CPE 1 Test 3
Extract 1
Interviewer: So, how do you get the fish in the first place? Do you buy them or breed them here? Margot: No, I don't rely on anyone else, I'm thankfully self-sufficient in juveniles, the young ones, because I breed my own fish here as this enables me to give full details of the fishes' origins to customers. They expect that. Interviewer: Which part of the whole process do you enjoy most? Margot: Really, product development is my baby, and one has to put one's mind to that continuously. It's crucial. Interviewer: The marketing skill that you've developed here with your fish -- would that be transferable to beef, sheep ...? Margot: Well, I think it's a mindset, isn't it? To my mind, producing fish is fantastic, it's a great satisfaction to do it properly, but you know, what's the point of producing a wonderful fish if you haven't got a profitable sale at the end of the day? I think it comes down to providing a top quality service for your clients. And I must say, that's really what I enjoy. That's what keeps me here.
Extract 2
Interviewer: So, did you feel, when you started publishing, that women were treated differently from men, by critics, for example? Novelist: It never crossed my mind, so confident was I that I could do it. I think if you start counting the low numbers of reviews and contributors to literary journals, you do get a rather dismal answer. But that didn't worry me. And I think one of the reasons was that writing novels is, for a woman, the best choice to make. There was a long tradition behind you. Had I chosen other forms of literary endeavour like drama, which I did have a go at and failed, it would have been very different. There was a huge gap in England between Aphra Behn, the infamous woman playwright of the sixteenth century, and the next really successful woman dramatist, Caryl Churchill, in the 1960s! I was very conscious in drama of not exactly an establishment, but all sorts of things I couldn't cope with or got frustrated by. The novel was uniquely the sphere in which you felt you had equal billing.
Extract 3
Presenter: I haven't read the Inspector Rebus books myself. What's he like? Actor: Well, he's kind of concerned about his place within the world. He's quite ... Presenter: He's a thinker Actor: Yeah, in the way that we all are. We think, what on earth's going on? How can this happen? Am I part of the problem, or in some way part of the solution? What am I doing to change that? And in a very sort of introspective way I think he tries to resolve his own life issues by dealing with them externally. Presenter: He's a bit of an independent thinker, an eccentric, then? Actor: Well, yes. But that's probably because, as an individual, he's concerned with what is happening to him and to the world, and I think being a cop is often, in some sense, a kind of, a kind of pursuit, theoretical or psychological, trying to understand the world that he lives in, through trying to understand the events that happen around him. So he's anti the authorities in general, certainly, but I think he's probably just more aware of his personal responsibility for his own existence than -- than simply eccentric.
Extract 4
Speaker: What's strange about pop music is that it usually has a clear function. The function of the music of the 1940s and 50s was to soothe and to bring romance back into life. In the sixties the function was simply to help young people to make the transition from adolescence to adulthood. That was all it was about. It provided a self-contained therapy, which had never been necessary before. This rite of passage had always been eased by society, by the military system, by theacademic, by the post industrial revolution machinery. By the end of the fifties the young had shaken themselves free of all that, they had to look after themselves and the popular culture reflected that. We forget that before the 1960s young people generally aspired to be like their parents in styles of dress, work, even leisure. Then, suddenly the rebellious independent teenager was born. It was a totally new concept, which initially shook the older generation to the core as youth took over and revolutionised fashion, lifestyle, travel and, of course, morals.
Part 2
Presenter: Good morning. Today's lecture is about the humble cork. And here to tell us about it is cork farmer, Roger Reynard. Roger: Thank you. Well let's start by establishing what cork is exactly. We all know it as the light spongy substance used for covering food and drink in bottles and jars. Fewer people know that it comes from the bark of a pretty little oak tree which, surprisingly, requires sandy soil to thrive. I have been farming cork in the more barren areas of southern Spain and Portugal for 20 years and am proud of the fact that our area produces 85% of the world's supply and also contributes to the maintenance of an ancient agricultural eco-system. Let's have a look at a picture of a typical cork forest. As you can see, the trees have a distinct, crusty bark. Every nine years, during the months of May, June, July and August, the outer layer is stripped off. Cork can be collected from a tree as many as a dozen times in its productive life. In its processing, the cork is firstly seasoned in giant stacks and then, after that, it's boiled for an hour or more. It is then graded for its quality: a top quality cork will fetch ten times more than a cheaper grade which is harder and has more knobs on it, so it would be used not for jar and bottle stoppers but for shoe soles, roof tiling and, principally, noticeboards -- these don't have to have the flexibility and smoothness we expect in an expensive cork. So it's a resource which has many uses, though, of course, it is best known as a cover or stopper on food and drink containers. It's this use which gets the best returns for us farmers and enables the cork forests to be maintained. Quality therefore has to be every cork farmer's aim and this is sustained by correct levels of fertilisation, but most importantly, suitable pruning, because this allows the trees to spread and therefore flourish. As I indicated earlier, these forests have been growing for as long as 2,000 years and this ancient environment has developed a thriving eco-system with healthy bio-diversity. As you can see from the picture, cereals are sown between the rows of trees, helping to maintain the soils. Going back to the tree, of course, you do not only reap the cork bark; acorns from the tree are also valuable in these traditional agricultural systems, used for feed for animals such as sheep, whichgraze on the adjacent scrub-land. This system is the product of a web which has been slowly spun over many years. What might bring it to an end is something called TCA, or to give it its full name two-four-six-trichloranysol. Tiny traces of this occasionally cause foods and drink to taste musty. No one knows for sure how it gets into cork and this is why a solution to the problem is such a long time coming. I have a theory about it though: that it comes from the roots of different species of trees growing near the cork oaks. I'm pleased to say I have managed to persuade the local Cork Growers Association to cut the affected section of all trees grown in our area and send it for use in roof tiles, where the toxicity is not problematic. I suggest that these measures should be instituted in all cork growing areas very soon because, although some people are aware of the threat, others feel that, with TCA, plastic will replace cork entirely. But this decline of the cork industry in the south of Spain and Portugal will then lead to the loss of cork forests and turn the land into a desert. Not only will it wipe out an ancient crop but alsothe environment which supports a myriad of unique species, most notably the Spanish eagle. Cork is one of the few products which maintains the delicate ecological balance of this fragile environment and many people feel its survival is worth fighting for.
Part 3
Interviewer: I caught up with the all-woman team as they rested in their tent about 350 kilometres away from the South Pole. The expedition started in November. They walk about 40 kilometres a day pulling sledges laden with their supplies and equipment. I asked Caroline, the team leader, to describe what life was like. Caroline: Well, the sun is shining, there's a beautiful blue sky, but it's very cold. It's about minus 25 degrees Centigrade. We've got stacks of underwear and a large sort of poncho and dungarees which keep us very warm; hat, hood and then a face mask as well, which is vital to keep the wind out. There are five of us together and we go along in single file so there isn't much chance of a conversation. Interviewer: Isn't it a very lonely experience? Caroline: Well, it gives us time to daydream and it's also incredibly beautiful, so there's lots to look at and we do need to concentrate very hard, one foot in front of the other in order to keep momentum going. We've all got big heavy sledges behind us and so the sledges pull on you and they get caught in ridges and things, and so you've got to keep fighting against your sledge to make sure you keep moving along. Interviewer: Two years ago when you organised the first female expedition to the North Pole, obviously that was an arduous task that you had. How does it compare with this one? Caroline: It's obviously harder because we're going the whole distance. Last time it was arelay and I was on the last leg of the relay, for instance, and did 160 kilometres. This time it's over a thousand. Interviewer: Now during the last expedition, I think it was Pom Oliver who did fall through theice and dislocate her shoulder, have you had any hairy moments this time? Caroline: Well crevasses, we've come up against, you know, incredibly deep cracks in theice, we've had to negotiate our way around them. The first time we had that, it was a bit hairy, especially in a white-out of snow when you can't see anything; then there was an occasion a couple of days ago when we heard rumblings coming up from beneath the ice, and a lot of banging and crashing below which was, I found very unnerving. Interviewer: I know that you're working a lot because of travelling so far every day and obviously you're pitching your tent every day. How is the practical work of getting your tent up for the night done? Caroline: We all put up the tent together and we've got a routine where we all know which pole we put in. We put the inner tent in. Then Pom goes in because we've made a 3 millimetre floor on the bottom of the tent to keep it warm and obviously to keep our feet warm. So we all work together as a team to get it up but the cooker's on as quick as we can. And as soon as everyone's in hopefully by then the hot water's boiling and we can have hot soup and cheese -- without that I'd be dead on my feet. Interviewer: And do you always sleep well? Caroline: As soon as our heads touch the sleeping bags we're out cold. We always get ourfull eight hours' sleep and the next thing you know the alarm is going off. Interviewer: Now, Caroline, earlier this week, I'm sure you're aware of this, another team reached the South Pole before you. Has this been demoralising for you and your team? Caroline: No, not at all. It's just one of those things. I'm really thrilled that they've got there. We know them and their guide a bit, and we've spoken to them a few times on the journey, so we knew that they were nearly there. We've done the North Pole. We want to do the South Pole. We're all women, the first all women British expedition. The other expedition was not at all the same in its nature; it was a mixed group, commercially organised. So no hard feelings at all.
Part 4
Louise: Well, Stephen, the new film directed by John Bernard, Life in America, I think the thing that really amazes me about this film is that it got made by a major studio at all, because the film pokes fun at almost everything that corporate and suburban America hold dear -- you know, a nice life, material wealth, self-help philosophy. It really sends up almost everything you can think of and it does it very well! Stephen: I was less enraptured, Louise. To me it seemed too well-trodden a path to involve much irony and, let's face it, it was extraordinarily pedestrian. Visually as well, although there were some very lovely moments, it seemed rather trite, which I was amazed by. Louise: Hmm, do you mean like when we kept on seeing those young girls covered in rose petals from the garden ... pedestrian is going too far, though. The treatment seemed to be that of a young director enamoured like a kid with the process of film making, and I don't think that's a bad thing. I think he's got a great enthusiasm and passion and probably a great film career ahead of him. Stephen: Well, that goes without saying. But I think if you go to this film with huge expectations, you can only be disappointed. But at the same time there's so much that's humorous, there are a number of new and subtle twists on perennial themes. Louise: The core of the subject matter is certainly familiar, but this film does look at some aspects from a different angle. I mean I particularly liked the way the father / daughter relationship developed. And I really think it does have its sublime moments. Stephen: Do you? I tell you what I think is really interesting and subversive about this film. At one point it looks as if you're going to have a happy ending involving serious crime, and I couldn't believe that a mainstream American movie was going to suggest that crime was a good way to get out of your problems. Louise: It almost does as a matter of fact. And, come to think of it, we don't get the usual reassuring moral message reinforced in the final moments as we're left sort of suspended. Stephen: Hmm it's an interesting idea. Everybody comes out of the cinema trying to work out how it will all wind up. But what's so wonderful about this film is the camera work. Young directors often use the power and energy of the camera to get a kinetic sense of excitement. This film is amazingly processional and calm and you get these wonderful slow movements which open up your heart at times. Louise: Mmm, I see what you mean, though a little more tension might have enhanced the balance of the whole, although it would have to be judiciously added.
Extract 2
cross someone's mind (検索結果：undefined, 検索クエリ："cross someone's mind")〔考え・過去の記憶などが〕（人）の頭［脳裏］をよぎる、（人）の心に浮かぶintrospective (検索結果：undefined, 検索クエリ："introspective")【形】内省的な、内観のExtract 4self-contained (検索結果：undefined, 検索クエリ："self-contained")【形】自己充足［完結］型の〔生活などが〕自給自足の〔人が〕内にこもる、打ち解けない〔住居が〕独立している◆それぞれが玄関、台所、風呂などを備えていること。shake oneself (検索結果：undefined, 検索クエリ："shake oneself")体を震わせる、〔犬などが〕水を振るい落とすfree of all calculation《行動などに》全く打算がないPart 2humble粗末な、質素なjar（広口）瓶、ジャー、かめ広口瓶1杯分〈英〉ビール1杯stack〔干し草・書類などの〕山、積み重ね、堆積書棚の列、図書館の本の保管場所◆本が棚に保管されている場所で通常一般公開されていない《コ》スタック、一時的記憶装置煙突、排気筒seasoned (検索結果：undefined, 検索クエリ："seasoned")【形】〔人が〕年季が入った、熟練した〔食べ物が〕味付けした、風味を加えた〔材木などを使う前に〕乾燥させたknob (検索結果：undefined, 検索クエリ："knob")ノブ、つまみ、取っ手、こぶ、握り玉《野球》（バットの）グリップエンド〈米〉小高くなった丸い丘tiling (検索結果：undefined, 検索クエリ："tiling")【名】瓦ぶき屋根、〔壁などの〕タイル面タイル張り、瓦ぶき〔集合的に〕タイル、瓦notice board (検索結果：undefined, 検索クエリ："notice board")〈英〉掲示板pruning (検索結果：undefined, 検索クエリ："pruning")【名】〔樹木の〕刈り込み、剪定◆【動】prune〔剪定した〕小枝、葉acorn (検索結果：undefined, 検索クエリ："acorn")【名】ドングリ〈性俗〉ペニスレベル12、発音éikɔːrn、カナエイコーン、エイコンfeed〔動物の〕餌、〔幼児の〕食事〔動物に〕餌を与えること、〔幼児に〕食べ物を与えること〈話・やや古〉たっぷりの食事scrub〔貧弱な〕低木、雑木低木地帯、雑木林〔家畜の〕雑種〈俗・軽蔑的〉つまらない［ちっぽけな］やつ文例《スポーツ》二流選手〈豪話〉田舎、へき地spun (検索結果：undefined, 検索クエリ："spun")【動】spinの過去・過去分詞形【形】紡いだmusty (検索結果：undefined, 検索クエリ："musty")【形】かび臭いlong time coming (検索結果：undefined, 検索クエリ："long time coming")《be a ～》まだまだ先のことである、待ち遠しい、長らく待たれている◆coming for a long timeと似ているが、大抵は「良いことがやっと実現した」という文脈で使われる。「悪いことが起きた」という文脈で使われることはまれ。instituted promptly《be ～》〔治療などが〕速やかに行われる単語帳promptly instituted迅速に開始されたPart 3pull on (検索結果：undefined, 検索クエリ："pull on")【句他動】〔衣類を急いで〕着る、身に着ける〔ロープなどを〕引き［たぐり］寄せるridge (検索結果：undefined, 検索クエリ："ridge")〔長く伸びた〕頭部、頂上部文例尾根、山の背◆【同】ridge line《建築》〔屋根の〕棟文例《地学》海嶺◆プレートの裂け目に沿って海底に作られる山脈状の構造。《気象》〔長く伸びた〕高気圧帯、気圧の尾根《解剖》〔細長い骨などの〕突起部《動物》〔クジラの〕背骨〔畑の〕畝、〔織物の〕畝last leg of最後の行程［区間］の単語帳last leg of a long journey長旅の最終区間pitch a tent (検索結果：undefined, 検索クエリ："pitch a tent")テントを張る、住みつく◆【同】set up a tent ; put up a tent〈俗〉〔男性などが〕股間にテントを張る、勃起するout cold (検索結果：undefined, 検索クエリ："out cold")気を失ってdemoralizing (検索結果：undefined, 検索クエリ："demoralizing")【形】自信［やる気］をなくさせる（ような）、がっかりするようなPart 4poke fun at (検索結果：undefined, 検索クエリ："poke fun at")～をからかうsuburban (検索結果：undefined, 検索クエリ："suburban")【名】郊外居住者◆【同】suburbanite【形】郊外の、郊外に住む〈軽蔑的〉〔郊外居住者のように〕偏狭なhold ~ dear to one's heart (検索結果：undefined, 検索クエリ："hold ~ dear to one's heart")～を心に大切にしまっておく単語帳hold someone dear（人）をいとしいと思う、かわいいと思うenrapture (検索結果：undefined, 検索クエリ："enrapture")【他動】うっとりさせる、有頂天にする、恍惚とさせるtrodden (検索結果：undefined, 検索クエリ："trodden")【動】treadの過去分詞well-trodden【形】よく踏まれた、人がよく通るtrite (検索結果：undefined, 検索クエリ："trite")【形】古くさい、使い古された、陳腐な、平凡なpetal (検索結果：undefined, 検索クエリ："petal")【名】《植物》花弁、花びらenamor (検索結果：undefined, 検索クエリ："enamor")【他動】夢中にさせる、魅惑する、恋のとりこにする◆動詞で、通例、be enamored with ~（～のとりこになる、～に夢中になる）と受動態で使われる。～の部分には、魅力的な場所、美しい風景、芸術品など、人間以外の物が入ってもいい。まれに、withの代わりにofが使われることもある。イギリス人や一部のカナダ人はenamourとつづることもある。多少古風で硬い響きがある。perennial【名】毎年［いつも］繰り返されるもの［こと］《植物》多年生植物【形】長続きする、永続する何度も繰り返される、頻発する《植物》多年生のsublime気品のある、気品にあふれて、崇高な、気高い、壮大な、荘厳な、雄大な、圧倒的な、卓越した《化学》昇華するsubversive〔国家や組織の〕破壊分子、転覆活動家【形】〔政府などの支配体制を〕転覆させる、破壊するkinetic【形】運動（上）の、動的なjudiciously【副】思慮深く、賢明に