CPE 3 Test 2
Extract 1
The latest wave of worry started in the 1960s and there's been a proliferation of societies for the preservation of pure English ever since. And, you know, when all else fails, when they've got nowhere with teachers and public figures and so on, these people would write to us. And I drew the short straw of having to deal with all those letters complaining about the language. These ranged from those drawing our attention to our own piddling misprints, to those vilifying the general use of vogue words such as 'ongoing' or 'scenario', or whatever, in the media, and those cataloguing the alleged mispronunciation of newsreaders, this latter being a real obsession with some of the most persistent correspondents. Extract 2
Interviewer: So, you're finished with competitive skating, and you're going to carry on choreographing ice shows, what else? Skater: Well, I'm only forty-two, full of energy. Interviewer: And I hear you've taken to the boards? Skater: I love the stage; there's something about the immediacy of being on stage with an audience that's ten metres away from you as opposed to the distance in an ice arena. And I've been fortunate enough not only to have skated on a theatrical stage and have the audience there but also to have danced in some of the great shows, Cats, Rocky Horror. Interviewer: But when you dance, don't you miss the skates terribly? Skater: I don't miss the skates, but in rehearsals, it did take some getting used to. In ice skating, you take a few steps and you've travelled 20 metres at high speed. I was tenpin bowling with the rest of the cast; I was making my steps and banging into other people, then I realised you can do at this great choreography and move nowhere. Extract 3
I thought the film was rather limp and morose. A rather low-powered film and unfortunately not a very good adaptation of the novel. I think part of the problem is that this particular novelist is not a very filmic writer on many occasions. Most of the pleasures one gets from reading him are pleasures of language... he's very playful, he's very witty with language, but the message goes straight from the eye to the brain. You don't need pretty pictures to intervene. So wisely, on the one hand, the film-makers have skipped a lot of the verbal playfulness, but what they're left with is a rather pedestrian story firmly set in the seventies examining the issue of conformity and it all seems to have lost its relevance. The other thing which is lost in the translation is that the heroes, Chris and Tony, are very clever boys; they're very bright and witty, but in the film Chris is a rather pedestrian character. Tony, who in the book is a rather exotic character, whose sense of otherness Chris wants to emulate, just comes across as a bit of a thug and totally unappealing. Extract 4
Interviewer: Dr Brown, we do like to have routines, don't we? Dr Brown: Well, I think there are certain people who prefer to have routines and I'd classify them in two groups: those that are a bit more inflexible in their own normal personality, and they perceive change as an annoyance. And the other big group would be those who have a diurnal variation in their mood and their intellectual processes, in the sense that they are slower starters in the morning, they prefer a slower routine, and change impinges on them; it kind of throws them off balance. And for them, an early morning routine is economical of effort in all sorts of ways. Interviewer: Many things become central to our lives, don't they? The morning newspaper. Dr Brown: Exactly. And many people find changes difficult. So it's really important how change is managed. You know, some people in industry just spring things on their staff. They bring in a lot of new changes without paving the way, and the workers feel demoralised because they're not taken on board first, so they've got no incentive to cooperate.
Part 2
Well, here we are in front of an enormous aquarium full of sponges. As you can see, sponges are incredibly beautiful and incredibly diverse. When people think of a sponge there's often not much colour to them, but those sponges are actually just the skeleton of the living sponge. They come in all different colours from lavender to brilliant pinks and blues and yellows, which is not at all what a lot of people expect. They're from just millimetres in size to -- to three metres in width. They come in anything from a thin encrusting on rocks to something that looks like a huge barrel. I study sponges that are mainly marine sponges, but sponges are found in fresh water too, as well as in marine waters, cold, temperate, polar, arctic waters. They're everywhere, in waters all over the world. The most interesting thing about sponges, I think, is that they have incredible regenerative properties. For example, if you take a small piece of sponge from the individual, the individual closes up that gap and regenerates the tissue. So this is the principle behind sponge farming. They will take small pieces or cut one individual into several different pieces, then tie those pieces onto a string, leave them out in the ocean and the sponge will regenerate a whole new individual. Now we're down in the basement of the museum and this room with all these boxes, this is where we hold all our dry specimens of sponges and here at the Natural History Museum we have about a quarter of a million specimens. So if we look in this box here... yes, this box represents one class of sponges. Sponges are composed of three different classes. And these are known as 'glass' sponges. As you can see, they're very fine and the skeleton's actually made of silicone dioxide or glass. They're a kind of horn shape and this sponge in particular is significant in Japanese weddings. This species always harbours small shrimps, and they're usually found in pairs. The small shrimps get trapped inside the sponge. They can actually live and grow in here, and this is given as a symbol in the marriage ceremony of love and commitment. These two shrimps are bound in this sponge forever. Ah! Here's something excellent. Yes, look in this box here. This is a sponge, a demonstration sponge, you see it's on a wooden pedestal. Well, probably because it's been on show in the galleries. While some of the sponge specimens are soft and pliable, this sponge, however, is as hard as rock. Now, going back to what I said earlier, I'm really interested in how we can use sponges to help us understand human diseases. For example, a classic experiment was performed where they took a sponge and pushed it through a cheesecloth so that all the sponge cells were separated and put in an aquarium And after a period of time, these separate sponge cells actually reconstituted and formed the same organism again. So that cell-to-cell interaction, as we call it, is incredibly important and the researchers are looking at that and ways they can apply that to human needs. If they can understand this process, then possibly they can understand why in some cases somebody may develop a certain type of disease when their cell growth goes wrong. The most significant research that is done on sponges from the point of view of human needs is in the manufacture of new kinds of drugs. You see, sponges are sessile organisms which means they can't actually move...
Part 3
Presenter: Well, in front of me today I have a tableload of Wayfarer Guides and Blueprint Guides and Meander Guides to at least two dozen different destinations. And with me to assess their qualities I have John Lock, the legendary travel editor and publisher. John, why is there such a glut of travel guides. John: Well, I think partly it should be said that it's a commercial decision by publishers because just so many more people are travelling and so many more people are adventurous, and even... you notice... with... um... much older people who might have gone and stayed at the seaside in Britain and now they're boasting about having been in exotic, distant parts of the world. And so huge tracts of the world just weren't covered by guidebooks, and now they are. Presenter: So what are the things you look for in a modern guide? John: Rule number one, I think, with any guidebook is look and see if it's written by a human being, and these series, you notice, there's no name attached to them, and so there's nobody's pride at stake to make sure that the information is accurate, that the index works and everything else. Presenter: There are a number of guides out now which are absolutely stuffed with photographs and pictures and so on, there's the Wayfarer Guides, their guide to Spain is about, sort of, what, 600 pages long, it costs 20 quid and every page is crammed with photographs and maps and what have you in full colour. John: ...Why have all these huge pictures all the way through. It's a cynical publishing ploy because they think people will buy things with colour pictures, which isn't necessarily the case because one problem is, anything with colour pictures is going to weigh a lot more. Presenter: Sure. John: ...because you have to have suitable paper. Two, it takes up room that could be used for valuable information... and I'm sure that one's missing a lot of valuable information. What I would do in a bookshop if I had this in my hand, I would go to another book about Spain and I would look up some specific, comparatively minor topic and then see how these books dealt with it. One example is, in Italy, in Florence, one of the most enjoyable sights, I think, is the Monastery of San Marco. Presenter: That's a lovely place.. John: ...exactly, and I once tested the various guidebooks on this and it was quite extraordinary the difference in both content and tone, and tone is of course important. Sometimes it was a much smaller book that really told you exactly what you wanted to know about it. Presenter: The Blueprint Guides, I notice, pride themselves on gradually evolving and having more bits of information every year from more experts. The only trouble with them is, as with many other guidebooks, they try to establish a distinction between kind of the ordinary narrative of where to stay and what this region is like and sort of kind of gobbets of history or topography, which they represent in tiny little teeny weeny four-point type. And opening the Blueprint Guide to Southern Italy almost anywhere, one reads this sort of thing: 'The second south chapel contains a good 18th century Baroque altar and a 16th century tomb...' and blah blah blah it goes on and on like that. The curious thing is, it gives the impression of being kind of murmured because it's in this tiny little type as if I some ancient academic person is muttering away to himself. Is there a sense in which one had to be kind of sparing with information rather than throwing everything at the reader? John: I think I would possibly disagree with you a bit, in that I think there are two types of thing, one is.. I would agree in that one does want more discursive chat, interesting stuff how people are living in a place, the background of their lives, what they think of the government. However, sometimes when you come to a really stunning sight or building or whatever, you slow down to an entirely different pace and you do want some very hard, reliable detail. Presenter: John Lock, a guidebook connoisseur. Now when you're travelling, you...
Part 4
Tim: Well, that was certainly a different experience, all of us sitting in the dark in a concert hall listening to music. What did you make of it, Vera? Vera: What I found really interesting was I was totally focused on the music for once and not busy glancing around at who was sitting next to me or admiring the hairstyle of the person in front. And I kind of heard the music like I'd never heard it before; it was a different experience. Tim: Well, I started wondering about how I was going to listen to the music when I got home and was trying to make myself more aware of the other senses I was going to use to try and enjoy it. Vera: Having experienced it once, it'll be easier to tune into that feeling again: I was thinking this must be great for people who have problems staying awake at concerts. It would be perfect for them because you could just do anything. Nobody would know if you were snoozing or not. Tim: Funny you should think about sleep because the darkness made it feel like it was much more of your own experience. Like being in your own bed, but sitting up. But the bizarreness of the situation was a bit distracting. I mean, you don't normally share such utter complete darkness with... total strangers. Vera: But didn't you get used to the idea and let yourself be taken over by the situation? Tim: Yes, but then I started thinking about what it must be like for the musicians. They can probably let go a bit more because they know people aren't peering at them. Vera: Not only that, it must be marvellous for the performers in a different way too because surely the real essence of music is to hear what is being played. So vision is only an aid when you hear music. The hearing is the most important thing. So maybe this is a good experiment. Tim: Do you think the same experiment could be applied to a play? The actors could perhaps concentrate more in the darkness; lose themselves in the part. But I think it would very much depend on which play it was and to a great extent, vision is an integral part of plays, isn't it? Vera: Yes, there was a performance of certain speeches from Shakespeare in the dark earlier this year. It was part of this series of events entitled ‘Entertainment in the Dark'. But I wonder what would happen if the actor dried up. No one would know where they were. It's not the same either, going to a play and listening to music. I'm not convinced it would be a winner. Tim: But wherever you are, it's true that when one of your senses is shut down, as it were, you're given the opportunity to explore the use of your other senses. Hearing as a sense is quite subdued. In our world of screens and visual images I think, these days, vision is probably the dominant sense. Vera: But I do like this idea of playing with the senses of sight and sound. The next event in this series is going to be ‘Dinners in the Dark'. Guests eat a whole meal which is served to them in the dark. Tim: That's interesting because presumably people will go less for the food than for the fun of the event and you'd be more physically involved. I mean, you'd have to put something in your mouth without even knowing what it was going to be. A bit too gimmicky, perhaps? Vera: I'm sure you'd taste food like never before if this experience is anything to go by. Tim: Shall we go to that then? Vera: I'd love to.
Extract 1
when all else fails他が全部駄目ならdraw the short straw (検索結果：undefined, 検索クエリ："draw the short straw")貧乏くじを引くpiddling (検索結果：undefined, 検索クエリ："piddling")【形】くだらない、つまらない、無駄な、無意味な、取るに足りない、少ない、少量のvilify (検索結果：undefined, 検索クエリ："vilify")【他動】けなす、そしる、中傷する、悪口を言う、非難するvogue (検索結果：undefined, 検索クエリ："vogue")【名】流行、人気文例はやり、世間の受け【形】流行の◆限定的形容詞レベル9、発音vóug、カナボーグ、ボウグExtract 2 choreograph (検索結果：undefined, 検索クエリ："choreograph")【自動】振り付けを担当する文例【他動】振り付けをする、演出するwhat else (検索結果：undefined, 検索クエリ："what else")他に何かimmediacy (検索結果：undefined, 検索クエリ："immediacy")【名】〔時間・空間的〕即時性、近接性文例〔介在物のない〕直接性、臨場性文例即座［直接・緊急］に必要なものas opposed to (検索結果：undefined, 検索クエリ："as opposed to")～とは対照的に、～に対立するものとして、～の対語としてtenpin (検索結果：undefined, 検索クエリ："tenpin")【名】《tenpins》ボウリング、十柱戯◆【同】bowling ; tenpin bowling◆単数扱い〔ボウリングの〕ピンbang into (検索結果：undefined, 検索クエリ："bang into")～にドシンとぶつかる、（人）に偶然出会う、（人）にばったり出会うExtract 3limpグニャッとした、だらりとした、ぐったりした、しなびた、柔弱な、柔軟な力のない、弱々しい、軟弱なmorose (検索結果：undefined, 検索クエリ："morose")不機嫌な、むっつりした、気難しいfilmic (検索結果：undefined, 検索クエリ："filmic")【形】映画の（ような）◆【語源】film + -ic（～の）playful (検索結果：undefined, 検索クエリ："playful")【形】〔人や動物が〕よくはしゃぐ、ふざけたがる〔言葉や行動が〕からかうような、ふざけた、冗談のwitty (検索結果：undefined, 検索クエリ："witty")【形】〔人が〕機知のある、才気煥発な〔言葉などが〕機知に富んだ、軽妙なplayfulness (検索結果：undefined, 検索クエリ："playfulness")【名】遊び好きなこと、陽気であることexotic (検索結果：undefined, 検索クエリ："exotic")〔植物や言葉などが〕外来の、外国産の〔ひどく〕変わっている、風変わりな〔変わっていて〕異国情緒ある、エキゾチックな、魅惑的なotherness (検索結果：undefined, 検索クエリ："otherness")【名】別の［異質な］ものであるということthug (検索結果：undefined, 検索クエリ："thug")【名】〔残忍な〕殺し屋、悪党、凶悪犯〔インドの〕強盗団◆19世紀まで続いたインドの秘密犯罪結社。ヒンドゥー教の女神カーリー（Kali）を信奉し、旅人を誘い込んで絞殺するのが常とう手段だった。◆通例ThugExtract 4 annoyance (検索結果：undefined, 検索クエリ："annoyance")【名】いら立たしさ、腹立ち、うるさがらせること頭痛の種、いら立ちの元diurnal (検索結果：undefined, 検索クエリ："diurnal")【形】昼間の、日中の日ごとの、毎日起こる◆【同】daily1日［24時間］のうちに変化する《動物》昼行性の《植物》〔花が〕日中だけ咲く《天文》日周の発音daiə́ːrnl、impinge on (検索結果：undefined, 検索クエリ："impinge on")【句動】～に作用する、～に影響する〈文〉〔権利や法律などを〕侵害する、侵犯する〈文〉～にぶつかる、～に衝突するthrow ~ off balance (検索結果：undefined, 検索クエリ："throw ~ off balance")～のバランスを崩す、～を不安定にする、～の平衡［均衡］を失わせる、～をめんくらわせるeconomical of one's time (検索結果：undefined, 検索クエリ："economical of one's time")《be ～》時間を節約するspring someone on (検索結果：undefined, 検索クエリ："spring someone on")突然～で（人）を驚かすtake on board (検索結果：undefined, 検索クエリ："take on board")理解する、わきまえるtake ~ on board～を積み込む、～を乗船させる～を受け入れる文例〔酒を〕飲み干すcome in 出現する、現れるencrust (検索結果：undefined, 検索クエリ："encrust")【他動】覆う、～の表面を飾る、ちりばめる◆宝石などarctic (検索結果：undefined, 検索クエリ："arctic")【名】《arctics》〔防水の〕防寒用オーバーシューズ【形】北極（圏）の、北極地方の◆Arcticとも表記される。◆【対】antarctic〈話〉厳寒のtie conditions onto the treaty (検索結果：undefined, 検索クエリ："tie conditions onto the treaty")条約に条件を付けるsilicon dioxide (検索結果：undefined, 検索クエリ："silicon dioxide")《化学》二酸化ケイ素◆化学式SiO2◆【参考】silicaharbor〔悪意・考え・邪念・計画などを〕心に抱く文例～に隠れ場所を提供する、～をかくまうin pairs (検索結果：undefined, 検索クエリ："in pairs")二つ一組で文例arranged in pairs《be ～》対で配置されるpliable (検索結果：undefined, 検索クエリ："pliable")【形】〔物が〕曲げやすい、しなやかな、成形しやすい、しなりやすい〔思考などが〕柔軟な〔人が他者から〕影響されやすい、〔人が他者の〕言いなりになるPart 3have a glut of～が供給過剰になっているtract of land (検索結果：undefined, 検索クエリ："tract of land")《a ～》一区画の土地単語帳tract of land located in～に位置する一地帯quid (検索結果：undefined, 検索クエリ："quid")【名】〔かみたばこなどの〕ひとかみ分〈英話〉1ポンドall the way through the book (検索結果：undefined, 検索クエリ："all the way through the book")本の初めから終わりまで単語帳all the way through the game試合中ずっとtake up a lot of room場所を塞ぐgobbet (検索結果：undefined, 検索クエリ："gobbet")【名】〔肉・金属などの〕一塊〔食べ物の〕一切れ〔液体の〕一滴、滴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teeny-weeny (検索結果：undefined, 検索クエリ："teeny-weeny")【形】〈話〉小さな、ちっちゃいFour Points Hotelフォーポインツ・ホテル◆ホテルチェーン。ヒルトン系blah-blah-blah【名】などなど、何とかかんとか、かくかくしかじか、エトセトラ、何々何々◆重要でないと思われる部分を省略する時に使う表現。〈俗〉つまらない［くだらない］話［おしゃべり］murmur (検索結果：undefined, 検索クエリ："murmur")【自動】ブツブツ不平を言う、つぶやく、ささやく、ざわめく【他動】～を小声で言う、～をつぶやく、～をささやくmutter away (検索結果：undefined, 検索クエリ："mutter away")絶えずブツブツ言うsparing (検索結果：undefined, 検索クエリ："sparing")【形】〔金などを使うのを〕控える、倹約する不足した、足りない寛大な、情け深いdiscursive (検索結果：undefined, 検索クエリ："discursive")【形】散漫な、とりとめのない、推論的なdiscursive conversationとりとめのない会話connoisseur (検索結果：undefined, 検索クエリ："connoisseur")【名】〔芸術の〕鑑定家、目利き〔食べ物・酒・音楽など特定の分野についてよく知っている〕専門家、玄人、通Part 4What do you make of this?「意味」これをどう思いますか？これをどう考えますか？do just about anything (検索結果：undefined, 検索クエリ："do just about anything")大概何でもやるsit up (検索結果：undefined, 検索クエリ："sit up")【句動】起き上がる、起き直る、上半身を起こすきちんと［姿勢正しく・ちゃんと］座る、姿勢正しくする、しゃんとする、真っすぐに腰をかけている、〔赤ん坊が〕おすわりできる、〔犬が〕ちんちんをするdry up (検索結果：undefined, 検索クエリ："dry up")【句動】からからに［すっかり］乾く［乾かす］、干上がる、干上がらせる〔井戸が〕枯れる、枯渇するなくなる、尽きる〔貯金が〕底を突く〔せりふを〕忘れる、度忘れする話が尽きる、話をやめる、黙る、話がやむ、話せなくなる、口をきけなくするas it were (検索結果：undefined, 検索クエリ："as it were")いわば、いうなれば、言ってみればgo for 〔楽しいことを〕する、行うgimmicky (検索結果：undefined, 検索クエリ："gimmicky")【形】からくりの、策略の落とし穴［不安材料］があるif past experience is anything to go by (検索結果：undefined, 検索クエリ："if past experience is anything to go by")これまでの経験からすれば