CPE 3 Test 3 
Extract 1
Let's not forget that there are lots of dedicated actors.. actors who would never dream of abandoning their chosen profession, who are living with a vast ambition tucked securely under their skin, an undying hope that their turn will come one day... but at the same time, they have a restlessness about them, a desire to know more about the wider world... to go through things that they can then bring back into the theatre. It's that kind of motivation that accounts for the numbers of actors you find in offices and other workplaces, more than having a family to keep, or expensive outgoings The actors in the happiest position are those who -maybe through their own endeavours, maybe through their agents' -manage to find a specialism in sidelines, I mean connected with acting... radio commercials, voice-overs for TV, commentaries for films, teaching at drama schools... and so on... it might be being the presenter of audio-visuals for internal commercial use... whatever. Mostly, these jobs require expert use of the voice and mostly they'rewell paid. 
Extract 2 
    Interviewer: As far as I'm concerned, all muzak should be banned. I cannot stand having to listen to that awful bland sound wherever I am. Now Richard Atwell has come up with a new form of muzak. So, Richard, why is your muzak any different?    Richard: Well, I call it 'new art muzak'. The idea is to match the exact environment with the right kind of muzak. The problem with muzak as it stands is it's a bit too general, it's just this wash of sound, usually to cover up the embarrassing lack of sound and -um -the audiences just usually get very tired of it.    Interviewer: But why do we want to cover up the lack of sound. What's wrong with silence?    Richard: Silence is good -- in certain areas. In restaurants for example, I don't want to hear muzak because I'm concentrating on my other senses, taste and smell, and on the conversation. But you could use it in the retail environment.     Interviewer: Ah, but that's when it's at its worst. It's either thoroughly irritating or it's manipulative and either one is unacceptable.     Richard: No -- it's designed to improve your environment.    Interviewer: ... mm.
Extract 3
    Today we're going to look at the issue of concentration. Let's start with some basic exercises. OK, so, now, try to think of anything you would like to think about for five consecutive minutes, uninterrupted. First perhaps something that happened last week, then try something from a few months ago... move up to thinking through an argument, or going through all the details of a particular activity. Work in stages, starting with doing this at home, with your eyes closed... make it more difficult by trying it in a bus or a train, somewhere crowded, and then for longer at a time    We can all concentrate when the mood takes us. For example, when you've been to a film that's really moving, one that really gets to you, and you come out into the street afterwards, your mind is very focused. For you, the people you pass in the street, the lighted shop windows.. taxis swishing by... it's all still in the film, still has a heightened dramatic significance -- and you are part of that drama. 
Extract 4
    Interviewer: And now, a man very much in the news, Toby Hobson, joins me. Toby -- 'theatre is boring' you're quoted as saying in today's newspaper. Why did you say it?    Toby: What I actually said, Pam, was that eight out of ten productions I see I find rather tedious.    Interviewer: Well, tedious or boring, we're splitting hairs here. I mean, you're a theatre man, you've got on well in the theatre, so why are you getting at your own side?    Toby: Well, let me say one thing. I'm not putting myself above this premise. I've had 36 plays performed in.    Interviewer: ... Sure, but what tends to go wrong in your view?    Toby: Well, it's a multitude of things. Either plays are inaccessible or the balance is not right between the comedy and the humanity, or the director's interpretation is too evident, or the writer's voice comes through where the character's voice should be heard. And in London seats cost a fortune, so expectations are high. Part 2
    Interviewer: In today's programme, we're visiting the once-flourishing port of Harford, now home to the Marine Wildlife Trust, and I have with me Tony Trotter, the Trust's local manager. Tony, this was once quite a sizeable port complex, wasn't it?    Tony: Yes. Harford used to be one of the biggest oil-refining centres in the country, but since the decline of the oil industry, and the even older rubber processing in this area, it's become something of a backwater.    Interviewer: Now, we're looking into a large tank.    Tony: Yes, it's part of the disused oil terminal in the dockland complex -- and it's where five grey seals are living at the moment.     Interviewer: Tony, what are you doing with five seals in an oil terminal?     Tony: Well, when the port was decommissioned some eight years ago -- mostly due to shrinking markets, although there were also problems with the depth of the water in the harbour, the port owners were left with several unwanted buildings. At about the same time, the Marine Wildlife Trust was formed by a group of people who wanted to increase understanding of sea-watercontamination. One of the group's first projects was finding somewhere to house five seals that needed medical care, and they approached the port owners for ideas.    Interviewer: And they were willing to help.     Tony: Well, not at first -- after all it wasn't the kind of use they'd had in mind for their disused installations; and they had concerns about about things like the legal considerations. But they were brought round eventually     Interviewer: What convinced them, do you think?    Tony: Well, Trust members were able to point to a couple of other similar high-profile projects in other parts of the world and I think they began to see the potential public relations benefits.     Interviewer: Tell us about the five seals here.    Tony: Well, the handsome youngster you see here is Rory and he's about four years old. He's very typical of the animals we get here; he came to us a couple of weeks ago suffering from a viral infection which had been giving him a lot of trouble. It comes from sheep.     Interviewer: Really?    Tony: Yes, and it's very common amongst seals because sick sheep are especially prone to falling off cliffs into the sea. Along with poisoning from chemical waste, these viruses are the main ailments we see.    Interviewer: How do you treat them?    Tony: Antibiotics don't work for these conditions, but they're seldom terminal, as long as they get good food, plus a clean environment, most of the seals come through well and can be released back into the sea.    Interviewer: Do you like this job?     Tony: Yes. I trained as a vet and I feel I have the right background. But apart from that, I obviously need a good understanding of toxins, and of course it takes plenty of determination as well. The seals that come here tend to be highly strung and not averse to giving you a strong nip, not necessarily out of malice, but, you know, they've suffered and are therefore, a bit unpredictable. So they're not quite as charming as people might think at first, they're very strongminded.     Interviewer: Well, Tony thanks very much for showing me round. I hope they're all on the mend soon.    Tony: Thank you. 
Part 3 
    Interviewer: This week we're taking a look at leisure. Joining me to decide how people behave themselves at play, and why, is Professor of Sociology at the University of Wessex, Richard Marshall. Let me start by asking you, Richard, why we need leisure in our lives at all.    Richard: Well, one interesting thing about leisure is that the word 'leisure' doesn't appear in every other language. Dutch for instance doesn't have it, but it has the term 'free time', while our word 'leisure' comes from Middle French meaning 'licence', something permitted. So the notion of freedom is at the heart of leisure. The problem is that, depending on our personal circumstances, we're only free to join in certain kinds of activities. But more and more, leisure is being seen as something where people can take control and find their own identity. Perhaps sometimes it's a response for those who are fed up at work or don't have high enough status to break through some of the boundaries; boundaries of status and the workplace, even the family...    Interviewer: I was going to say, does it relate to the way we behave at work? Do we deliberately choose something far more aspirational than our daily work?     Richard: Well, there are cases of that. There are some people who get involved in what some American sociologists have called ‘serious leisure', where, for them, leisure turns into the consuming purpose. So work is just a place to get out of quickly with your pay packet in order to really enjoy yourself, for instance, in the amateur dramatic society or the choir.    Interviewer: But isn't it curious that we may have a very rule-filled life at work, but yet we choose a leisure activity that is also full of rules and constrictions?    Richard: Well, it's one of the great paradoxes of leisure that that idea of freedom is at the heart of it, but the further people get into particular types of leisure, the more they seem to want.. um... security, and strangely, you know, whether it's shopping or going to the sports game, there are regular sorts of repeated rituals that in a way underlie these leisure activities. And you see, it's nodifferent to many other spheres of life where, in lots of respects, you balance the excitement of the unknown and the potentialIy dangerous against the security of the known and the... er.. normal    Interviewer: And yet in Britain, we're still quite formal about what we call 'leisure', aren't we? Watching television, for example, is our major leisure activity, isn't it, and one which spans all ages and classes, I would guess. But we're strangely reluctant to admit that that's what we really spend a large proportion of our free time doing.    Richard: Well, a lot of people do admit it -- polls show us that -- but they want to say that they're doing something else. Or they admit it but they feel guilty about being a couch potato. But of course there's more than just that passive act itself in television watching. People take it into all sorts of other spheres like the workplace, or. . um... other leisure activities -- it's what people talk about. What would they talk about if they didn't have those sort of things to exchange?    Interviewer: And in a way the leisure place is somewhere where we transcend ourselves, we become the person we couldn't be at work    Richard: Well, that's true, especially some of the more dramatic examples of serious leisure ‘Uniform' leisure provides some quite interesting cases. There are different examples of activities where uniforms and dressing up, the sense of collectivity with others, apart from the status-defining uniform of the workplace are very important in terms of the respect people have for themselves.    Interviewer: But people don't always take up the leisure activities on offer, do they?
Part 4 
    Presenter: Now the short story is always a popular form and never more so than at the moment. Earlier today Claire Rose, poet turned short story writer, and Alan Wood, whose third collection of short stories is just coming out, came into the studio to discuss the perennial appeal of the short story. Claire began by telling us why she writes short stories rather than novels.    Claire: First of all, it happened by accident really, I was writing poetry and it seemed natural to try and write short stories and then I continued with the short story. What about you Alan?    Alan: Well, I relish it in the same way I appreciate small portions of fine food rather than a lot of the same thing and I feel the need to stay with the short story while it still interests me.    Claire: Well, as for my latest short story, the content really lent itself to the form. There was a limited amount of information I could get about this nineteenth-century person and once I had all the information in front of me, I thought this could be incorporated in a limited space and that seemed to be the way to do it.    Alan: That was a brilliant story! Now reviews of both our work tend to describe, rather misleading what we write as monologues, because, I suppose, they don't seem to have much plot in the old-fashioned sense, do they?         Claire: Not in the old-fashioned sense but I wouldn't particularly call them monologues, they're first person narratives. The fact that I've used a first person speaking voice is just because that seemed to be the best way to tell a particular story.    Alan: Mmm... it was the most intelligent response to the subject in fact.    Claire: And shifting between different narrators is the fascination for me and I think . That's probably why I've stayed with the short story because it's allowed me to step into the shoes of somebody else for a little bit and there again, step out at the other end.    Alan: As you're a poet, as well, do you find the two forms overlap at all?    Claire: Well, I think there is definitely a similarity and perhaps more of a similarity between poetry and short stories than between short stories and novels.     Alan: There's an intensity in both, isn't there? Now, traditionally people often start out writing short stories before they write full-length novels. Do you think the short story is a good form for beginners?    Claire: Well, in a practical sense, in that it takes less time to write a short story than a novel, but it's not necessarily easier and I don't think it necessarily teaches you things you need to know about a novel, how to intertwine plots without losing the thread.    Alan: Writing a novel involves keeping something going, it involves opening out a narrative rather than closing in, which is what I think the short story does best.      Claire: Fortunately for us, short stories are in at the moment, aren't they? Do you think it reflects a desire to get away from the blockbuster?    Alan: Perhaps it's easier to find time to read short stories in a stressed life, perhaps people's attention spans are getting shorter, or perhaps it's because now you can pick up a paperback in the supermarket with your weekly shop.    Claire: It's more that some shops will put the short stories by the till and you know people buy them with that last three pounds or whatever. It's the spend factor.     Alan: But... um, you know, I like writing them, so perhaps it's just because people like reading them. There must be something in the form itself rather than it's just a nice little story.    Claire: Well, whatever it is, it's clearly a genre that is flourishing... 

Extract 1 
tuck ~ under one's arm (検索結果：undefined, 検索クエリ："tuck ~ under one's arm")～を脇に抱え込むundying (検索結果：undefined, 検索クエリ："undying")【形】不死の、不滅の、不朽の、永遠のaccount for ～の主な原因となる、～の主要因である～の申し開き［釈明］をする、～の説明責任を負う〔敵や戦闘機などを〕殺す、撃墜する、動作不能にするoutgoing (検索結果：undefined, 検索クエリ："outgoing")〈英〉費用、出費◆通例、複数形で用いられる。voice-over (検索結果：undefined, 検索クエリ："voice-over")テレビ画面に映っていない人［ナレーター］の声Extract 2 as it stands (検索結果：undefined, 検索クエリ："as it stands")現状で（は）、現在［目下・今］の形勢［状況・状勢・状態・様子・ありさま］では、今の場合［ところ］、実情は、世の常として、この分では、現状のままで、そのままでpaint ~ a wash of color (検索結果：undefined, 検索クエリ："paint ~ a wash of color")～を淡い色彩で塗るat one's worst最悪の場合には、最悪の状態で、最悪なことにExtract 3think through (検索結果：undefined, 検索クエリ："think through")〈米〉考え抜く、とことんまで考える、じっくりと考える、熟慮するmove up to (検索結果：undefined, 検索クエリ："move up to")～まで上がってくる［進級する］《野球》～塁に進塁するas the mood takes you (検索結果：undefined, 検索クエリ："as the mood takes you")あなたの気の向くままにswish (検索結果：undefined, 検索クエリ："swish")【自他動】〔むちなどを〕ヒュッと振る〔むち・風などが〕ヒュッ［シュッ・ヒュー］と鳴る［音を立てる］Extract 4split hairs (検索結果：undefined, 検索クエリ："split hairs")髪をかきむしる、髪をかきむしって悩む、嘆く、もう嫌だ細事［ささいなこと・つまらないこと］にこだわる、細かいことをくどくど言う、必要以上に細かいことまで話し合う、細かな詮索をする、重箱の隅をようじでほじくる、末節にこだわる、屁理屈を言う、無用な区別立てをするget on well (検索結果：undefined, 検索クエリ："get on well")うまくやっていく、間がうまくいく、折り合いが良い、仲良くやっていく、仲良く暮らす、肌が合うget at～を（言葉で）攻撃する、批判する、非難する、叱る、とがめる、（人）に意地悪なことを言う、（人）に嫌がらせをする、文句を言う、からかう、いら立たせるPart 2 backwater〔ダムなどで押し戻される〕戻り水、逆流〔流れに逆らって貯まる〕よどみ、水たまり〔変化に取り残された〕へき地、田舎dockland (検索結果：undefined, 検索クエリ："dockland")【名】〈英〉波止場地域installation取り付けられたもの、（取り付けられた）装置、設備基地、軍事施設bring round（人）を説き伏せる、説得して意見を変えさせる、納得させる、口説き落とす～の方向を変える、〔話をある方向に〕向けるpoint to～を指摘する、～を提示する、～を挙げるcome through surgery so well (検索結果：undefined, 検索クエリ："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highly strung nerves張り詰めた神経averse to working《be ～》働くのを嫌がる単語帳strongly averse to《be ～》～が大嫌いであるnip挟むこと、ひとかみ、ひとつねり酷評、風刺out of malice (検索結果：undefined, 検索クエリ："out of malice")恨みから［を抱いて］、悪意から、悪気があってon the mend (検索結果：undefined, 検索クエリ："on the mend")〔体調が〕快方に向かって文例〔事態が〕好転してstrong-minded (検索結果：undefined, 検索クエリ："strong-minded")【形】心のしっかりした、果断な、勝ち気な、気が強いPart 4pay packet (検索結果：undefined, 検索クエリ："pay packet")〈英〉稼いだ金（額）、収入、所得文例〈英〉給料袋constriction (検索結果：undefined, 検索クエリ："constriction")【名】収縮、締め付け、圧縮、狭窄、くびれcouch potato (検索結果：undefined, 検索クエリ："couch potato")《a ～》〈話〉カウチポテト◆座ってばかりいる怠け者。特に、ソファにもたれてテレビばかり見ている人。通例、非難して言う。◆【語源】couch（長椅子）とpotato（ジャガイモ）より。後者は怠け者をイモに見立てたもの。boob tuber（テレビばかり見る人）とtuber（ジャガイモなどの食用部分）を掛けた言葉遊びに基づくという。同時に、ジャガイモは運動不足で太った様子を暗示し、veg out in front of the TV（テレビの前でだらける＝直訳「完全に野菜化する」）という別の俗語表現ともうまく結び付き、ポテトチップ（＝テレビを見ながら食べるスナック）も連想させる。◆【参考】mouse potatotranscend (検索結果：undefined, 検索クエリ："transcend")【他動】〔限界などを〕超える、超越する文例〔～に〕勝る脱却する文例on offer (検索結果：undefined, 検索クエリ："on offer")売りに出されてPart 4 perennial (検索結果：undefined, 検索クエリ："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lend oneself to (検索結果：undefined, 検索クエリ："lend oneself to")～に役立つ、～に適している、～に合う文例単語帳lend oneself to bright colors〔部屋などが〕鮮やかな色に合うmonologue (検索結果：undefined, 検索クエリ："monologue")【名】独白、一人芝居、モノローグ、独白劇、独白体一人による長広舌［長談義］first person (検索結果：undefined, 検索クエリ："first person")《the ～》《文法》一人称《the ～》〔話法の〕一人称◆物語の登場人物が一人称で説明するもの。《the First Person》《キリスト教》〔三位一体の〕第1位格、父なる神◆【同】the Father◆【参考】Trinity《the ～》最初にした人at the other end (検索結果：undefined, 検索クエリ："at the other end")相手方（側）で、先方でopen out (検索結果：undefined, 検索クエリ："open out")【句動】開く、打ち解ける、道を譲る単語帳open out before〔景色が〕（人）の眼前に展開するin〔選挙で〕選ばれて、地位に就いて、政権を取って流行して、流行ってblockbuster (検索結果：undefined, 検索クエリ："blockbuster")【名】《軍事》ブロックバスター（爆弾）◆第二次大戦中にイギリス軍が使用したもので、一街区（block）を丸ごと破壊（bust）できる威力を持った大型爆弾。〈話〉〔映画・本・商品などの〕ビッグヒット、大ヒット（作）、大当たり〈話〉悪徳不動産業者◆【参考】blockbustingput sweets next to the till〈英〉レジの隣にお菓子を置く