CPE 3 Test 4
Extract 1
    When the artist Andy Warhol predicted that everyone would get their fifteen minutes of fame, even he can't have seen that now some would expect their lull hour -- and a spread in a magazine. Fame has certainly changed over the years. If you look at what passes for stars these days, we seem to have lost two things. One is a sense of mystery, there's a voracious appetite to know more about people now -- in the golden age of Hollywood in the 1930s and 40s, stars were at a distance, they were magical. And we've also lost the ability to distinguish between fame and notoriety. Now, If you catch the public eye, you're famous, you're a celebrity -- no matter what you've done     And then what happens is that after their fifteen minutes of fame, unless the celebrity has had the sense to capitalise on it, and do something worthwhile, for example open a restaurant or write a book, they lade away, because there is too much competition out there and there is always another up-and-coming star to replace them. 
Extract 2
    Interviewer: Drumkits improved quite rapidly in the 1920s, but many of the innovations in drumkits were very much homemade and done on the road. Hard to trace who thought up the newinventions, although musicians say a lot of the credit should go to a studio drummer called Vic Burton. Here's his brother Ralph:     Ralph: If you look at pictures of dance orchestras before about 1920, you'll see the drummer has two cymbals, those thin round plates of brass that give out that satisfying 'crash!' or ‘zing!' when he hits them. The big crash cymbal hangs from a contraption atop the bass drum, the other smaller ‘zinger' is screwed to the rim of the bass drum. So far as I know, nobody before Vic realised there was no place in the modern dance sound for that thin tinkle. The little ‘zinger' had to go! So he removed it from the old spot and put it on top of the bass drum alongside the big crash cymbal, where it could be played as an independent instrument. Soon every drummer in the business had his cymbals positioned like this. Vic went on to...
Extract 3
    Interviewer: Well, personally, fan, I thought some of the visual effects in the film were rather overdone, particularly when the camera goes inside the main character's head, to show us that, you know, he sees his own world in terms of a computer game.    Ian: Contrived, wasn't it? Or perhaps the director was trying to play too much to the target youth audience. Otherwise the use of computer-generated images and lighting seemed inventive and exuberant. There it felt desperate, as if they were thinking, 'How do we jazz up this moment?'But the underlying problem is that Mark, the 'hero', shouldn't have been isolated from the rest of his community for so long that he becomes psychotic in a way that seems to exonerate him from all blame. And the fact that he snaps back into being a morally responsible being after having committed an act of violence seemed a cop-out and superfluous, because there's plenty of tension already. We don't need his interior darkness, there's enough communal darkness. And I think the idea of the whole community being compromised by their actions without any individual cracking up is actually more powerful. 
Extract 4
The professionals -- Wyndham United -- again progressed against the plucky opposition ofamateur team Longbridge. This time Wyndham United's Martin Butler's goal was the decisive touch. In the first hall, Wyndham United lived a tad dangerously with Longbridge's chance coming in a bright opening ten minutes after the start of the game, with Whitaker's kick just missing the open goal. Wyndham United struggled to half-time and beyond without too much to thrill but, slowly but surely, as the amateurs tired, the Wyndham stamina began to pay dividends as they pushed them further and further back. Some of the players fought a spiteful battle all afternoon, sadly ignored by the referee. In particular Baldwin, whose foul on the star player Smithson in the forty-first minute was finally enough to warrant the referee's intervention. Not a pretty match, but it'll do.
Part 2
    Interviewer: Today I'm visiting Peter and Ann Simon who own a small farm in Scotland. However, it is no run-of-the-mill farm as their livestock is a type of animal which is usually associated with South America, the llama. Peter, you're originally from London so how did you end up here in Scotland with these engaging creatures?    Peter: Living in London was becoming increasingly stressful because of transport, finances, etc., so we opted out of the family bakery business, where I did the accounts and my wife the marketing. We were fed up of the whole rat race thing and just headed for the hills    Interviewer: And what made you choose to spend your days with llamas?    Peter: Well, Ann has started a little cottage industry, weaving, and she needed some robust fleece for the blankets she makes and llamas seemed to be an interesting alternative to sheep. So we got them about three years ago.    Interviewer: And do they fit in pretty well up here?    Peter: Oh yes, being creatures accustomed to high altitude they happily sit through the Scottish wind and blizzards. During winter snowstorms they can be found serenely sitting out the blizzard. The long hollow structure of the fibre of their fleeces makes sure that they retain body heat    Interviewer: So you haven't had any problems with them?    Peter: Well, in fact we have. They seem to have trouble in constant rain because, unlike our British sheep, they don't have any natural lanolin, so they easily get saturated by repeated downpours and they started to suffer from skin diseases and they were obviously getting distressed by this.    Interviewer: It must have been awful to see them suffer.     Peter: Absolutely, so we had to find a cheap solution, but that was easy enough. I knocked up some shelters for them near the old barns in the bottom field.    Interviewer: The land around here isn't known for its lush vegetation. How do they manage to feed.    Peter: Fortunately, llamas thrive on poor vegetation; they can survive on a diet of thistles, rushes and weeds that other animals might find unpalatable. And something we hadn't bargained for is that grass is beginning to grow because grazing the llamas here is enriching the land.    Interviewer: Are you able to make a living from Ann's weaving alone?    Peter: We just couldn't manage and we had to find ways of boosting our finances. Funnily enough, reading about llamas in South America gave us the answer. We hit upon the idea of llama trekking so now we put people up in a converted barn which we run as a kind of guest house, and offer them trips up into the hills.    Interviewer: And how on earth did you get the llamas to cooperate? I thought they were notoriously bad-tempered.    Peter: They have their moments.. but the thing that surprised us was their intelligence compared with... our... let's be frank.. pretty stupid sheep. They proved to be ready pupils and very little initial training was needed to persuade them to carry a pack.     Interviewer: Was it just like breaking in a horse?    Peter: Oh, no, quite different. We had great fun and games with their training and they did need very careful handling. The method we found the most useful for getting them to trust us was humming to them. You know, they sort of hum to each other and we had to get just the right tone and try to replicate it.    Interviewer: And can any llama be used as a pack animal?    Peter: Well, when you start to look into it... 
Part 3
    Interviewer: You've been a principal dancer for many years now. How did it all begin?    Maureen: When I was three, my mum decided 'Ooh, what a nice thing it would be for my little girl to go to ballet class' but I went to the sort of dancing school that did everything, you know, the tap, the singing, the modern, because a lot of girls round there, or their mums at any rate, you know, were into that, because some of them had been on stage themselves, and the ballet was, you know, rather a second thought.    Interviewer: So when did you move on to actual ballet then?    Maureen: Well, ballet was involved from the beginning, but when I was about the age of ten my teacher suggested that I tried for a scholarship at the Royal Academy of Dancing which, you know, that would entitle me to two classes a week in London. It meant I was able to stay at my normal school studying which my parents were very concerned about, you know, that I did my exams and all that and rather than go to a specialist ballet school which would have meant boarding and being away from home, you know. Anyway, I was successful in the audition and well, I had this scholarship for live years.    Interviewer: And then when you finished you were able to start a career as a professional ballet dancer?    Maureen: People say to me, you know, ‘When did you decide that you were going to be a dancer?' and I rather feel that I slipped into it, you know, purely because I was enjoying it.    Interviewer: Really? Now, one of the people you worked with in your early career was David Nottley, who is now a very well-known choreographer.     Maureen: Yes, it was wonderful being young and actually working to create new dances    Interviewer: Yes, I'm sure.    Maureen: It was also quite unusual because he was a member of the company I was working with so I knew him very well. It was wonderful to get the experience of working on newly created pieces without actually having to meet these high-profile choreographers, you know, ‘the gods', as it were.     Interviewer: And how did you prepare for these new roles? I mean is it very different... is it a very different preparation when you're doing something that no one has ever seen before?    Maureen: Well, I think that in the studio you've got to go in with a completely open mind and actually be ready to work harder than you've ever worked before because it's no good for a choreographer to try something out on you and then say, you know, ‘Oh well, it's too tiring to keep doing this over and over again'. He wants to see it danced full out with no holding back and you've got to remember what he told you to do.    Interviewer: Yes.    Maureen: But you really feel by opening night that the part is really part of you. You've got the added bonus of the audience never having seen it before so they're not going to say, 'Oh I remember so-and-so when she did it', you know, so that sort of takes the nerves off of it.     Interviewer: Yes, quite. Have you ever wanted to choreograph yourself?     Maureen: Well, I pride myself in thinking that I'm good at taking a lead once I'm given the initial idea, and, you know, I can work on it from there but I never have that first instinctive thought in my mind, you know, the one that sets off the creative process.     Interviewer: It's strange because you've often been described as not just being a purely classical dancer because, well, you've got all sorts of skills and acting abilities, and all sorts, haven't you?    Maureen: I mean, I don't see myself as a classical dancer. It's like actors and actresses say, you know, it's easier to hide behind a character. I think it's the same for dancing because when you've got no character, or very little character to play, you are relying on pure technique and I'd never describe myself as what I would call a drum roll dancer, waiting for the tricks to happen.    Interviewer: I see.    Maureen: It just doesn't inspire me to dance well. It's when I can use a character to justify the movement, that's when I love dancing.    Interviewer: Maureen, thank you. 
Part 4 
    Gordon: Martha, you know the family who live opposite me, the Guthries?    Martha: You mean the one with the twin daughters?    Gordon: Yeah. Well I found out something really surprising today. They're taking their children out of the state school and educating them at home.    Martha: Sorry Gordon, you mean just the two girls on their own.     Gordon: No, they're getting together with three other families here in Oxford. And they're setting up a small school for all the children on the top floor of one of the families' houses until they can find a more suitable building. Two of the parents will be teaching part of the time and they've found a professional teacher to help them. I think it's a really exciting step.    Martha: I suppose it is in a way. There are so many considerations though, and -- um -- it's a heavy responsibility to take on, on top of normal life. If I were them, I'd be concerned about the children missing out on contact with their peers.“    Gordon: Mmm. Well, the friends I made at school were certainly the best bit. But looking at some of the bigger schools we've got now, some kids don't thrive, do they? They feel vulnerable, get picked on or get into trouble. As a parent, I can see that you'd, you know, want to give your kids a secure environment to learn in.    Martha: There is the theory that you should face up to your problems, though, and that's how you learn and -- er -- become stronger -- the survival of the fittest.    Gordon: The law of the jungle idea? Just think about it, kids who are turned off by a negative experience of learning, what does that lead to? Disaffection then delinquency and finally young adults who don't fit into our society and its aims. We don't want that element on our streets, do we?    Martha: It's certainly becoming a serious issue in some places, but let's get back to what you were saying about these 'home schools'.    Gordon: Yes, OK. Actually I'm not sure about -- um -- the practicalities. For instance, it seems unlikely that one could cover the breadth of learning that children can gain in a large secondary school.     Martha: I've heard of small home schools that take full advantage of the local community. There's one where my sister lives. They run environmental research projects, go into companies, etc. and so, there's quite a span of -- er -- learning opportunities for the kids to experience. But it seems clear to me as someone not involved in education, that taking advantage of a range of options is far less problematic with small groups.     Gordon: That goes without saying. But do we actually have to stick with our enormous, unwieldy state schools with their thousands of children? I remember seeing an article about an experiment somewhere in the States, in which huge schools were being divided into small autonomous units providing better security, smaller class sizes and a closer relationship with teachers.    Martha: Nice idea but how were they going to pay for it?    Gordon: That part, the article wasn't very clear about..    Martha: Typical!    Gordon: ...but I think they were going to introduce a new ‘flatter' management structure or some other useless piece of jargon and, come to think of it, we know what that means -- a lot of extra hassle and work for the staff but no real benefits! In other words, change for change's sake    Martha: You're getting cynical in your old age! If we listened to people like you, we'd still be in the Dark Ages with no education at all! But anyway how are the Guthries getting on with their home school    Gordon: Well, it's a bit early to tell. They've only just...

Extract 1 
lull (検索結果：undefined, 検索クエリ："lull")【自動】和らぐ、静まる、おさまる、弱まる文例【他動】～をなだめて寝かしつける、あやす、なだめる、～を安心させて（…）させる〔疑惑などを〕もみ消す【名】一時的な静止、一時的休み、一時的な静けさ、小康状態、小やみ、凪気持ちを和らげる［静める］もの［音・歌］、落ち着いた状態voracious appetite《a ～》旺盛な食欲《a ～》貪欲な意欲notoriety (検索結果：undefined, 検索クエリ："notoriety")【名】悪評、悪名（の高い人）◆通例、軽蔑的に使われるExtract 2brass金管楽器真ちゅう、黄銅高級将校（連中）、軍の幹部、お偉方◆【語源】将校の階級章の材質が真ちゅうだったことから。zingヒュッ、ヒュー、ヒュン、ビュン、ビュー、ビュッ、ビーン、シュッ、シャッ◆矢・銃弾・弾丸などが空を切って飛ぶ音。〔空中をビュンビュンと力強く飛び回るような〕エネルギー、バイタリティ、活気、元気、気力、熱意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bass drum (検索結果：undefined, 検索クエリ："bass drum")《音楽》バス・ドラム、大太鼓、バスドラ◆西洋音楽で、最低音域を受け持つ大型のドラム。crash cymbal (検索結果：undefined, 検索クエリ："crash cymbal")《音楽》クラッシュ・シンバル◆ドラム・セットの中で最も大きいシンバル。zinger (検索結果：undefined, 検索クエリ："zinger")【名】〈話〉当意即妙の受け答え、気の利いた発言〈話〉あっと驚くようなこと、ハッとすること〔びっくりするようなことをする〕元気いっぱいの［エネルギッシュな］人〈話〉《野球》快速球screw ～をねじで留める［取り付ける］～をねじ込む、～を回して締める〔～をクチャクチャに〕丸める、つぶすtinkle (検索結果：undefined, 検索クエリ："tinkle")【自動】〔鈴・自転車のベルなどが〕チリンチリンと鳴る【他動】〔鈴・自転車のベルなどを〕チリンチリンと鳴らす【名】〔鈴・自転車のベルなどの〕チリンチリンという音〈英話〉電話（の呼び出し音）発音tíŋkl、カナティンクル、Extract 3contrived (検索結果：undefined, 検索クエリ："contrived")【形】〔話などが〕不自然な、うそっぽい文例〔悪巧みの気配がして〕怪しいjazz up (検索結果：undefined, 検索クエリ："jazz up")にぎやかにもりたてる、飾り付ける、派手にするpsychotic (検索結果：undefined, 検索クエリ："psychotic")【名】精神障害者【形】精神病の、精神的に異常な、猟奇的なexonerate (検索結果：undefined, 検索クエリ："exonerate")【他動】～の容疑を晴らす、～の潔白を証明する〔義務・責任などから人を〕免除する、解放するsnap back into reality (検索結果：undefined, 検索クエリ："snap back into reality")すぐに現実に戻る［われに返る］単語帳snap back into shape反発して元の形に戻るcop-out【名】〈俗〉〔何もしないことの〕言い訳〈俗〉責任逃れ、現実逃避〈俗〉責任逃れ［現実逃避］する人superfluous (検索結果：undefined, 検索クエリ："superfluous")【形】余分な、過分な、必要以上の無関係な、不適切な〈古〉ぜいたくな、浪費するレベル10、発音supə́ːrfluəs、カナスーパーフルアスcommunal (検索結果：undefined, 検索クエリ："communal")【形】共有の、共用の地域社会の、地方自治体のコミューンの〔社会の〕異なる集団間のcrack up (検索結果：undefined, 検索クエリ："crack up")【句自動】〔硬い物が〕割れてバラバラになる〔乗り物などが〕衝突する〔精神的に〕押しつぶされ、弱る、参る文例〔突然に〕大爆笑［大笑い］する、ゲラゲラ笑いだすcompromise〔信用・評判などを〕落とす〔名誉・経歴・体面などを〕傷つける～の体面に関わる〔契約上の権利を〕損なうExtract 4 plucky (検索結果：undefined, 検索クエリ："plucky")【形】〔困難な状況での〕勇気ある、大胆なtouch〔サッカーなどの〕タッチ◆タッチライン（touchline）の外側tad (検索結果：undefined, 検索クエリ："tad")【名】〈米話〉（量・程度が）少し◆【同】bit文例〈米話〉男の子spiteful (検索結果：undefined, 検索クエリ："spiteful")【形】悪意のあるPart 2 run-of-the-mill【形】ありふれた、普通の、平凡な、並の、特徴のないopt out of a health plan健康保険制度に加わらない［への不参加を選択する］◆雇用主が提供する福利公正制度に対して、雇用者（雇われる人）は参加する権利や資格を有する。fleece (検索結果：undefined, 検索クエリ："fleece")【他動】〔羊の毛を〕刈る～をフリース（状の物）で覆う文例～に法外な値段をふっかける、～から金品を巻き上げる文例【名】ヒツジの毛、一匹分の羊毛フリース◆ポリエステル起毛の合成繊維。羊毛のフリース状であることから。レベル12、発音flíːs、カナフリースup here (検索結果：undefined, 検索クエリ："up here")ここまで表現パターンup （to） here〈話〉ここまでいっぱいで◆あごまで手を挙げて言うflow serenely (検索結果：undefined, 検索クエリ："flow serenely")穏やかに流れる単語帳smoke serenely落ち着いた様子で一服する［たばこを吸う］lanolin (検索結果：undefined, 検索クエリ："lanolin")【名】ラノリン、羊毛脂◆羊毛から抽出した脂肪分で、せっけん、化粧品、軟膏などに使われる。knock up 大急ぎで作る、雑に作る、間に合わせに組み立てるlush vegetation (検索結果：undefined, 検索クエリ："lush vegetation")豊かな植生thistle (検索結果：undefined, 検索クエリ："thistle")【名】《花》アザミ◆スコットランドの国花unpalatable (検索結果：undefined, 検索クエリ："unpalatable")【形】嫌な、まずい、口に合わない、受け入れ難い、不快なbargain (検索結果：undefined, 検索クエリ："bargain")予測するgraze～を放牧するput up 宿泊させる、宿泊する、宿を貸す［提供する］、泊める、泊まるhave one's moments〔全面的・継続的に優秀とは言えないが〕キラリと光るものがある、一時脚光を浴びる、見所があるto be perfectly frank実は、包み隠さず言えばbreak in a wild horse (検索結果：undefined, 検索クエリ："break in a wild horse")荒馬を調教するPart 3 boarding寄宿、下宿slip into (検索結果：undefined, 検索クエリ："slip into")【句動】～に素早く［スッと・こっそり］入る［乗り込む］、～に忍び込む、～に紛れ込む、～をスッと着るいつの間にか～の状態になる［陥る］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 in with (検索結果：undefined, 検索クエリ："go in with")協力するopening night〔公演などの〕初日表現パターンopening ［first］ night初日公演、初演so-and-so (検索結果：undefined, 検索クエリ："so-and-so")【名】誰それ、誰々、某氏take off the cap of Coke (検索結果：undefined, 検索クエリ："take off the cap of Coke")コーラの蓋を取る［外す］単語帳take off the lid of the container容器の蓋を取るtake a lead (検索結果：undefined, 検索クエリ："take a lead")先行する表現パターンtake a lead （off）《野球》（得点が）リードする、リードを奪う、（塁から）リードを取るfirst waking thought〔目が覚めて〕朝一番に考えたことset off (検索結果：undefined, 検索クエリ："set off")【句動】出発する文例作動する［させる］、始動する［させる］、～し始める、～させる、（話を）始めさせるgo into a computer company (検索結果：undefined, 検索クエリ："go into a computer company")コンピューター会社に入る［に就職する・の一員となる］unwieldy (検索結果：undefined, 検索クエリ："unwieldy")【形】〔大き過ぎて・重過ぎて〕扱いにくい、手に負えない〔大き過ぎて〕不格好な、見苦しいhassle (検索結果：undefined, 検索クエリ："hassle")〈話〉面倒な［困った・イライラさせられる］こと［問題］◆【同】trouble ; fuss文例文例〈話〉けんか、小競り合い、口論