knew less about the subject than he thought. C It assumed the audience already had some knowledge of the subject. What aspect of the programme do the two people disagree about? A the length of the programme B the value of the demonstrations C the presenter's speed of delivery Listening Part 1 Test 5 I 167 Test 5 Listening Part 2 fl@ You will hear a student called Caroline talking about her research project into rivers that have been made to flow underground. For questions 7-14, complete the sentences with a word or short phrase. RESEARCH INTO RIVERS PUT INTO UNDERGROUND PIPES In the 18th and 19th centuries, many rivers were covered over in order to deal with (7) .................................................... . that was being caused. One advantage of covering rivers was that (8) ................................................................ carried by water were less likely to spread. Putting rivers into pipes prevented the creation and survival of (9) ..... ......................................................... for plants and fish. Fish were unable to move through a pipe if there was a change in (10) ............................................. ....... ........... between sections. A (11) .. ........ ..................................... ................ or a break in a pipe can increase the risk of flood damage. Caroline mentions a (12) ............................................................... that was made unsafe by a river underneath the building. Old maps and other (13) ............................................................. are useful for locating unknown rivers. Caroline uses software and old maps to identify (14) ................................................................ that might be the site of an underground river. 168 I Test 5 Listening Part 2 Test 5 Speaking (15 minutes) Part 1 2 minutes (3 minutes for groups of three) The interlocutor will ask you some questions about yourself, your home, work or studies and familiar topics. Good morning/afternoon/evening. My name is ..... and this is my colleague ..... . And your names are? Can I have your mark sheets, please? Thank you. First of all , we'd like to know something about you. • Where are you from? • How long have you lived here/there? • Where do you study English? • How do you plan to use English in the future? The interlocutor will then ask you some questions about one or two other topics, for example: • How do you think the place where you live will change over the next few years? • How important is reading in your life? • Tell us about a film that you have recently seen. • Where would you go if you had a month's holiday and a lot of money? Speaking Part 1 Test 5 171 Test 5 Speaking Part 2 r i>ar~ 2 I 4 minutes (6 minutes for groups of three) Work in groups of three if possible. One of you is the interlocutor and the other two are the candidates. The interlocutor should lead the task using the script below. Refer to the pictures on pages 516 and 517. The interlocutor will give you three pictures and ask you to talk about two of them on your own for about a minute. You will then be asked a question about your partner's pictures which you will need to answer in no more than 30 seconds. Interlocutor After 1 minute After approximately In this part of the test, I'm going to give each of you three pictures. I'd like you to talk about two of them on your own for about a minute, and also to answer a question briefly about your partner's pictures. (Candidate A), it's your turn first. Here are your pictures. They show people doing different leisure activities. I'd like you to compare two of the pictures and say why the people might have chosen to do these activities, and how beneficial doing these activities might be for the people. All right? Thank you. (Candidate B), which of these leisure activities do you think appeals to most people? (Why?) 30 seconds Thank you. E) After 1 minute After approximately Now, (Candidate B), here are your pictures. They show people wearing some unusual clothes. I'd like you to compare two of the pictures, and say why the people might be dressed in these ways, and how important you think the clothes are to the people. All right? Thank you. (Candidate A), which people do you think are enjoying dancing the most? (Why?) 30 seconds Thank you. 172 Test 5 Speaking Part 2 TestS Speaking Parts 3 and 4 4 minutes (6 minutes for groups of three) Work in groups of three if possible. One of you is the interlocutor and the other two are the candidates. The interlocutor should lead the task using the script below. Refer to the task sheet on page 518. The interlocutor will give you a task sheet to discuss together. Interlocutor After 2 minutes After 1 minute Now, I'd like you to talk about something together for about two minutes. Here are some aspects of life which are influenced by technology and a question for you to discuss. First you have some time to look at the task. (About 15 seconds) Now, talk to each other about how technology impacts on these aspects of life. Thank you. Now you have a minute to decide which aspect of life is influenced by technology in the most significant way. Thank you. 5 minutes (8 minutes for groups of three) Work in groups of three if possible. One of you is the interlocutor and the other two are the candidates. The interlocutor should lead the task using the script below. The interlocutor will ask some general questions which follow on from the topic in Part 3. Interlocutor • How do you think technology will develop in the future? (Why?) • How do the attitudes of older and younger generations towards technology differ? (Why?) • Which technological development do you think has had the most positive effect on society? (Why?) • Do you think parents should impose time limits on a child's use of the computer? (Why? / Why not?) • What effects do you think computer use has had on literacy? (Why?) Thank you. That is the end of the test. Speaking Parts 3 and 4 TestS