CPE 5 Test 4
Extract 1 We were living in Zambia and my parents took me to the Victoria Falls. I must have realised even then that every fall has its own character. Big is not always beautiful. A lacy ribbon spilling over a cliff can change mood and appearance on the whim of the sun going behind a cloud. Likewise, with a roaring cascade, even the note can differ. Falls are as capricious as they are complex, visually and audibly. You can visit the same fall three days in a row and find that one day it's aloof, the next it's having a tantrum with such fury that one backs away. And the day after, it will be gurgling with affection. Falls come and go, so only the big year-round ones are marked on maps.Many dry up in summer and spring into life only after rain. That's why I use contours on the map to assess where a fall might be. Then, when I want to take a photograph, I calculate the angle of light at dawn to achieve the maximum effect. Then I sit and wait for a passing shower.
Extract 2
Interviewer: So, Professor, what do restorers do? Professor: Restorers work on old paintings which are anything from one century to seven centuries old and are, as a result, covered with layers of discoloured varnish and grime. The main aim of restoration is to give people a sense of being able to look at the works without the veil of ages. Restorers can release a painting, not back to its pristine state which is sadly not feasible, but to something which gives some feeling of the real liveliness the painting had when it was first painted. Interviewer: Some critics say we should leave the paintings alone, as by stripping off the old varnish and cleaning them we're creating a lot of disharmonies and getting further away fromwhat the artists intended. Professor: Well, in my view, responsible restorers are in effect making a choice based upon bothscience and aesthetics as to how a painting can look best in terms of the demands we make on the paintings. There is in a sense a period choice to be made, but every period has made that choice and choosing not to intervene is a kind of period choice as well.
Extract 3
First there was a production line, and then a factory, and then a vacuum cleaner like no other in the world, in silver with yellow trim, working on new principles. All a tribute to John's belief that the product is right. Two million have now been bought and it's the biggest-selling cleaner in Britain, outstripping the established manufacturers. The Dixon empire is now centred on a massive factory in the south of England, full of new machinery and cool colours chosen by John's wife. With a thousand people already employed by the firm, it's now in the middle of a huge expansion. A purpose-built plant next door is due to open next summer, meaning the output will double. In a world of high technology, many business people now find manufacturing much less inspiring than services or manipulating data. But John is passionate about the thing - something which distinguishes him from most of the people in British business.
Extract 4
We inhale it, eat it and walk around in clouds of it. But in spite of the size and ubiquity of its tiny particles, dust is far from unimportant; can even have world-shaping impact. Take the soils of Jamaica and Barbados: they began life as sand, blown a speck at a time from the Sahara Desert. In The Secret Life of Dust, Hannah Holmes dates her obsession with dust to a visit to the Gobi Desert. This slim volume represents an enthrallingly non-technical glimpse into this unexpectedly fascinating field of study and Holmes' enthusiasm shines through, along with her admiration for the people who investigate it. Dust researchers have to be meticulous and imaginative as they try to capture the tiny specks of evidence they spend their lives analysing. Holmes interviews dozens of them, and her thumbnail sketches give a vivid impression of fellow obsessives tramping acrossdeserts and up volcanoes to collect samples, and then teasing the secrets from their miniscule catches.
Part 2
What could be nicer on a hot summer's day than a cooling swim from a sheltered beach? But sometimes our swimming companions are best given a wide berth; many a holiday dip has been ruined by an unwelcome brush with the tentacles of a floating jellyfish. So, how to identify them? A jellyfish looks something like a couple of upside-down dishes and if you imagine that the central part of the lower dish has been removed, there's a mouth in that position. Around the rim there may be many long fine tentacles which extend and which in many species are used for stinging. Jellyfish don't have many enemies - very few things eat them, basically because they are 97% water - it's like eating a soggy lettuce leaf really. They also have a gelatinous texture and, of course, they have a sting. But, for all that, jellyfish seldom live long; in fact, many of them only live for one year, so during the winter time they die off. Some small ones that will develop into the big jellyfish lie attached to rocks and overhangs in sheltered positions and then later they'll grow to full size, they'll reproduce and that'll be their lifecycle. Jellyfish have a tendency to swarm - that is, they don't all consciously decide to swarm, in fact they have very limited control over where they swim. They're very vulnerable to wind effects on the sea and to tidal movements. Sometimes jellyfish and human beings come together and the consequences can be rather painful. This is because jellyfish get carried into sheltered bays, by the same processes which create sandy beaches. There are many different kinds of jellyfish, and the one most commonly encountered, in Britain at least, is the box jellyfish. This has a body size up to roughly that of a person's head, and sixty tentacles trailing behind it, giving an overall length of around three metres. It floats along near the coast with these tentacles strung out in an attempt to catch its main prey, which is all sorts of small fish and crustaceans. They're inclined to turn up in swarms in quite shallow areas where they can be quite tricky to see, especially if the water is sunlit too. So when people rush into the water unawares, they can run into what seems like a curtain of tentacles. It's not very nice and then it'sdifficult to avoid getting stung. So, what should you do if this happens? Now, when jellyfish sting, your initial reaction is to start running away, get out of the water as quickly as possible. But, actually, the more you run, the faster your heart rate becomes, and the quicker the venom is absorbed. So, actually, the first thing to do is to calm down the person who's been stung. It's also been shown that you can neutralise any tentacles that are still on the person's body by the application of vinegar. But not all jellyfish sting. For example, the blue-coloured moon jellyfish is common around Britain. It won't harm you and it's a beautiful sight. You can see its internal organs because it's virtually transparent and these seem to glow in the dark in this lovely blue colour. So they're well worth looking out for. Other varieties which you might spot include ... (fade)
Part 3
Presenter: In the studio we have Hal Jordan, eminent classical composer and music historian. Hal has written a fascinating book, tracing the major breakthroughs in the history of music. Now I'd like to start at the wrong end, so to speak, (laughs) and ask you, Hal, what effect you think computers have had on music and composing in particular? Hal: Well, the most obvious one is practical. A composer can use a computer like a word processor to speed up the whole business of writing the parts for individual instruments in an orchestral piece. But like the innovation of word processing for writers, umm, it has to some extent changed the psychology of the way we write as well, because you can try things out that you wouldn't have tried before. So I think that's one thing, although there's a catch to all this which is that only someone who can read music can tell whether what the computer has come up with is right. And what we spend all our time doing is correcting what the computer has produced, but I'm not sure what's going to happen in fifty years' time when people no longer know what music's supposed to look like. Presenter: But computers take some of the drudgery out of your work. Hal: Certainly, but some composers have also used them to play games with music, you know, by introducing the chance principle, where you just let the computer choose notes. What's interesting is that, in this experiment, we're bypassing the human ear, which has always been crucial in assessing music. And after a while, everybody's realised it's a blind alley. Presenter: But not a complete waste of time, surely? Culturally, things happen for a time untilsomething becomes a convention and then it's absolutely necessary creatively to breakthat convention. Perhaps machines can help us do that. Hal: Absolutely. Machines generally have had a huge effect on music and the most obviousone is the invention of recorded sound at the end of the nineteenth century. Unpredictable things ensued, for example - um - that music from one culture was carried to another, mixed with it and started a third form of music. Or the fact that audiences started to hear music they were unaccustomed to and this affected how they listened, the way they heard their own music. Presenter: Looking at earlier breakthroughs, how was music passed on before people worked out a system for writing music down on paper - notation I believe it's called, isn't it? Hal: Correct, yes. Well, it was done largely by memory or by someone singing it to someoneelse, as simple as that. Oddly enough, the invention of notation in Europe in about the year 1000 was the first big step that took Western music away from other forms of music, because elsewhere people never really cracked it. They kept to the traditional way, which involved memory and improvisation, so music happened spontaneously. What notation did was that it said 'This is what it's like today and we can perform it tomorrow exactly the same. We can hand it to someone who's never met us, if they're suitably proficient, and they'll play it as well'. Presenter: Except they don't, do they? Hal: Not exactly, but it's closer than any other system's ever been. And the other thing was itgave you a graphic layout for music and it meant you could have architecture for music, you could build structures you couldn't possibly conceive of just by improvising, or singing to your mate. Presenter: So, it shifted the balance of power from the performer to the composer? Hal: Before that, all performers were composers in a way, because they were making it up as they went along. Still in some Eastern music, and European folk music too, the composer and the performer are the same person. Presenter: This reminds me of the impact of writing on language. Some linguists talk about theinvention of writing having cost us dear, as it removed us from the spontaneity of process and fixed it more in place. Presenter: Except that it's also true that the spontaneous version of music carried on alongside,notation was just another tool. Take jazz which is an African-Western amalgamation in which people improvise and yet it's intermingled with the techniques of notation. Some listeners believe erroneously that jazz is chaotic, while the musicians are actually working to a prearranged pattern, like a map if you like, but instead of having it set out in front of them, it's in their heads.
Part 4
Harry: Hi, Tina. You look a bit frazzled. What's up? Tina: Oh, Harry, you wouldn't believe the traffic! It's even worse than ever this morning. I putit down to the fact that they've brought those new bus lanes into use. Harry: Well, the fact that the buses now have priority over cars on some roads is meant tosolve the traffic problem, not make it worse. I came by bus as usual and I got here at my normal time. Tina: There you are, that just goes to show. If the system was working properly, then you'dbe getting here in half the time; as it is you're no better off and I've been held up to no avail. Harry: It's a nice idea Tina, but actually there is no bus lane on my route, they said that theroad wasn't wide enough, remember, unless they cut down all those trees and there was a public outcry. Anyway, who says it's to no avail. If it means you'll consider taking the bus in future, then maybe it's achieved its objective. Tina: Umm ... I hadn't thought of it in that way. That would be absolutely typical of our city council, wouldn't it? Anyway, that may work for some people, but to tell you the truth, I just don't fancy sitting on a bus and that's all there is to it. Harry: Yes, and that's how a lot of people feel unfortunately, and I have to say I find it rather aselfish attitude Tina. This city's traffic problem is not going to improve unless we all work at it together, and that means everybody making certain sacrifices, like using their cars less. I don't think people mind that, actually. Tina: OK, don't get on your high horse. I guess we've all got used to a certain degree of personal freedom, and the car plays a pretty large part in that. No-one's going to give that up willingly, you know. Harry: I suppose the scheme does represent an attempt to restrict people's freedom, but Iwelcome that, if you ask me, it's not before time. And let's face it, if the road's gridlocked and you can't get to work, you've lost your personal freedom in any case. Tina: That may be the case, but at least no-one's telling me how I should lead my life. It's alright for you, the bus takes you virtually door-to-door and you live right next to that supermarket. What about when I want to go out after work or get my shopping on the way home? It's quite a long walk from my flat to the bus stop, you know, and they aren't as frequent on my route either. Harry: OK, I take your point, but look at it this way. If most people habitually took the bus, andonly fell back on their cars when they had some bona fide reason, like your trip to the supermarket, that would still be a great improvement on everyone leaping into the car without giving it a moment's thought, whenever they wanted to go somewhere. It's the unnecessary trips that cause all the hold-ups actually. Tina: Now I don't doubt for a moment that you're capable of doing that Harry, but I scarcelyknow anyone else who's in a position to even try. What about all the people with kids who've got to do the school run and still get to the office on time? Harry: Well the kids can get the bus like everyone else. Tina: No, that'll never happen, Harry. Mind you ... (fade)
Extract 1
lacy レース（lace）の（ような）［で作った］whim 思い付き、気まぐれ◆思い付きが「突然」であることを強調する。文例〔鉱山の〕巻き揚げ機◆鉱石や水を坑道から馬の力で垂直に引き揚げるウィンチ。レベル10、発音hwím、カナホイム、ホゥイム、変化《複》whimsnote兆候、雰囲気、様子声の調子、響き、話し方、態度capricious 気まぐれな、移り気な、むらのあるaloof 〔人が〕超然とした、打ち解けない〈古〉少し離れている［遠くにある］【副】〔人の気特ちなどが〕（遠く）離れて、遠ざかってhave a tantrum (検索結果：undefined, 検索クエリ："have a tantrum")〔駄々っ子・短気な人などが〕かんしゃくを起こす、怒りを爆発させるfury (検索結果：undefined, 検索クエリ："fury")【名】激怒、憤慨、憤激、激情文例猛威、激しさレベル7、発音fjúəri、カナフュアリ、変化《複》furies、分節fu・ryback away (検索結果：undefined, 検索クエリ："back away")【句動】後退する、後ずさりする、車をバックさせる、遠ざかる、身を引く、逃げ腰になる、腰が引けるgurgle 〔人や鳥が〕のどを鳴らす〔水などが〕ゴボゴボ［ドクドク］流れる、ゴボゴボ［ドクドク］音を立てるyear-round一年中の、通年の、年間を通した、年中開いている、年中使う一年中、年間を通して、年がら年中、通年でcontour〔不規則な形のものの〕輪郭、外形〔人間の体の輪郭の〕曲線◆通例、contours〔地図の〕等高線◆【同】contour lineExtract 2 varnish〔塗料の〕ニス、ワニス◆樹脂・乾性油・溶剤から成る、主に木材の表面を保護するためのもの。顔料は含まないため、乾燥すると、光沢のある透明で固い皮膜になる。〔ニスを塗った〕光沢塗装膜うわべだけの見せ掛け［取り繕い］grime 〔すすなどで〕黒くする、汚す【名】〔表面にこびりついた〕汚れ、あか、すす発音gráim、カナグライムExtract 3work on the same principle 同じ原理に基づいて動く［働く・機能する］speck 少量、しみ、小さい点、小さな腐り傷小片、小粒、ちり、微塵レベル9、発音spék、カナスペック、変化《複》specksat a time 一度に、同時に、1回にExtract 4date ～から始まるslim volume 《a ～》薄い書物enthrallingly 心を奪うようにmeticulous 極めて注意深い、細部まで行き届いた〈米〉細かいことにこだわり過ぎる、あまりにきちょうめんなthumbnail 親指の爪、非常に小さいものサムネイル◆画像や文書を小さく表示［印刷］したものtramping 山歩きtease out the secret of 〔丹念に調べて〕～の秘密を引き出す［探り出す］minuscule 極小の、非常に小さい、極めて小さい文例文例Part 2 give a wide berth to～から離れている、～に近寄らない［近づかない・関わらない］◆【直訳】～に広い操船余地（berth）を与える◆操船余地とは、船と船がぶつからないようにするためにあけておく余地（間隔）のこと。dip〔物を〕下げる［沈める・浸す］こと〔液体や容器に〕手を入れること◆物を取り出すために。軽く泳ぐこと、一泳ぎ◆【同】quick swimbrush軽く触れること、こすれることfor all that とは言うものの、それにもかかわらずsoggy (検索結果：undefined, 検索クエリ："soggy")【形】〔水で〕ずぶぬれの、びしょぬれの〔天候などが〕湿っぽい、蒸し暑いつまらない、元気がない、無気力なlettuce (検索結果：undefined, 検索クエリ："lettuce")【名】《植物》レタス◆キク科アキノノゲシ属の一年草または二年草。葉物野菜として栽培される。◆【学名】Lactuca sativa文例〈俗〉〔硬貨に対して〕札、紙幣レベル3、発音létəs、カナレタス、レティス、変化《複》lettuces、分節let・tucegelatinous (検索結果：undefined, 検索クエリ："gelatinous")【形】ゼリー（状）の、ゼラチン（質）の、ゲル状の、粘着性のoverhang (検索結果：undefined, 検索クエリ："overhang")【他動】～の上にかかる［突き出る］、～に覆いかぶさる〔危険などが人に〕差し迫る【名】オーバーハング、突き出た部分、突出（部）、張り出し文例come together (検索結果：undefined, 検索クエリ："come together")【句動】一緒にやって来る、一緒になる、協力する、団結する、一体となる文例同時に生じる、衝突する良い方向に進む、和解する文例文例swarm (検索結果：undefined, 検索クエリ："swarm")【1自動】〔昆虫が〕群れで動く［現れる］〔ミツバチが〕分巣する群がる、大群になる、群衆が移動する文例一杯になる、あふれる文例carried into (検索結果：undefined, 検索クエリ："carried into")《be ～》運び込まれるstrung out (検索結果：undefined, 検索クエリ："strung out")《be ～》〈俗〉麻薬にひどく酔っている、麻薬中毒である文例《be ～》〈話〉疲れ果てているcrustacean 《動物》甲殻類◆節足動物門（Arthropoda）甲殻亜門（Crustacea）に属する、エビ、カニ、ザリガニ、オキアミ、フジツボなどの総称。【形】甲殻類のin swarms (検索結果：undefined, 検索クエリ："in swarms")わんさと、群をなしてsunlit (検索結果：undefined, 検索クエリ："sunlit")【形】太陽に照らされたPart 3 notation (検索結果：undefined, 検索クエリ："notation")【名】〔数値や音符の〕表記法、記数法、記譜法〔数値や音符を〕表記［記譜］すること〔短い〕メモ、注記メモを取ること、書き取ること発音noutéiʃən、カナノーテーション、ノウテイション、変化《複》notations、分節no・ta・tionblind alley (検索結果：undefined, 検索クエリ："blind alley")袋小路行き詰まり◆物事が先に進まなくなることensue (検索結果：undefined, 検索クエリ："ensue")【自動】後に続いて起きる文例結果として起きる文例crack〔金庫・パスワードなどを〕破る〔暗号を〕解読［解明］する《コ》〔ソフトウェアのコピープロテクトを〕外す〔問題・事件などを〕解決する、理解するmake it up (検索結果：undefined, 検索クエリ："make it up")埋め合わせをする、仲直りするgo along (検索結果：undefined, 検索クエリ："go along")【句動】〔物事が〕進行する（人）について行く、（人）と同行する文例～に付随する（人）に賛成する〔規則などに〕従うcost someone dear (検索結果：undefined, 検索クエリ："cost someone dear")（人）をひどい目に遭わせる、（人）に高くつくamalgamation (検索結果：undefined, 検索クエリ："amalgamation")【名】融合、混血〔会社などの〕合併《冶金》混汞法、アマルガム法erroneously (検索結果：undefined, 検索クエリ："erroneously")【副】〔考え方・判断などが〕誤って、間違って◆【形】erroneousset out～を設計する、～を設定する、～を立案する、～をデザインする文例〔書類・衣服・料理などをよく見えるように・使いやすくなるように〕並べる、並べて置く、陳列［展示］する着飾る◆【同】set oneself out〔食べ物を〕出す、用意するPart 4 frazzle (検索結果：undefined, 検索クエリ："frazzle")【自動】〈話〉〔物が〕ぼろぼろにすり切れる〈話〉〔人が〕疲れる、くたくたになるput A down to B AをBのせいにするgo to show (検索結果：undefined, 検索クエリ："go to show")～を証明するheld up (検索結果：undefined, 検索クエリ："held up")《be ～》頓挫する、停頓する、立ち往生する、棚上げ状態であるto no avail〔努力などが〕無駄にThat's all there is to it「それで全部」「そんだけ」bona fide (検索結果：undefined, 検索クエリ："bona fide")【形】〈ラテン語〉本物の、真正な〈ラテン語〉善良な、誠実な◆【対】mala fidejoin a school run by (検索結果：undefined, 検索クエリ："join a school run by")～が経営する学校に入学するget on one's high horse傲慢な態度を取る、威張る◆昔、貴族たちが背の高い馬に乗っていたことに由来する表現で、高飛車に出たり、自分の地位を誇示することで、周りの人々からの尊敬を無理やり得ようとする態度を表すのに使われる。get onをget offにすると「威張るのをやめる、友好的になる」という意味になる。