CPE 4 Test 3
Extract 1
Presenter: First on the programme today, we'll discuss the consultation document the UK airport authorities have just brought out, as part of their forward planning for the next thirty years. Of course, thirty years from now, we might be exploring the option of shuttle flights to Mars, but that's by-the-by. This document is concerned with more mundane, in fact, strictly down-to-earth considerations 一 delays, cancellations, lost baggage, congestion, the potential development of the air-freight sector, the integration of airports with the surface transportation infrastructure 一 hardly fly-me-to-the-moon stuff! But above all, its headline target is to give the travelling public a better deal. I asked the transport minister, Helen Fraser, to comment. Helen: We have to strike a balance. The government certainly won't be committing itself to providing massive resources. Even if we can see the number of passengers is going to double, we can't necessarily double the number of runways, and the public will have to accept that. People are very keen to fly, but nobody's too keen to have a runway near them. So we have to talk about it thoroughly and this document's a useful step in the consultative process.
Extract 2
My husband forgot my birthday this year, and he minded more than I did! I'm afraid that's what happens when you get to my age -- birthdays lose their resonance and you're lucky if they're acknowledged at all. Some people would say you're luckier if they go unacknowledged, but I wouldn't go that far. But there again, it's more important that he remembers the kids' birthdays, isn't it? Be that as it may, in the event, he could see that I was a bit put out, because there is a residual excitement there, there's no getting away from it. It's nothing to do with getting older, although when I was nine or ten that was all-important... to think I used to long for the day when I'd be married with kids... No, what I feel now is more a little thrill, bred of nostalgia for the old excitement I used to feel, you know, about the attention, the presents and being more grown up; notching up another year towards adulthood.
Extract 3
Woman: Frankly I don't see why, just because a museum is for science and technology and notancient artefacts and paintings, that means it's got to go down-market and have all these interactive exhibits, you know, pushing buttons and flashing lights. Man: It stands to reason that they are pitched at a younger audience -- school parties, kids with parents etc. and I'm afraid it's just no longer the case that kids will wander around in awe looking at a lot of old engine exhibits in glass boxes or drawers full of nuts and bolts. They won't put up with it, and if the numbers don't come in through the doors, then the museum is answerable -- which is just what happened in Bolton. Woman: But that means, as usual, we're pandering to the lowest common denominator. Quotingexamples of failed museums is not enough. More thorough investigation needs to be done. How do we know that customers won't like a few more traditional exhibits? I know my kids do and I don't think they're exceptional. Man: That'll mean more money going into research, instead of into the museums themselves.
Extract 4
This is an extremely witty book, written in a racy style. It moves along at a great pace, the descriptions are crisp, the action dramatic. In fact, I've only got one reservation, but I fear it's an insurmountable one, because this is in fact an historical novel, dealing with the life and experiences of Mary Queen of Scots - so we're going back four centuries. And apart from inventing dialogue between people who were not actually contemporaries, the writer has peppered the story with anachronisms so gross as to be almost a source of entertainment in themselves. I found myself half expecting a bicycle or train to appear amongst the carts and carriages at any moment. And I wish I could believe that she was writing a spoof, but sadly this is not the case. And this is the aspect of the book which will spoil it for the intelligent reader. Although, if you can suspend disbelief for a bit, in favour of an evening of pure escapism, it's actually a jolly good read, for all its shortcomings.
Part 2
The long-Iegged, long-eared brown hare, which looks like a taller cousin of the common rabbit, is an enigmatic creature. Shrouded in mystery and steeped in folklore, it attracts a wide range of admirers. To writers and artists, it's an endless source of inspiration; to hunters it's a challenging game animal as it dashes for cover across the winter fields. And, more practically, to some farmers it's an annoying pest. And although it's still familiar on farmland in many parts of Britain, conservationists are starting to detect a worrying problem because in recent years the brown hare hasn't been thriving and the population is in decline. What's more, this doesn't seem to be particularly connected with habitat. Hares are often to be found beside ditches where water plants provide plenty of cover during the day. At night, because they like to be where they can see danger coming, they make their way to open ground. Their main predators are foxes, but adult hares can easily outrun them. If a fox comes into a field where hares are, they won't pay much attention to it until it gets within about fifty metres. At that point, the hare stands on its hind legs and looks directly at the fox. This is actually a signal which says to the fox,‘I've seen you so there's no point in chasing me.' It's a behaviour known as ‘pursuit deterrence', and it's one that's beneficial to both animals because they don't waste the energy which would be expended in a fruitless chase. The fox and the hare often turn up in folklore, where hares are often associated with madness. This may stem from the fact that hares are basically nocturnal animals. People used to look out over open fields on clear moonlit nights and see hares behaving strangely. In the breeding season, which lasts from January to July, they may be seen chasing each other across fields and engaging in what look like boxing matches. In Britain at least, hares are traditionally thought to ‘go mad' in March, but this is simply the time of the year when they're most evident to the casual observer. The nights are getting shorter, so they're forced out more during the hours of daylight, whilst the crops in the fields have not yet grown to a height where they conceal the hare's activities. So what is happening to this familiar creature? Some surveys, carried out in the 1990s, tried to determine trends in the hare population. In recent years, there've been many changes in agriculture that should have benefited hares. Fields have become larger, for example, whilst field crops have often replaced livestock farming. Both trends produce just the sort of habitat which hares seek out. But the population was in fact found to have declined by around ten per cent over five years. Thanks to the surveys, there now exists a clear picture of the national distribution of hares and it's very uneven. Hare numbers have long been susceptible to annual fluctuation but, even taking this into account, a pattern emerges; a few isolated pockets with reasonable numbers of animals are interspersed with quite large areas with very few or none at all. In response to these findings, a number of schemes are being established and run by the Wildlife Trust. These are designed to show that game animals, wildlife and farming can co-exist quite happily. In the areas covered by the schemes, vegetation is allowed to grow high in certain places with more banks and ditches designed to provide protection for hares. With careful and judicious management, it should be possible to increase hare numbers quite dramatically and quickly within a limited area. The long-term conservation goal, however, is to achieve reasonable numbers of hares across the whole country. A Plan of Action for the hare was published in 1995. It has a highly ambitious target for the hare's recovery to ensure that the population recoups its decline by 2010. Thus we hope that in the future . . .
Part 3
Interviewer: With us today in the studio is the film director, Ann Howard. Ann, your early successgave you the opportunity to travel to the USA to work in Hollywood. Would you say you have a good relationship with the American film business? Ann Howard: Oh, everybody has a tough relationship with the American film industry, you know.Hollywood's got this ability to love the success of the films you've done independently and then want to destroy that very fact, really; to buy you and then to make you into something very different. Interviewer: Their studio system did little for the one film you made over there, did it? Ann Howard: Yeah, it was a bit messed up. I had a bit of trouble there. Interviewer: It's a shame because you can see the original concept has an awful lot going for it. Ann Howard: Yeah, but I shouldn't really be allowed to make a comedy. It's not in my temperament, really! I can't even tell a joke! So there were a lot of factors at work in all that. Interviewer: There were several script writers involved, weren't there? Ann Howard: Yes, quite a few. I mean, I wrote the script and there were American characters in it, so when I showed it to the studio, they said, 'Well, let's define these American characters more clearly. Let's build up the American sequences' and all that kind of thing.‘So let's work with this writer and that writer' and in the end there were three or four of us working on it and it got a bit confusing. Interviewer: And the ship sort of sails away at that point, doesn't it? Ann Howard: Right, it does. Yeah. But you've still got to direct the film, you know. And you've got to deal with everything. And it was quite an interesting experience. I still got a lot out of directing it, you know. And then we cut the movie together and I went through the experience of previews, which I hadn't been through before. Interviewer: Now, this is where they put it to test audiences, don't they? Ann Howard: Yeah, they do it very scientifically, actually. And the answers are always the same. It's amazing. You preview it in Los Angeles and they say, ‘Let's try New York to see if we get different responses', then they're exactly the same in New York as in Los Angeles. Interviewer: But surely that audience knows they're watching it under very strange circumstances? Ann Howard: Yeah, too right, you've got a bunch of self-appointed critics because generally you don't look at a film and fill out a card. First of all, you should choose to see a movie. When you pay for the ticket, you've accepted some level of involvement with the film. Interviewer: It's like a contract, isn't it? Ann Howard: Yeah, but when you go to a test audience showing, you haven't done that. You're going to be a kind of privileged person. Interviewer: And these people can cause changes to occur? Ann Howard: Well, yeah. They can do. They have approval ratings. Then they have to say if they will recommend it to their friends. And so you have to get definitely or probably on that, combined with excellent or very good on 75-80% of the cards, and if not they put you back in the mincer and grind you up ready to spit you out again. Interviewer: It makes you wonder what would have happened to the great classics if they'd had to go through that, doesn't it? Ann Howard: Well, they always did it, even Chaplin used to preview his films, you know. I mean, it's a useful tool as long as it's in the hands of the film maker. If you direct a movie, you want to know about points that maybe don't reach an audience and you realise that very quickly if you show it to two or three hundred people. Interviewer: But then you're still relying on your own judgement ultimately, aren't you? Ann Howard: Yeah. It's when it's used as a marketing tool or as a tool to make the films accessible to the blandest, most middle-of-the-road audience that you get problems. Interviewer: Yeah. You get movies that all look like American television. Ann Howard: Yeah, they all look the same, don't they? It's America, when you go there . . .
Part 4
Interviewer: This week in our series ‘Obsessions' we're going to talk about tidiness. With me areFrieda Keele and Martin Robinson. Frieda, why do you think that some of us have full control over our possessions and are disciplined about what we have and where we keep everything, while others live in a constant muddle of things we can't bear to put away, let alone throw away? Frieda: For me tidiness is something I've always been used to. I've never even thought about it. My mother was incredibly houseproud and I guess I just learnt it from her. If your parents lived in a muddle then I suppose you will too. Martin: My parents didn't live in a mess, but my room was my own. Thank goodness, my mother just accepted there were certain things I just had to have. They were part of me. Didn't you have your treasures, Frieda? Frieda: Oh, yes, there were five-minute wonders, but they were always tidy, and every so often I'd throw some out when they weren't useful any more. Martin: Oh no. I treasured things for ten or fifteen years. Frieda: So they served some purpose, did they? Martin: Oh no, I never used them, I just kept them in my bedroom all that time, a bit like a squirrel, you know. Frieda: But what happened to them, where are they now, these things that were such an important part of your life? Martin: I bet if I looked, they'd all be in a box somewhere in the attic in my mum's house. Frieda: My mother would've thrown them out, because she chucked everything out, everything that wasn't useful to her... I thought all mothers do this, you know... in the bin! Martin: That must have been a nightmare! No, my mum just... let me muddle along. Occasionally she'd say, ‘Martin, I want to clean your room tomorrow, so will you clear it a bit?' She was great like that. Never any hassle. That's why I'm such a laid-back person, I think. Frieda: And maybe why I'm so stressed. Martin: Don't you think that tidiness is not a constant, it's in the eye of the beholder? Frieda: I don't quite see what you mean, sorry? Martin: I mean the room I work in at home now, it's appallingly untidy. There are layers of... paper and everything all over the floor. But that's the way I like to work. Frieda: Now, that amazes me because I would have assumed that you were... the kind of... person like myself... I've an office where... I work from home... and I simply can't get down to work unless... everything is exactly where it ought to be. The desk has to be clear and... Martin: Oh look, you've even done a sort of diagram of how you're going to organise the day... that gives me the shivers. It's so orderly! Frieda: But I have to be orderly. Martin: But I find that if I start tidying up, then I don't do any work at all because... tidying up is infinite... there's no end to it. Frieda: But that's not so. Anyway, it's fantastic that feeling, when you've got... everything straight. Martin: ... And then you feel you've done a day's work, and so you don't do anything... constructive. Tidying is endlessly preparing the ground for some great work... but you risk never doing the great work! It's an illusion the tidying, just get on... with the job in hand, I say. Frieda: Oh no, I couldn't... because for me it's not a displacement activity... Martin: A what? Frieda: You know, I'm not putting off anything by tidying up, it's just part of... routine... and here I am look... I'm called the scruffy one. Martin: Wearing old jeans. Frieda: And there's you in a collar and tie and everything... and yet you've got the untidy room. Martin: Just goes to show, doesn't it? Frieda: Umm. Interviewer: And that's where we have to leave it today. Frieda, Martin, thank you.
Extract 1
bring out 〔新製品・新人歌手などを〕世に出す、市場に出す、売り出す、見せる、上演する、発表する、〔新製品を〕発売する、〔本を〕出版する、刊行する、発行する、社交界に出すby the by (検索結果：undefined, 検索クエリ："by the by")時に、それはそうと、ついでながら、ちなみにExtract 2Be that as it may (検索結果：undefined, 検索クエリ："Be that as it may")仮に［たとえ］それがそうだとしても、そうかもしれないが、それがどう（で）あろうと、それはともかく［ともあれ・それとして・さておき］、それにつけても、とはいえ、いずれにせよ［しても］、とりあえずそれはおいてput out 〔予測・結果などを〕狂わせる（人）の心を乱す、気分を害する、怒らせる文例てこずらせる、不便を掛ける、困らせるbred (検索結果：undefined, 検索クエリ："bred")breedの過去・過去分詞形Extract 3downmarket (検索結果：undefined, 検索クエリ："downmarket")【形】〈主に英〉大衆市場［低所得層］向けの◆【対】upmarket〈主に英〉時代遅れの、はやらない【副】〈主に英〉大衆市場［低所得層］向けにcome in through a side door通用口から入る単語帳come in through the window窓から潜り込むpander (検索結果：undefined, 検索クエリ："pander")【自動】〔人の下劣さに〕合わせる、迎合する〔人の欲望などに〕付け込む〈古〉売春の仲介をする【名】〈古〉売春仲介業者Extract 4racy (検索結果：undefined, 検索クエリ："racy")【形】〔性的描写が〕際どい、いやらしい文例活発な〔文体などが〕キビキビした〔飲食物に〕独特の風味があるcrisp〔態度・動作・話し方などが〕キビキビした、てきぱきした、シャキシャキした、歯切れの良い、快活な、生き生きした、短くて明瞭［明快］な、簡潔で明瞭［明快］な、はっきりしたreservation差し控えること、留保、遠慮すること、秘密にしておくことcontemporary (検索結果：undefined, 検索クエリ："contemporary")【名】同時期の人、同年齢の人、同年輩gross〈話〉気持ち悪い、嫌な、ゾッとする、吐き気を催すような、いまいましい、ムカムカさせる、むかつく文例粗雑な、粗野な、不作法な、品のない、繊細さに欠ける、肉眼的なひどく太った、太り過ぎのhalf expecting to (検索結果：undefined, 検索クエリ："half expecting to")～することを半ば期待して［予想しながら］carriage (検索結果：undefined, 検索クエリ："carriage")【名】〔大型の四輪〕馬車台車◆【同】wheeled platform姿勢、構え、身のこなし◆【類】posture ; pose ; stance ; attitude文例輸送、運送、配送運送費、配送料〈英〉〔鉄道の〕客車spoof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spoil for a fight (検索結果：undefined, 検索クエリ："spoil for a fight")けんかがしたくてうずうずする単語帳spoil for a snowball fight雪合戦したくてたまらないdisbelief (検索結果：undefined, 検索クエリ："disbelief")【名】信じないこと、疑惑、疑念、懐疑、不信◆宗教の「不信心」はunbeliefjolly (検索結果：undefined, 検索クエリ："jolly")【他動】（人）にうれしがらせを言う、（人）をおだてる【形】陽気な、上機嫌の、すてきな【副】〈英話〉非常に、すごく◆【同】veryレベル6、発音dʒɑ́li、カナジャリ、ジョリーPart 2 hare (検索結果：undefined, 検索クエリ："hare")速く走る野ウサギ◆【参考】rabbitshrouded body (検索結果：undefined, 検索クエリ："shrouded body")布に覆われた体［死体］文例shrouded in《be ～》～で覆い隠されているsteep ~ in water～を水に浸すdash for (検索結果：undefined, 検索クエリ："dash for")～に向かってダッシュ［突進］するrun for cover (検索結果：undefined, 検索クエリ："run for cover")避難所を求めて走る、逃げ場所を求めて走るstand on one leg (検索結果：undefined, 検索クエリ："stand on one leg")片脚で立つhind leg (検索結果：undefined, 検索クエリ："hind leg")後肢expend (検索結果：undefined, 検索クエリ："expend")【他動】～を費やす、消費する、浪費する、使い果たすlook out over (検索結果：undefined, 検索クエリ："look out over")～をはるかに見渡す単語帳look out over the lake湖を望む［見渡す］casual observer (検索結果：undefined, 検索クエリ："casual observer")うわべだけを見ている人field crop (検索結果：undefined, 検索クエリ："field crop")〔大農場で大量生産される〕農作物interspersed with《be ～》～がちりばめられて［組み入れられて］いるPart 3 have a lot going for (検索結果：undefined, 検索クエリ："have a lot going for")～にとって良いこと［有利な点］がたくさんあるvariation in temperament気質の変化単語帳quite different in temperament《be ～》性格［気性］が全く異なるsequence〔映画の〕シーケンス◆映画を構成する一つのエピソードで、幾つかのショット（shot）から構成される。cut 〔映画などの〕一場面［カット］、〔映画などの急な〕場面転換self-appointed (検索結果：undefined, 検索クエリ："self-appointed")【形】〔他人の同意を得ずに〕自ら決めた自称の単語帳self-appointed expert自称専門家mincer (検索結果：undefined, 検索クエリ："mincer")【名】肉挽き機grind up (検索結果：undefined, 検索クエリ："grind up")挽き砕くspit out (検索結果：undefined, 検索クエリ："spit out")【句他動】〔口の中の物を〕吐き出す〔言葉を〕怒って言う、吐き捨てるbland (検索結果：undefined, 検索クエリ："bland")【形】〔態度などが〕人当たりの良い、愛想の良い〔態度などが〕平然とした、無頓着な〔気候などが〕穏やかな、爽やかな〔食べ物などが〕口当たりの良い、刺激が強くない〔食べ物などが〕味気ない、風味がない、水っぽい〔人や映画などが〕つまらない、退屈な《医》未感染の、無菌性のmiddle of the road (検索結果：undefined, 検索クエリ："middle of the road")中道、中庸単語帳middle-of-the-road【名】《音楽》軽音楽、イージー・リスニング◆中年層をターゲットとした、ポップでもロックでもない中間の音楽で、ロックをメロウにしたり、ポップをオーケストラで演奏したりすることが多い。アダルト・コンテンポラリーもこの範疇に入れることがある。◆【略】MOR【形】〔政治的立場が〕中道の、穏健な《音楽》軽音楽の、イージー・リスニングのPart 4muddle (検索結果：undefined, 検索クエリ："muddle")もたもたする、ぼんやり考えるごちゃ混ぜにする、混同する〔頭を〕混乱させるめちゃめちゃにする、台無しにするput away (検索結果：undefined, 検索クエリ："put away")【句動】片付ける、しまう、しまい込む、収納する◆【直訳】何かを現在ある場所から離れた（away）所に置くhouse-proud【形】家政にうるさいthank goodness (検索結果：undefined, 検索クエリ："thank goodness")〈話〉よかった、ありがたい、ホッとしたtreasure貴重品、大切な品attic (検索結果：undefined, 検索クエリ："attic")【名】屋根裏◆建物の屋根の直下にあるスペース（空間）屋根裏部屋chuck out (検索結果：undefined, 検索クエリ："chuck out")【句動】追い出す、追放する、つまみ出す、放り出す、投げ出す否決する、拒否する、はねつける駄目にする、解雇する、捨てる、処分する〔うっかり〕しゃべる、口にする、漏らすlaid-back (検索結果：undefined, 検索クエリ："laid-back")【形】〔雰囲気・生活・音楽などが〕リラックスした、くつろいだ、のんびりした、ゆったりした文例〔人の性格などが〕おおらかな、こだわらない、気軽な、こだわりのないbeholder (検索結果：undefined, 検索クエリ："beholder")【名】見る人displacement (検索結果：undefined, 検索クエリ："displacement")【名】移動、転移、置き換え強制退去、立ち退き解職、解雇scruffy (検索結果：undefined, 検索クエリ："scruffy")【形】だらしない、むさ苦しい、みすぼらしい、汚らしいgo to show (検索結果：undefined, 検索クエリ："go to show")～を証明する