CPE 2 Test 1
Extract 1
    Presenter: Do you have to do all these interviews to publicise the film, Tom? Is it in your contract?    Actor: No, but I feel it's part of my responsibility to advertise it. Having done a few low-budget films that come out for a week and then disappear, it's really disappointing. So you go on and do the local radio so that people come and see it, especially if it's something that you're proud of. I think you often find that if an actor isn't prepared to do an interview, it's more often than not because they're not happy with themselves or the product.    Presenter: Sometimes with the big stars there's this long list of things we're not allowed to ask them about!    Actor: That's not fair, is it? If they say they're going to do the interview, then they should. If you were to ask me an incredibly awkward question, I could just say, 'Well, I don't want to talk about that'. But as I say, I'm here to plug the film! I mean, I'm not here to make myself a big celebrity or anything. That's what ...
Extract 2 
How would you describe your personality? Anxious? Outgoing? The list could be quite long. In fact, psychologists have found approaching 18,000 words to describe personality. If so much of our language is given over to this activity, then the description of personality must be an important part of everyday life. But perhaps we are influenced in the way we judge another's character by our general liking or disliking for them. A beloved uncle is eccentric, whereas a more unpopular one is mad. So clearly there are advantages to the scientific study of personality.    As one interesting example of what's been discovered, take extroversion and introversion. Extroversion means being very outward-looking, sociable, noisy, and introversion is the opposite. Originally, it was thought that people fell into one or other of these two groups. But now all studies of personality show that they are not separate categories, but represent the two extremes of a continuum, and that in fact most people are somewhere in the middle. 
Extract 3 
When I think of my childhood home now, it seems that its beauty is protected by its remoteness and that very remoteness made me want not so much to leave, but escape. The corner of Scotland I come from is a peninsula cut off from the rest of Scotland by the sea and the stark emptiness of the moors.    Last summer I went home and tried insanely to buy a house. I'd been nurturing this idea for some time. The moment I set eyes on the house, I knew it was for me, as though the hand of destiny had guided me down the track.    What was I thinking? -- I had no livelihood there. I was a foreign correspondent whose only specialism was international affairs. My 'home' and everything I knew best was in London. The house was built of granite and seemed to grow organically from the rock, as though it was part of the natural topography. It was timeless, unchanging, predictable and certain, just what I was seeking. I made an offer on it, which wasn't accepted. I was saved from my own sentimental folly. 
Extract 4
    Interviewer: So, why did you decide to write this book on the USA now?    Author: Well a few years ago, when I was there, I was asked to write a book about it; and Imust have spent at least four or five minutes contemplating this exercise. The States is more like a world than a country; you could as well write a book about people, or about life. There's so much material -- it's all embracing. Then, years later, as I was emptying out my desk drawers to gather together a selection of past pieces, I'd written, I found that I'd already written a book about the US, but it was unpremeditated, accidental, and in instalments. Of the hundreds of thousands of words I seem to have written for newspapers and magazines in the last fifteen years, about half of them seem to be about the US. But I hope these disparate pieces add up to something. I know you can approach the subject only if you come at it from at least a dozen different directions. 
Part 2 
If you've ever been to watch any of Britain's professional ice-hockey teams, you've no doubt thrilled at the speed and agility of great athletes skating on indoor ice. But you've probably taken for granted the surface that makes it all possible. Nevertheless, the temperature and other characteristics of the surface can make the difference between a championship-winning performance and an embarrassing spill. Indoor ice rinks are used for all sorts of sports and recreational activities, in all of which the quality of the ice makes a big difference.    Ice-skating began as a means of transporting goods on the frozen rivers and canals throughout northern Europe long before anyone ever saw it as the recreational activity which it later became. Considering that skating for pleasure was done outdoors in the freezing winter weather, it's fair to say that indoor ice rinks were created because in those conditions they provided welcome shelter for those who enjoyed skating. It was only when ice became available year-round that sports such as hockey and skating had a chance to flourish.    In 1876 the first indoor rink opened in London, although the idea was not replicated up and down the country as had been predicted, as the process entailed making the ice by pumping a mixture of glycerine and water through copper pipes, a material which was expensive at that time. The first Olympic figure skating competition was held on a refrigerated indoor rink as part of the summer Games in London in 1908, though it was not until 1976 that ice-dancing, that is, interpreting music on skates, became a Winter Olympics sport. In the early twentieth century, electric refrigeration and indoor rinks made ice skating popular everywhere.    The technology that makes indoor rinks possible is also found in refrigerators and air conditioning in our homes. In an indoor ice rink, the refrigerant doesn't cool the ice directly, as home systems do. Instead, it cools salt water that is pumped through an intricate system of pipes underneath the ice.    Laying down a good skating surface isn't as simple as making a tray of ice cubes. Freezing a rink correctly takes no less than a dozen stages, with some stages laying ice that is wafer thin And what's best for one sport may be completely unacceptable for another! It takes up to seventy thousand litres of water to make a rink. The first two layers of ice, which are less than one millimetre thick, are applied via a spray to create a fine mist of water. The first layer freezes almost immediately after it's sprayed on, and then the second is applied. The second frozen layer is painted white, allowing for a strong contrast, for example, in hockey, between the black disc known as the puck and the ice. The third layer acts as a sealer for the paint. This layer then requires painting to create decorative backgrounds and, in the case of hockey, provide clear markings and display sponsors' logos. Once all the markings have dried, the final layer is gradually applied. This uses forty thousand litres of water which must be put on slowly with a hose at a rate of two to three thousand litres per hour. That means at least 15, at most 20 hours for this final layer. The less water is put on the floor at one time, the better the ice will be.    Brand new ice is called green ice because it hasn't been broken in yet. When creating a new rink, indoor conditions are very important, with the skating surface kept at -4.5 to -3 Celsius, the building temperature at about 17 Celsius, and the indoor humidity at about 30%. But if it's warm outdoors, the temperature has to be re-adjusted accordingly. Even one degree can make a big difference in the quality of the ice. In addition, a fog over the ice can be created by high humidity indoors which, of course, would hold a hockey game up.    So, on a hot summer's day when you... 
Part 3 
    Interviewer: My guest today started out in the world of serious music and showed great promise as an avant garde composer, but he made the surprising leap into the world of the musical theatre. Welcome, Stephen Perrins.    Stephen Perrins: Thank you.    Interviewer: Stephen, what made you change from serious music to musicals?    Stephen Perrins: Well, my parents were both professors of music, so I dutifully went to music college, studied composition, and wrote rather inaccessible music. But I suppose really my heart is always been in the theatre, and I soon found myself writing songs in secret, drawing my inspiration from musicals.    Interviewer: Did you try to get them published?     Stephen Perrins: No, for a long time I kept them to myself, even though I thought they were commercial. I suppose I had something of an inferiority complex about them, because they were a bit slushy, and I was sure my family and college would think they were below me.    Interviewer: So what happened?    Stephen Perrins: Well, we had a very light-hearted end-of-year show at college, and I decided, more or less on impulse, to sing one of my songs, because it happened to fit rather neatly into a sketch that Jenny Fisher and I wrote, which was a spoof opera. And it kind of stole the show. A year later a schoolteacher friend, who'd been in the cast, got in touch with me -- he wanted a short musical for a concert at his school. In fact, just as an experiment, Jenny and I had already worked up the opera sketch into something we renamed Goldringer, without any real idea of what to do with it next, so it just needed a bit of tinkering.    Interviewer: That was lucky.    Stephen Perrins: The real break was that the music critic of a national paper had a child at theschool, and the following Sunday we read this rave review saying that Jenny and I were the future of the musical, and of course we were on cloud nine, and we immediately had music publishers lining up.    Interviewer: How did your family react?    Stephen Perrins: Oh, they were aghast at first, but they came round, and they've been right behind us ever since.    Interviewer: You've always said you won't do the lyrics of your songs. I presume you've tried.    Stephen Perrins: I did with my early songs. In fact I could knock them off with a rather suspect facility. But I realised that if I wrote both the words and the music I'd be working in a kind of vacuum, and what I enjoy most is the collaboration and sparking off each other's ideas.    Interviewer: There was a story in the papers recently that you wanted to direct your musicals, too. Has anything come of that?    Stephen Perrins: No, that just wasn't true. I never claim to be a director, I always think when you've actually appointed the director for a show, you shouldn't undermine them. For example, in one of my shows, which Helen Downes directed, I wasn't that happy with the design, but she was passionate to have it, and it was right not to interfere.    Interviewer: Now in the last few years you've had great international success, but for some ofthe more upmarket newspapers, it seems, you simply can't put a foot right.     Stephen Perrins: No, and I don't really know quite why. Maybe I'm being big-headed, but I don'tthink it's because of the music. I think it's more that I'm not really that bothered about my image, so I don't do masses of PR. Which means I leave myself open to that carping sort of criticism.    Interviewer: It seems to me it's a kind of distaste for the popularity of your music.    Stephen Perrins: It's like the time when serious art critics looked down on the late 19th-centuryartists, and their paintings were considered worthless. The fact is that if you went into an art gallery, guess where the public were.    Interviewer: Just as the public are always to be found at your musicals. Stephen Perrins, thank you.    Stephen Perrins: Thank you. 
Part 4 
    Presenter: Today on A Good Readwe are talking about George Swallow's novel Windworld,published last year and it has just won the Bateman Prize. We have with us Arthur Lachman, writer, and Carla Fletcher, who lectures in Engineering at King's College. Arthur, let's start with you...    Arthur: Well, I read the novel when it first came out and I was very happy to be asked to re-read it for this programme and I remembered the powerful characterisation -- the certainty of touch -- particularly of the older protagonist, Joe Bean, and his sisters, in the throes of change from one era to another.        Carla: Rather miserable characters but assured portraits.    Arthur: Mmmm... What I valued as well was the atmosphere Swallow creates, the sense that everything he created felt right within the time and place. Did you find that?    Carla: Very interesting question. As a scientist, I always come to books with a critical eye for technical details. As I say, Joe Bean and his family as people rang incredibly true for me. I found myself doubting whether certain incidents, ummm... certain assumptions squared with the period in which the book is set.    Arthur: I have to say that I found the sheer amount of technical detail about inventions, which Swallow included as a labour of love, I have no doubt, gave the lay person a hard time, making it difficult to follow the plot.    Carla: Umm. I actually found myself comparing all these descriptions of the windmills and pumps with... with his earlier works Learner Games and Thorn... which both dealt with the same period but neither of which included this kind of complexity. Much more populist... deliberately more accessible to a wide readership.    Arthur: There is much to link the writing of all three books: you can recognise Swallow's individual voice in all of them -- he's speaking to one specific audience in my view.    Presenter: Do you feel Windworld is a great novel?    Arthur: Oh very much so. The current of the author's own life in the East of England pulses through the whole work so compellingly. So, yes, I would say that it lifts this book... ummm... into the category of great writing.     Carla: I wouldn't be quite that positive, though I do agree that the character of Joe Bean draws its strength from the writer's close acquaintance with Joe's environment: to my mind he's almost certainly Swallow putting himself in another age -- positioning himself, with his upbringing and his character and his beliefs, in the 18th century.    Arthur: I was intrigued by some of these set episodes, like the incident with the birds. It was genuinely fascinating, I thought. I understand the film rights have been bought. Do you think it'll work as well as the book does?    Carla: No question -- if they keep away from too much social realism and misery. If they don't make Joe's story the central one, it'll die a death.    Arthur: Well -- just about all the stories are likely to come through well, in my opinion. We'll have to see how it turns out! 

Extract 1
plug～を（しつこく）聞かせる、（しつこく）宣伝する、しつこく言う、しつこく広告する、売り込むExtract 2continuum (検索結果：undefined, 検索クエリ："continuum")【名】連続したつながり、連続体◆その中のどの点を取ってもその近くの領域と明確に区別できないような広がり。《数学》連続体〔痛みなどの感覚の〕連続Extract 3moor (検索結果：undefined, 検索クエリ："moor")【1名】荒れ地、原野湿原地、沼地emptiness (検索結果：undefined, 検索クエリ："emptiness")【名】空虚、むなしさ、無意味空腹stark (検索結果：undefined, 検索クエリ："stark")【形】〔場所などが〕荒涼とした全くの〈古〉〔死体が〕硬直したdown the track (検索結果：undefined, 検索クエリ："down the track")将来granite (検索結果：undefined, 検索クエリ："granite")【名】《鉱物》花こう岩、グラナイト〔意思などの〕堅いこと、堅固さレベル10、発音grǽnit、カナグラニットtopography (検索結果：undefined, 検索クエリ："topography")【名】地形学［図］、地質（学）、地勢図、地誌◆地形・地質や人手での改質地域（田畑・都市）の詳細な地図timeless (検索結果：undefined, 検索クエリ："timeless")【形】永久の、永遠の〔芸術作品などの素晴らしさが〕時代を超えた［超越した］、不朽のfolly (検索結果：undefined, 検索クエリ："folly")【名】愚かなこと、愚劣、愚かさ、愚行〔景観のアクセントとして作られる〕新奇［華美］な建築物、フォリー◆公園の塔・遊園地の城など純粋に装飾目的の建物。◆【語源】「愚かさ」の意味のfollyと同じくフランス語folieより。実用性のない建築に金をかけるのは「愚か」とも言える。ただし通例、否定的意味合いはなく、一説に本来のニュアンスも「道楽・歓喜」だった。Extract 4unpremeditated (検索結果：undefined, 検索クエリ："unpremeditated")【形】計画されたものではない、自然発生的な、故意でないin installments (検索結果：undefined, 検索クエリ："in installments")数回に分けて、分割払いで、月賦でPart 2replicate ～を複製［再現］する《植物》〔遺伝子や組織を〕複製するglycerin (検索結果：undefined, 検索クエリ："glycerin")【名】《化学》グリセリンrefrigerant (検索結果：undefined, 検索クエリ："refrigerant")【名】冷却剤、冷媒、保冷剤【形】冷却する、冷凍する、解熱のtray (検索結果：undefined, 検索クエリ："tray")【名】トレイ、受け皿、盆、料理を盛った皿、バット〈豪俗〉3ペンス硬貨ice cube (検索結果：undefined, 検索クエリ："ice cube")〔飲み物を冷やすための〕アイスキューブ、角氷ice cube tray〔冷蔵庫などで一定の形の氷を作るための〕製氷皿hold up (検索結果：undefined, 検索クエリ："hold up")【句動】持続する、持ちこたえる、維持する、（天気が）続く、耐える、支える、支持する、しっかり立っている、歩調を緩めないPart 3 avant-garde (検索結果：undefined, 検索クエリ："avant-garde")【名】〈フランス語〉アバンギャルド、前衛芸術家集団◆前衛的、革新的な芸術活動を行う集団。◆【語源】20世紀初頭に"before the guard"の意味のフランス語から。◆【参考】vanguardslushy (検索結果：undefined, 検索クエリ："slushy")【名】スラッシー、スラッシュ◆クリームソーダやグレープなどの味の付いたシロップと、水・かき氷を混ぜた飲み物◆【類】slush ; slushie【形】雪解けの、ぬかるみの〈話〉くだらないspoof (検索結果：undefined, 検索クエリ："spoof")【自動】いたずらにだます、からかう、ちゃかす〔インターネット上で他人に〕なりすます【他動】いたずらにだます、からかう、ちゃかすもじる、滑稽にまねる文例【名】つまらないこと、ばかげた行為いたずら、悪ふざけもじり、パロディーinclude someone in the cast (検索結果：undefined, 検索クエリ："include someone in the cast")配役に（人）を加えるby tinkering with the education system (検索結果：undefined, 検索クエリ："by tinkering with the education system")教育制度をいじくりまわすことによってrave review from a customer (検索結果：undefined, 検索クエリ："rave review from a customer")《a ～》顧客からの絶賛on cloud nine至福の状態で◆【語源】《1》ダンテの『神聖喜劇』（The Divine Comedy）の中ではthe ninth heavenが神に一番近く、いちばん幸福であるとされた。《2》米国の気象庁で用いられた雲の種類の9区分から。《3》cloud nineとは積乱雲のことで、非常に高くまで上昇することから。aghast (検索結果：undefined, 検索クエリ："aghast")【形】びっくりして、あきれ返って、がくぜんとしてfacility便利さ、たやすさ、容易（さ）腕前、器用さcome of (検索結果：undefined, 検索クエリ："come of")【句動】～から生じる、～の結果として生じる、～の結果である文例文例～から起こる、～に起因する～の出である、～に生まれる、～の子孫であるcome of a good family毛並みが良い、良家の出であるupmarket (検索結果：undefined, 検索クエリ："upmarket")【形】〈主に英〉高級市場［高所得層］向けの◆【対】downmarket◆【同】〈米〉upscale【副】〈主に英〉高級市場［高所得層］向けにput a foot wrong〈主に英話〉ミスを犯すcarping (検索結果：undefined, 検索クエリ："carping")【名・形】あら捜し（の）distaste (検索結果：undefined, 検索クエリ："distaste")【名】嫌悪、嫌気、嫌うことPart 4protagonist【名】〔物語・映画・劇などの〕主人公〔改革運動などの〕主唱者《能楽》シテthroes of death断末魔の苦しみring true真実のように思える◆【語源】かつて、弾いた音で、硬貨が本物か偽造か見分けたことから。square with（人）を公正に扱うlabor of love（報酬目当てでなく）好き［好意］でする仕事、奉仕活動pulse through脈打って～を流れる、～の間を伝わるdie the death〔役者が観客に〕受けないcome through surgery so well無事に手術を終える、手術が非常にうまくいくlift someone into the helicopter（人）をヘリコプターに乗せるjust about大体、ほとんど、ほぼ、おおむねぎりぎり大丈夫