CPE 4 Test 1
Extract 1 
The relationship of the media to climbing is quite interesting nowadays. It seems that whenever you hear anything in the media about mountains, it's usually tragic; it's usually cost the country thousands of dollars or pounds for a rescue or something. 80 the general public's perception about climbing is of a bunch of mad people who go literally throwing themselves up and down mountains at the taxpayers' expense. Interestingly, journalists don't write the same type of story about sports people getting injured on the rugby or hockey pitch. Yet despite that，more and more people are getting involved in dangerous sports like mountaineering and, I believe, this is because risk has been largely taken out of our ordinary lives. There's obviously something in the human condition that does actually thrive in a different sort of atmosphere. Our governments go out of their way to make everything we do safer and safer and more and more regulated and, really, I think it's empowering, that's what it is, for people to actually get that responsibility for their own lives back again. 
Extract 2
    A major worry for parents who come to see me is that, as their children progress through school, they become experts on areas their parents know absolutely nothing about! But in fact， it's essential for parents to realise that, in the course of daily conversation with their offspring, they regularly pass on words of wisdom which are crucial to a child's understanding and acceptance of the norms of society. Parents often say their youngsters take no notice of what they tell them，but our surveys of young teenagers show that they have excellent recall of parental advice，and even，in most cases，a quite surprising degree of respect for what we might call their elders and betters.     Of course, the dreaded homework issue often rears its ugly head! To help or not to help is the dilemma, and there's no easy answer to this. Showing interest in a child's school work is one thing, but dictating answers is quite another. Allowing the child to talk through a problem task is usually a constructive way of giving support, but one should definitely draw the line at taking over. 
Extract 3
    Presenter: Self-deception, like hope, springs eternal. Indeed, according to a recent article by the Brazilian social scientist Ricardo Benetti, wherever there is human subjectivity, there are people believing their own lies. For over 2000 years philosophers have remarked upon this, but only in terms of moral opprobrium. Now Benetti is arguing for a more sophisticated response to an endlessly sophisticated phenomenon. I rang him in Sao Paulo, and asked him what he meant by self-deception.     Benetti: It's particularly human. It's related to language and to one part of the mind Iying to ormanipulating the other part. Traditional logic cannot handle this type of situation. One simple example -you're always late, so you advance your watch half an hour in order to be more punctual, OK? There's a tricky thing going on here, because if, every time you look at your watch, you remember you changed it, it won't work. So you've got to forget what you've done, in order for the self-deception to work. But then you can't remember to forget, because that's a contradiction. You've got to forget you're forgetting about it, and then it'll work! Extract 4 
The increasingly meagre amount of airtime offered to classical music on television is a clear indication of its increasing decline in stature. One recent television documentary on the richness of the Renaissance period of cultural history suggested that music was not really part of the overall picture, but a bit-part in the central drama starring the visual arts and architecture. This is an assessment very much in keeping with our time. But we musicians are also to blame. We assume a slow shot of some musicians in dinner jackets ploughing through a 30-minute romantic piece of nonsense, or an egghead lecturing in a dusty concert hall foyer, is enough to grab viewers. Patently, it isn't. The need is very obviously for more programmes about music. 
Part 2 
    Interviewer: These days, even places as inaccessible as the Antarctic are becoming popular tourist destinations. This evening we hear from Amanda Newark, who's been looking into howthis may be affecting the local wildlife.     Amanda Newark: My particular study project, carried out on behalf of the Polar Institute, has been looking at penguins. Each year, around 7,000 tourists visit the Antarctic, and one of the things it's possible for them to see at fairly close quarters are the penguins. And conservationists have questioned whether this human presence might be having an adverse effect on the birds. Although there's no evidence that total penguin numbers are declining in Antarctica, we have found some signs of what we call ‘population disturbance' .    In our latest study, we set out to investigate penguins while they were nesting. In particular， we wanted to see what effect the proximity of humans had on them. The way that we decided to measure this was to take readings of the birds' heart rate, when the humans were there and when they weren't. Heart rate is a well-known indicator of stress levels in birds as well as in people. The problem we had was how to do this without traumatising the penguins in the process and so increasing their heart rate anyway.    What we had to do was place something close to the bird which would be accepted, and the most obvious thing to try was a false egg， inside of which we could put an infrared sensor, very similar to that which sports people might use to measure their heart rate. Fortunately, it's easy to get this into the nest. My experience was that, when I approached, the penguin would take one or two steps off the nest, I'd just put the thing in and go away, and then the penguin would get back onto its nest as if nothing had happened. So for this experiment, you don't have to capture the bird, which is good. Despite outward appearances, it might, of course, still have felt very threatened, but that's what we needed to measure. The very nice aspect to this project is that I was working on a species where the parents swap incubation duty about every twenty-four hours. So I marked the penguin very lightly on the breast, using special paint. This meant that when I came back the next day and had an unmarked penguin sitting there, I was measuring the heart rate of a bird which was completely unaware of my experimental procedure. There was therefore no chance that its heart rate response to humans could have been affected by anything I'd done.    This allowed me to do a number of experiments involving around ten groups of three to five people and then a further series using twelve groups of over fifteen people. And what I found is that with the small groups, there was no increase in the heartbeat when the people were nearby. We can conclude, therefore, that they do not perceive such groups as a threat. The larger groups are more likely to produce a response, but this seems to be very heavily concentrated during the period when the penguins are being approached. So if you have a large group of people moving towards nesting penguins, during that time you do on occasion get very large heart rate increases. But once the people keep still, even though they're close by, then the penguin's heart rate returns to normal.     It's quite good news really, because we often hear about the human effects on the environment, but as far as we can see, the tourists are not having any deleterious effects on penguins. And, of course, it's certainly possible for a tourist group visit to be conducted so that it remains at a safe distance from the nesting penguins anyway. I think the situation is quite positive in the Antarctic， because the tour operators themselves have already shown very great commitment towards good behaviour and towards minimising the effect their clients have while they're ashore. 
Part 3
    Interviewer: This is an incredible place, this tall square tower which you've converted into a house. What was it originally built as?    Owner: Well, in fact, as you can probably imagine from its shape, it was built as a sort of look-out tower. I mean, it was built as a means of defence. Its position is perfect with the river down there.    Interviewer: And why did you want to live in a tower house?    Owner: I think my idea was that having lived for so long in London, travelled a lot throughoutBritain, I'm often appalled at the standard of architecture from the middle of the twentieth century， although I think it's improving. I think there's very little one sees where future generations will look back on my generation and will say to themselves that we can see things of great beauty. But I think that what Michael, my architect, has recreated here for me is a very beautiful building.    Interviewer: So Michael, this must have been a dream-come-true project for you, something, I mean, which, well, you must have been thinking about.     Architect: I've always been fascinated by ancient buildings, ever since I was a child, and whatwe've got here is a vaulted kitchen and dining room, the great hall, a library above that and five smallish bedrooms up top.    Interviewer: And it's not as big as it actually looks from the outside?    Architect: No it's not, it's not large at all, but you're forever carting stuff from top to bottom andvice versa, which can be exhausting sometimes.   Interviewer: Why does the wall sort of belly out a little bit there, at the bottom? Well, the reason that happens, well, it's really only in the last hundred years that we've built what we call foundations. Before that, being good economically-minded folk, they took any very big boulders which happened to be there, dug a very shallow trench, and scooped the boulders into the trench， and of course, some of the big stones would be above ground level and that's what gives you this lovely soft junction between the wall and the ground.    Owner: And as we look up, my wife insisted that these, er, windows - there's 42 windows in the tower here - that the windows were double-glazed. Well, obviously, Michael's concern was that the windows weren't double-glazed in the sixteenth century, and they wouldn't look terribly authentic.     Architect: Yeah, yeah. Because this is all authentic vaulting. Buildings like this always had vaulted ground floors, this is the... look... the arch, makes it look like a dungeon but the ground floor was vaulted, built with these arches, for two reasons: it made it very, very strong and this is really where they held their stores. Eh, it was only latterly that we've extended down and turned them into dining rooms and kitchens.    Interviewer: Yes, as you've done here. And how do you feel now the project's finished?   Architect: Well, I would hope in a hundred years' or two hundred years' time people who are either living in here, or who come to visit the tower, er, might say, 'How very nice, I wonder who did this marvellous renovation in the twentieth century?' Even if I have just altered someone else's original design, I consider it my creation. We've given this building a new lease of life. And who knows what purposes architects of the future may find for it? But I'm sure it will stand for many years to come. It's my place in history, so if someone feels they want to leave something of some beauty behind, I'd say，‘Go for it.'
Part 4
    William: Now, we've both been to the new Northern Museum of Modern Art. So, what were yourimpressions?    Louisa: Well, it's certainly a bizarre-Iooking building; it reminded me of a huge garden shed.    William: What did you think of the exhibitions themselves? I found the layout somewhat confusing.    Louisa: But maybe they haven't got their signs quite sorted out yet. It's early days after all. I must say I was surprised by the title of the main exhibition - 'Wounds'. I thought art was supposed to be all about healing nowadays.    William: Yes, but isn't art about how things are? Surely contemporary art is often made, um, usually made, at points of social, either social or personal friction, disruption and anguish.    Louisa: It says in the catalogue, ‘the best modern art cuts through the smooth but comfortingsurface of traditional culture: it's often disquieting, it makes its rules as it goes along'. But I don't think art should always shock, do you?    William: Hmm. But not all shocks are unpleasant, are they? For example, I heard a father say tohis children in the museum, ‘Come and see this. It's the most realistic sculpture you'll ever see!'    Louisa: Oh, that must have been that living sculpture of seven girls standing at the entrance. That was fascinating. Listening to some of the outraged comments like ‘That's not art! How dare they put that there!' made me think they've got a point.    William: It was certainly attracting audience. People weren't sure if it was a sculpture or realgirls posing. It was interesting watching them trying to decide! I think there is a place for this in an art gallery because that's what it is. Anyway, even negative reactions are very healthy. Art needs that sort of reaction to survive.    Louisa: If it IS art, then that's true.    William: Something that occurred to me actually... I just wondered whether the exhibition is ashade ostentatious.     Louisa: There's certainly a lot of spectacle in it, but there are some great pieces and a varietyof tempo. You can have your quieter moments like those flickering photographs of paper arrows blowing in the air and the sounds to go with it - very relaxing. Art doesn't have to kind of grab you by the throat to be good, does it?    William: Well, I don't know about that. Anyway, we haven't discussed the regional exhibition yet. I have to say I'm dubious about everyone's obsession with regional characteristics, this idea that in south west England, for example, there's a different light which creates a unique painting style... 

Extract 1
go out of one's way toわざわざ［無理してまで］～する、～するために尽力する［力を尽くす・ことさら努力する］Extract 2take no notice of～を気に留めない、～に目もくれない、～を見向きもしない、～を無視する、～に無関心である、～を顧みない、～を全く心に留めない、～に取り合わない、～を黙殺する、～を問題にしない、～を念頭に置かない、～を歯牙にもかけないrear its head (検索結果：undefined, 検索クエリ："rear its head")頭をもたげるdraw the line at the cloning of human beingsクローン人間の生産を禁じるdraw the line at (検索結果：undefined, 検索クエリ："draw the line at")一線を引いて～するところまではいかないExtract 3spread ~ around the house wherever there is space (検索結果：undefined, 検索クエリ："spread ~ around the house wherever there is space")家中の少しでもスペースのありそうなところに～を分散させるExtract 4stature (検索結果：undefined, 検索クエリ："stature")【名】〔人や馬などの〕身長、背丈〔進歩や発達の〕度合い、水準〔獲得や到達した〕名声、地位、偉大さ文例レベル8、発音stǽtʃər、カナスタチャーplow through (検索結果：undefined, 検索クエリ："plow through")～を切り開いて進む、～をゆっくりと苦労しながら進むdinner jacket (検索結果：undefined, 検索クエリ："dinner jacket")〈英〉ディナージャケット、略式夜会服◆【略】DJ◆【同】tuxedoegghead (検索結果：undefined, 検索クエリ："egghead")【名】〈話〉知識人、教育のある人〈話・軽蔑的〉知識人［インテリ］ぶる人文例〈俗〉はげ頭（の人）カナエッグヘッドpatently (検索結果：undefined, 検索クエリ："patently")【副】あきらかに、明白にPart 2close quarters狭苦しい場所接近戦set out to (検索結果：undefined, 検索クエリ："set out to")～するつもりがある、～に着手する、～し始める、～しようと試みる、～することを目指すoutward appearance (検索結果：undefined, 検索クエリ："outward appearance")外観、外見on occasion (検索結果：undefined, 検索クエリ："on occasion")〈文〉時折、折に触れてdeleterious effect (検索結果：undefined, 検索クエリ："deleterious effect")〔身体・精神・環境などへの〕悪影響、有害効果Part 3vaulted (検索結果：undefined, 検索クエリ："vaulted")【形】アーチ形天井の、円天井のgreat hall (検索結果：undefined, 検索クエリ："great hall")大ホール、大広間up top (検索結果：undefined, 検索クエリ："up top")頭の中で（は）、心の中で（は）smallish (検索結果：undefined, 検索クエリ："smallish")【形】小さめのbelly (検索結果：undefined, 検索クエリ："belly")【自動】〔帆などが〕膨らむ【他動】〔帆などを〕膨らませる【名】腹、腹部、胃食欲《航空》下部貨物室レベル5、発音béli、カナベリー、ベリィboulder (検索結果：undefined, 検索クエリ："boulder")【名】〔丸い〕大きな石《地学》巨礫（岩）◆直径が256mmを超える礫岩。junction (検索結果：undefined, 検索クエリ："junction")【名】〔道路などの〕ジャンクション、分岐合流点〔鉄道の〕分岐駅〔電気の〕接点、〔半導体の〕接合（点）、〔熱電対の〕接点〔複数の物を〕結合［接合］することdouble-glazed (検索結果：undefined, 検索クエリ："double-glazed")【形】二重ガラスの、ペアガラスのextend down (検索結果：undefined, 検索クエリ："extend down")～下方に［へ］広がる［伸びる］単語帳new lease on life (検索結果：undefined, 検索クエリ："new lease on life")《a ～》元気［活気］を取り戻すこと、寿命を延ばすことfind for (検索結果：undefined, 検索クエリ："find for")～に有利な判決を下す、～に供給するearn one's place in history歴史［後世］に名を残すcement someone's place in history as (検索結果：undefined, 検索クエリ："cement someone's place in history as")～としての（人）の歴史上の地位を固めるPart 4garden shed (検索結果：undefined, 検索クエリ："garden shed")物置小屋disquieting (検索結果：undefined, 検索クエリ："disquieting")【形】〔人を〕不安にさせる［をかき立てる］ostentatious (検索結果：undefined, 検索クエリ："ostentatious")【形】〔人目を引こうとして〕これ見よがしの、仰々しい、見えを張るレベル12、発音ɑ̀stentéiʃəs、カナオステンテ’イシャス、spectacle (検索結果：undefined, 検索クエリ："spectacle")【名】壮観、見世物、光景眼鏡◆通例spectaclesまたはa pair of spectacles。glassesの方が一般的。tempo (検索結果：undefined, 検索クエリ："tempo")【名】〈イタリア語〉《音楽》テンポ◆【略】t◆【複】tempos ; tempi◆【複】tempi文例〈イタリア語〉〔ある活動に固有の〕速度、テンポ【形・副】〈イタリア語〉《音楽》もとの速度で◆a tempoというようにaを付けなければ「もとの」の意味にならない。レベル6、発音témpou、カナテンポ、テンポウflicker (検索結果：undefined, 検索クエリ："flicker")【1自動】〔炎・光などが〕揺らめく、明滅する、徐々に消えるぴくぴく動く【1他動】〔炎・光などを〕揺らめかせる、明滅させるぴくぴく動かす【1名】揺らめく炎［光］、フリッカー、ちらつき、点滅ライト、揺らぎ文例《flickers》〈俗〉映画【2名】《鳥》ハシボソキツツキレベル10、発音flíkər、カナフリッカーmachine and things that go with it (検索結果：undefined, 検索クエリ："machine and things that go with it")《the ～》その機械と付属品grab by the throat (検索結果：undefined, 検索クエリ："grab by the throat")喉元をつかむ［ひっつかむ］regional characteristic (検索結果：undefined, 検索クエリ："regional characteristic")地域性◆複数形のcharacteristicsが用いられることが多い。in a different light (検索結果：undefined, 検索クエリ："in a different light")違った角度で