CPE 1 Test 2
Extract 1
Presenter: I'm standing in Wicksteed Park with its managing director, Ray Taylor. Ray, Wicksteed is a very successful amusement park, isn't it? Ray: It certainly is, and it's the largest free playground in Europe, with rides that go from ones for kiddies and their grandparents to white-knuckle rides for the aficionado who doesn't mind screaming and getting their stomach turned upside down, the ones I only go on once and never again. Presenter: And how did it all start? Ray: It was developed from about 1916 as the dream of Charles Wicksteed, who founded and ran a local engineering works, and wanted to do something for the local community Presenter: He was also an inventor, wasn't he? Ray: That's right, it was a hobby he was passionate about. He was responsible for several of our rides, and about 1925 he invented this amazing-looking contraption, which is the world's first bread cutting and buttering machine, for the five thousand teas that had to be prepared every day. It had a tremendous output -2500 slices an hour, and every piece a winner.
Extract 2
Speaker: I vividly remember standing secretly on the top flight of the stairs at home, listening up through the hatch in the ceiling into the loft, where my father, who was an amateur radio enthusiast, would sit endlessly until two or three in the morning sending and receiving messages on his radio transmitter. I didn't know who the strange voices belonged to, but it was a magic discovery for me. There was life beyond the small provincial town lived in and it gave me an insatiable appetite to taste it. My first job on leaving school was delivering televisions. I was also pursuing, what was for me, very much a passion, trying to be in a pop group, write songs and make records and things. One afternoon in 1978, I was driving around the centre of town and suddenly on Radio 1, came my record. It was the most traumatic moment of my life. It was the most overwhelming thing to realise that something that we had done, that started out as a couple of kids making noises in a spare bedroom at home, was suddenly now on national radio.
Extract 3
Presenter: Tonight's Front Row takes us to the heart of theatreland, the Great White Way,Broadway, and we talk to the multi-faceted Joachim Rowntree, ex film actor and acerbic theatre critic of the magazine Village Voice but very much in the news at the moment with the success of his directorial debut The Papermaker -- the story of an ageing actor finding himself on a retreat in the backwoods -- and breaking box-office records since its recent opening. Tonight in yet another new role, that of theatre historian, Rowntree explores the genre of theatrical works of self-discovery, similar to The Papermaker discussing their role as the conscience of Broadway. Joachim Rowntree: I think I've tried it all in theatre now, except perhaps coming up with the actual script, but I'm getting too old for that now and I want time away from the bustle oftheatres to think and read about my craft, take stock and I think I maybe do have something to say because I have tried my hand at so much ... Presenter: That's Front Row, tonight at 7.15, with Joachim Rowntree.
Extract 4
Speaker: Well, an important development in giving a brand name to a new product was PROKAZ, and the role of the name was to establish very quickly the product as something that would become associated with a particular emotional experience, and that was it makes you feel better. So I began to look at common word parts across many languages that would communicate the main benefits of the product, and one of those was, you know, positive, feelings. Now I realised that‘PRO' was a prefix that worked in many languages that had connotations and suggestions of positivity, something positive. Then, I also wanted the word to sound modern and scientific, and letters like Z weren't used very much in brand names at this time. So I looked at Zs and I looked at Xs and looked at Ks, and I began to realise that there were certain sounds that sounded modern and also gave the idea of something dynamic and forward moving, and that's how I got to 'KAZ'. And the word PROKAZ is now actually in popular use, so you could argue that a totally new word was invented. Part 2 Interviewer: Professor John Shepherd is the inventor of Jeremy, a rather remarkable robot, who has just completed some significant trials. Professor Shepherd, how did Jeremy get on? Prof. Shepherd: Well, he came through with flying colours. He showed that he can whistle while he works, and that he can negotiate a pretty demanding obstacle course without bumping into anything. Interviewer: Tell me, what's the point of robots like this? Prof. Shepherd: There are two major reasons for constructing robots. One is quite practical: tobuild useful devices. Robots are now common in medical laboratories, for instance, to handle potentially hazardous materials, such as blood. In factories they make cars. They can carry out repetitive tasks for long periods accurately, whereas boredom causes people to make mistakes. And they aren't affected by working conditions that we would find intolerable. There's also a growing demand from the general public for robots for the home, both to take over householdchores -- polishing, perhaps -- and as what you might call gimmicks -- the robot as butler or pet dog. Interviewer: And the other reason for making them? Prof. Shepherd: Well, fun though it would be to have robots around the house, this is really by way of being a byproduct of a more important and challenging goal. You see, through constructing robots we're trying to gain insight into the very nature of intelligence. At first, researchers tried to make robots intelligent, loading them with complicated computer programmes. But that didn't really work, because the real world is simply too complex and changeable. Then we considered ants, which are very successful at what they have to do, even though they don't have large brains. Andwe thought, maybe we should design something simpler -- robots that do just a few tasks. In effect we've moved from trying to make them second-rate human beings to making them particularly sophisticated machines. Interviewer: And does Jeremy look like a mechanical man, as in all the films? Prof. Shepherd: Far from it. He's just over a metre tall, and is actually more like a dustbin that can trundle around than anything else -- big, round and black. He has his own computer on board, and he's got sensors around his middle, which transmit pulses of sound to detect any obstacles in his environment. And where you'd expect his lid, he's got a video camera. All this input goes into the computer, which stops him bumping into things. Interviewer: And can he learn from experience, like humans? Prof. Shepherd: That's one thing we're interested in studying. We have to put him in the samesituation a number of times and get him to choose a behaviour each time. If he picks the right one, he gets a sort of reward, and if he picks the wrong one he's punished. It's very much like training a dog. Interviewer: It sounds very human actually, all this talk of reward and punishment. Surely youcan't talk about robots in the same way as you would talk about a person, because well they don't have feelings, do they? Prof. Shepherd: No. No, no, no, they certainly don't, and we simply use that vocabulary as a sort of shorthand. Of course notions like reward and punishment are misleading, because they rather suggest consciousness, which I'm sure that no one working with computers thinks they have. It'd be better to use terms like 'reinforce' and 'inhibit', which mean more or less the same, but have different connotations. The trouble is they're less accessible to the general public. Interviewer: So how close are we to robots that can do the housework? Prof. Shepherd: Oh, we've still got a long way to go. There is a kind of vacuum cleaner that youcan leave to get on with the job, but of course the trouble is that it doesn't know what you want to throw away and what you don't. Interviewer: Professor Shepherd, thank you. Prof. Shepherd: Thank you.
Part 3
Interviewer: Dr Janet Thompson, you made some ground-breaking discoveries about chimpanzees when you lived with and observed them all those years in Africa. For example, you were the first to discover, weren't you, that they use tools, like humans? Dr Thompson: Yes, humans were considered to be the only tool-using species. And I wasn'tlooking for anything different. I was just living there in Gombe and observing the chimpanzees all day every day. And then one day, when I was following one of the males, I struggled through a prickly sort of thicket, and found him in a clearing. I saw he was, very intently, using a long blade of grass to poke into a termite's nest, to make it easier for him to get the termites out and eat them. I watched him doing that several times over the next few days before I realized the significance of it. Chimpanzees use tools for all sort of things. Like us, really. Interviewer: How dangerous has it got on occasions? You must have been frightened ofleopards and lions, for example? Dr Thompson: Well, the leopards and other things, when I first got to Gombe, you know, I couldhear them when I was sleeping out at night but I thought, oh well, and I'd just pull my little blanket over my head and try to ignore them. They are not really that dangerous. Usually if they hear you coming, they get out of the way. Of course, the chimpanzees in the early days, when they lost their fear, they became rather belligerent. But, in fact, they never have really attacked us. Interviewer: Pretty dangerous though, and yet you brought up a child in this environment. Brave or foolhardy? Which is it? Dr Thompson: Neither, because Grant was brought up in Gombe when it was really idyllic. There was -- well, danger from the chimpanzees, we had to watch him, but the beach, he could swim like a little fish in the lake -- it's clean, pure water. You had to make sure he didn't get attacked by lions and things, but it was so free from pollution. And he liked being the only little one around. He could get malaria, but you know, think of the worries in the city today. Interviewer: Now tell me about father chimpanzees. They don't subscribe much to the familyset-up, do they? Dr Thompson: They play a very important role actually. They have to protect the territory for thefemales and young, from incursion by other males. We now know they patrol and defend the boundaries, or even enlarge them and get more resources for their own females and young. It also turns out that males can, when occasion demands, show really good paternal behaviour and care for orphans. We've seen it several times. Interviewer: When you realised you had to leave Gombe, to tell the world about the chimpanzees' declining numbers, you left your paradise. But now you do all the things that are the antithesis of that paradise, travelling and being surrounded by people, crowds everywhere. How can you bear it when you enjoyed all those years of peace? Dr Thompson: I think it's because I feel it's a mission, and I have to do it. And you know, I had all those years. How many people are lucky enough to live their dream for so long, to be in paradise? Life goes through phases and I just suddenly knew that the next phase was to begin. Once you know you're supposed to be doing something else, you're not happy in paradise any more. You know, you can't change fate. Interviewer: You remain nevertheless incredibly optimistic about it all though, don't you? Why?
Part 4
Derek: Have you seen that new film of Oliver Twist, Kathy? Kathy: Yes, I went last night. How about you? Derek: Saw it Monday. Good, isn't it? Kathy: Mm, it made me want to read the novel again. Derek: Me too, but there were so many actors I knew, I couldn't forget who they really were. Kathy: I know what you mean, but I can't say that worried me. I thought it was great seeing all those famous people. Derek: Still, it really brought the world of the novel to life. Kathy: Yes, there are so many films based on novels which end up falling between two stools, neither a good version of the novel nor something original. Derek: You know, it's interesting how, if you look at some 1930s and 40s films of 19th centurynovels, they're really rooted in the period they were made, in the way people behaved and related to each other then. Kathy: Mm, I suppose so. Derek: And in the last few years, there's much more effort made to be authentic. Like how people walk 19th-century clothes are so different from modern ones that people had to walk differently, and women were expected to take small steps. But in some old films the actors moved around as though they were wearing their own clothes. At least that doesn't happen so much these days. Kathy: But maybe if we saw today's films again in 20 years' time, they'd seem just as dated. It's because we're so close to them that we can't see that they're just as much reflections of our own time as the 30s films were of theirs. Maybe they actually show more about us and our values than about the novel that they're based on. Derek: Oh, surely directors and actors now are aware of the danger, so they actually try to get inside the minds of 19th-century people. Kathy: Well, we'll see. But you know what disturbs me sometimes is when I know the novel and have a clear picture of a character, and the actor is just wrong for the part. Derek: Like when the hero's supposed to be good-looking and you can't imagine anyone falling for him. Kathy: There was one film I had to walk out of, because the heroine was played as neurotic, and there wasn't a hint of that in the book Derek: Mm. That sort of thing's taking artistic licence too far -- if you're going to adapt a novel, you shouldn't make any major changes to the characters or the plot. Kathy: Actually, another thing that struck me is that in films I usually miss the author's voice. Derek: But he's sometimes there as an unseen narrator. Kathy: Mm, but in the novels the writer's there all the time, in little comments, and in films they either don't appear at all, or hardly. Derek: Do we need him at all? People make up their own minds about the characters. They don't need to be nudged in a particular direction by the author. Kathy: Do you think that's really possible? After all, the author's created the character and what they do, so we're manipulated into reacting to them in the way he wants us to. Derek: Look -- suppose he approves of corporal punishment, say, and you don't. You'd judge a father beating his son differently from the way the author would. Kathy: Mm, but maybe it doesn't matter. Because usually we watch these films as escapism, don't we? Not as something to take too seriously.
Extract 1aficionado (検索結果：undefined, 検索クエリ："aficionado")【名】熱狂的なファン、熱烈な愛好者contraption (検索結果：undefined, 検索クエリ："contraption")【名】〔機械の〕新案、工夫珍妙な仕掛け、奇妙な機械装置buttering (検索結果：undefined, 検索クエリ："buttering")【名】バターリング、おべっかExtract 2loft (検索結果：undefined, 検索クエリ："loft")【他動】～を屋根裏に貯蔵する（ボール）を高く打つ、打ち上げる【名】屋根裏（部屋）、ロフトハト小屋《ゴルフ》ロフト◆ボールを高く打ち上げるためのクラブヘッド面の傾斜hatch〔屋根や床の〕ハッチ、昇降口◆船や飛行機の上下の部屋への出入り口、また建物の天上や床下への出入り口として使われる。〔ハッチの〕蓋、カバー〔ハッチの〕昇降階段〔航空機の〕ハッチ、出入り口〔部屋同士を結ぶ〕小さな出入り口provincial town田舎町insatiable (検索結果：undefined, 検索クエリ："insatiable")【形】飽くことのない［を知らない］、強欲な、貪欲な、とどまるところを知らないand things (検索結果：undefined, 検索クエリ："and things")～などspare bedroom (検索結果：undefined, 検索クエリ："spare bedroom")《a ～》予備の寝室、お客さん用の寝室Extract 3multifaceted (検索結果：undefined, 検索クエリ："multifaceted")【形】多面の、多角的なacerbic (検索結果：undefined, 検索クエリ："acerbic")【形】〔味覚が〕苦い、酸っぱい、渋い〔言葉・行為などが〕辛辣な、痛烈なbackwoods【名】後進地、へき地、辺境の森林地、未開拓の領域文例文例【形】粗野な、へき地の、無骨なgo on retreat (検索結果：undefined, 検索クエリ："go on retreat")《go on （a） retreat》静養に行く、日常［都会］の喧騒から離れるconscience (検索結果：undefined, 検索クエリ："conscience")【名】良心、善悪の判断力、自制心、誠実さ、道義心time away (検索結果：undefined, 検索クエリ："time away")〔任務などからの〕離脱期間try one's hand at～の腕試しをするExtract 4connotation (検索結果：undefined, 検索クエリ："connotation")【名】〔文字通りの意味に加えられる〕言外の意味、含蓄、含み、暗示［内包］的意味、含意Part 2 get on うまくいく、成功する、うまくやっていく、仲良くやっていく、仲良く付き合う、仲良くする、ウマが合う、気が合う、折り合う、暮らしていく、暮らすflying colors (検索結果：undefined, 検索クエリ："flying colors")翻っている旗〈比喩〉大成功単語帳with flying colors〔目標の達成などが〕大成功で、見事に、やすやすとcome throughやり遂げる、成し遂げる、約束を果たす、成功する、期待に応える、期待に沿うwhistle (検索結果：undefined, 検索クエリ："whistle")【自動】笛［口笛］を吹く［で合図する］【他動】～を口笛で吹く、～に笛で合図する〔飛び道具やボールなどを〕ピューと放つpolishing (検索結果：undefined, 検索クエリ："polishing")【名】研磨、艶出しgimmick (検索結果：undefined, 検索クエリ："gimmick")【他動】〈話〉～に巧妙な仕掛け［戦略］を用いる【名】〔賭博の不正な〕仕掛け、からくり〔巧妙に作られた〕小物、道具〔宣伝広告の巧みな〕策略、戦術〔隠されている〕不安材料、落とし穴〔名前が分からない〕何とかいう物発音gímik、カナギミックdustbin (検索結果：undefined, 検索クエリ："dustbin")【名】〈主に英〉〔大型の〕ごみ箱trundle (検索結果：undefined, 検索クエリ："trundle")【自動】ゴロゴロ動く、転がるような足取りで歩く［行く・進む・立ち去る］【他動】転がす発音trʌ́ndl、カナトランドゥル、トランドルon board (検索結果：undefined, 検索クエリ："on board")〔船・飛行機などに〕乗って文例文例〔人と共に〕仕事をして、働いてlid (検索結果：undefined, 検索クエリ："lid")蓋文まぶた、眼瞼ヘルメット、ハット（hat）shorthand (検索結果：undefined, 検索クエリ："shorthand")【名】速記（法）〔あるものを指すときの〕縮めた［簡潔にした］表現consciousness (検索結果：undefined, 検索クエリ："consciousness")【名】〔状況に対する〕意識、知覚、正気〔個人の〕意識、心、思考〔集団が共有する〕意識、見解、考え◆【参考】national consciousness〔特定の争点に対する〕意識、自覚〔自分の感情や思考に対する〕意識、自覚inhibit (検索結果：undefined, 検索クエリ："inhibit")【他動】〔～の成長や発達などを〕抑止［抑制］する◆化学や生物学など自然科学の分野でしばしば使われる。文例〔人が～しようとするのを〕妨げる、阻止［禁止］する《化学》〔化学反応を〕抑制する《生物》〔酵素や器官の働きを〕抑制［阻害］する《心理学》〔衝動などを〕抑制する《電気》〔信号などを〕抑止するPart 3prickly (検索結果：undefined, 検索クエリ："prickly")【形】とげだらけの、針のある〔針でつかれるように〕チクチク痛む［する］〔状況・問題などが〕厄介な〈話〉〔人の性格などが〕すぐカッとなる、怒りっぽいthicket (検索結果：undefined, 検索クエリ："thicket")【名】〔密生した〕やぶ、茂み、下生え〔やぶのような〕絡み合い、交錯レベル7、発音θíkit、カナスィケットclearing (検索結果：undefined, 検索クエリ："clearing")〔不要な物を〕取り除く［片付ける］こと何もない［空いている］空間［場所］〔森や草地の中の〕空き地intently (検索結果：undefined, 検索クエリ："intently")【副】一心に、夢中で、熱心に、懸命にblade of grass (検索結果：undefined, 検索クエリ："blade of grass")草の葉termite (検索結果：undefined, 検索クエリ："termite")【名】《昆虫》シロアリon occasion (検索結果：undefined, 検索クエリ："on occasion")〈文〉時折、折に触れてleopard (検索結果：undefined, 検索クエリ："leopard")【名】《動物》ヒョウ◆【学名】Panthera pardusレベル7、発音lépərd、カナレオパード、レパード、レパァドpull ~ over one's head (検索結果：undefined, 検索クエリ："pull ~ over one's head")～を頭からかぶるfoolhardy (検索結果：undefined, 検索クエリ："foolhardy")【形】〔行為が〕向こう見ずな、無謀な◆like being around (検索結果：undefined, 検索クエリ："like being around")（人）と一緒にいるのが好きであるsubscribe to (検索結果：undefined, 検索クエリ："subscribe to")～を予約購読する文例〔ISP・携帯電話会社など〕と契約する～の会員である～に同意するincursion (検索結果：undefined, 検索クエリ："incursion")【名】〔外国の領土への〕侵略、襲撃〔他の領土や領域への〕侵入、侵害文例〔一般に〕流入、侵入as occasion may demand (検索結果：undefined, 検索クエリ："as occasion may demand")臨機応変に表現パターンas occasion may demand ［require］単語帳as occasion demands《as （the） occasion demands》時と場合によっては、必要に応じてtell the world (検索結果：undefined, 検索クエリ："tell the world")公言する単語帳Part 4 bring ~ to life～を産む、～を産み出す表現パターンbring ~ to ［into］ life～を生き返らせる、～を生き生きさせる、～を活性化する、～に活気を与える、～を活気づける文例表現パターンbring ~ to ［into］ life〔つまらないものを〕面白くする表現パターンbring ~ to ［into］ life～を実現させる、～を現実のものとする表現パターンbring ~ to ［into］ lifedated (検索結果：undefined, 検索クエリ："dated")【形】日付のある、～日付の時代遅れの、古くさいin a year's time1年たてば単語帳in ten years' time10年後にaudition for the part of (検索結果：undefined, 検索クエリ："audition for the part of")【動】〔俳優などが〕～役を決めるオーディションを受ける表現パターンaudition for the role ［part］ of【名】《an ～》〔映画・劇などの〕～役を決めるオーディション表現パターンaudition for the role ［part］ of単語帳something someone has to learn for the part役作りのために（人）が学ばなければ［練習しなければ・身に付けなければ］ならないことfall for (検索結果：undefined, 検索クエリ："fall for")【句動】～を好きになる、～にほれる［ほれ込む・恋する・首ったけである］文例〔策略・宣伝文句などに〕だまされる、引っ掛かる、つられる、はまるwalk out of (検索結果：undefined, 検索クエリ："walk out of")～から出る、～から引き上げる、抗議して～から退場するneurotic (検索結果：undefined, 検索クエリ："neurotic")【名】神経症患者、ノイローゼ患者〈話〉神経過敏な人文例【形】ノイローゼの、神経症の〈話〉神経過敏な、ひどく神経質なtake artistic license (検索結果：undefined, 検索クエリ："take artistic license")〔面白くするために〕創作を混ぜる、（話を）脚色するcorporal punishment (検索結果：undefined, 検索クエリ："corporal punishment")〔刑務所で行われる〕体刑〔学校で行われる〕体罰