Part 1.
Extract One.
    Strolling along a deserted beach, I saw a bottle dusted with sand and found a message curled inside. An exciting moment! But messages in bottles are not new here. The earliest dates back to eighteen sixty when ships used them to keep those on land informed of their progress. None too reliable when your ship is sinking!     But the local museum is launching a project using bottled messages, not just to promote the whereabouts of the islands and attract tourism. Islanders are being invited to include maps and information about the islands themselves. Bottles have been collected from local beaches and are, though not in the traditional sense, being recycled. Primarily and more ambitiously, the project is set to identify tidal movements. Not by science or satellite systems, but by hurling these bottles back into the sea!    The hope is that people will reply to these messages through the more traditional postal system. Islanders will gain pen pals and new visitors, and the final whereabouts of the bottles will enable scientists to track their paths.    And all this from bottles discarded on a beach!

Extract Two.
    Presenter: Last year, Tim Fitzgerald exhibited photographs of his family, but in the current exhibition, which he shares with two other visual artists, he focuses solely on landscapes. What’s your impression of them?    Critic: I’m not sure he has what it takes to move beyond his family. Last year’s images of his nearest and dearest were very moving, weren’t they – there was a wonderful close-up of his sister’s face, almost like an abstract. But these landscapes… they’re not impressive or particularly articulate.    Presenter: I know he invokes the influence of several famous painters. You didn’t find any of that in his landscapes?    Critic: No. I think he has produced a couple of strong images, but there’s no sign of them in the current show and I'm at a loss to know why. It’s a very random choice. And also, four small photos in a large gallery feel very sparse. You can see it was an attempt to draw you in, but for me it backfired. You need more impact to raise the curtain on the exhibition – it’s not as if it’s the last room, it’s the first, and you move on to other artists’ works…

Extract Three.
One of my own thoughts about this piece is the idea that you’re letting yourself go, abandoning yourself. For me, that’s certainly what happens to me. When you’re really immersed in it, you’re no longer self-conscious, you’re absolutely the recipient of the sound. For me it’s not even as if it conjures up a specific event. At one point, I was playing it all the time – in supermarket queues, walking into work – having that sound in my ears gave me a world and a space that was very different. My family got pretty fed up. Certainly my husband winces at my corny tastes. I don’t know if corny’s the right word, but a colleague once said to me she would have expected something less banal. I find that rather sad. OK, so it’s a piece that obviously works for many other people too, but that doesn’t mean to say it should be denigrated, just because you don’t have to have great sophistication in music to appreciate it.

Part 2.
    You will hear a nutritionist talking about the production and uses of mastic, a spice that is found in the Mediterranean area.     I want to talk to you today about a spice which is not very well known outside its home territory, and that is mastic. Mastic is a resinous substance which comes from a tree of the pistachio nut family and it is one of Europe’s oldest spices. In fact, in its heyday it was considered so precious that armies quite literally fought over the islands where it was grown so that their masters would have the right to control its cultivation and sale.    Let’s take a look first at how mastic is produced. The mastic tree itself resembles an olive to the untrained eye but is not quite as large. In a process which is rather similar to the collection of rubber, growers cut the bark of the tree so that the tree then has to exude a sticky sap or resin to heal the wound, and this sap is mastic. The sap needs to harden in order to be of any use and strangely this only happens in the Mediterranean area. Efforts have been made in the past to transplant and cultivate the tree in other parts of the world, but so far without success.    The resin is then removed from the tree and, because it’s so precious, people even pick up the dirt under the tree and ensure that every last tiny bit of mastic is harvested. The growers try to pick out any grit which might have become embedded in the mastic gum. They just use simple pins to do this; unusually for nowadays, there are no mechanical aids or gadgets to speed up the process. Everything is still done in the traditional, labour-intensive way, by hand. If you examine a small piece of mastic it will look like a white crystal, similar to sea salt. Poets have even mentioned mastic in their work, alluding to it rather romantically as ‘silver tears’, suggesting again how much it’s valued.    Having harvested and cleaned the crystals, the growers often take the mastic from their trees, except for a small amount which they keep for their personal use, to a local co-operative, which contacts various commercial buyers and negotiates a decent price for the growers.    Now, what is mastic actually used for? In fact, its use can be traced back thousands of years. Archaeologists have found small lumps of mastic with the imprint of juvenile human teeth, suggesting that the earliest use of mastic was as a chewing gum for young people, something which still occurs today.    Nowadays it’s also used as a flavouring in sweet things like biscuits and to great effect in ice cream. Its value here is that it also provides a stickier texture, which means that it takes longer to soften, a useful quality in the hot Mediterranean summers. Mastic can also be used to flavour liquids. For example, in some rural areas, small fires are lit and a few grains of mastic dropped on the hot charcoal. Then pots are inverted on top so the clay picks up the flavour of the smoke and the mastic. Chilled water is then poured in, and when this is drunk it tastes very subtly of mastic.    Apart from its culinary uses, some mastic is also sold for other purposes. It can be used in shampoo, toothpaste and, indeed, for certain stomach ailments. In fact, it’s this area that mastic producers are now looking towards to provide a wider use for their produce, now that natural herbs and spices are being investigated to provide the medical products of the future.

Part 3.
    You will hear a discussion in which two marine biologists, Gina Kelso and Thomas Lundman, talk about an award-winning television film they made about wildlife in Antarctica.     Int.: Today, we’re talking to marine biologists Gina Kelso and Thomas Lundman, who you will recently have seen in their award-winning TV series about Antarctica. So, Thomas, what’s it like to suddenly become a household name?    Thomas: Well, we’re being interviewed for all sorts of publications and programmes since our television series about the wildlife in Antarctica won a major award. I’m often asked if I’ve always been interested in marine wildlife, and I find that hard to answer. What about you, Gina?    Gina: That’s an easy one for me, Thomas. I grew up on African shores, where my father worked for an international company. I could swim by the age of four, snorkel at five. I guess I was destined for marine biology because I’ve always been as happy in the water as on land. I remember a particular evening when I was about eleven. It was dusk and I was snorkelling, and I came across hundreds of stingrays entwined together. It was extraordinary; another world, and that was the moment that decided me. Although I later went to school in the middle of England, I’d lie awake at night dreaming of the ocean. Fortunately, I got in to university to do zoology and went on to do research in marine biology.    Thomas: And, like me, you’ve been in wildlife filmmaking for how long… about eight years now?    Gina: Yeah, I knew it was what I wanted to do, but instead of following the normal route of joining a TV company as a researcher, I was lucky enough to be chosen to take part in that first wildlife programme we did together. Do you remember?    Thomas: Yeah, where we made the first ever live broadcast under the sea. The practice run was very funny. I had to dive into a swimming pool and give a running commentary on some plastic plants that had been borrowed from a studio to make it look more realistic. Fortunately, the programme itself was a success and so one thing led to another after that, and we both moved more into the production side.    Gina: And it was tough making this latest series in Antarctica, wasn’t it?    Thomas: Well, the series is introduced by a well-known naturalist, dressed in a thermal anorak with the hood drawn so tightly that you can only see his nose.    Gina: And you get an idea of what conditions were like, but he was only the presenter – flown in to do his bit and flown back out again. We spent eight months there filming with a team of cameramen and researchers, living on a specially adapted boat.    Thomas: I didn't think I’d stand a chance of working on the programme, because I imagined they’d be looking for rugged types and I’m more the quiet academic. So I was quite taken aback when they asked me. We went for the spring and then returned the following spring, because the winter would’ve been too cold. Even then, on the Antarctic peninsula it can drop to minus fifteen degrees.    Gina: We were involved mostly with the underwater scenes. It’s a lot warmer in the sea, but we still had to wear extra-thick wetsuits and thermal underwear. The thing about living in that remote research community was I missed hanging out with my friends.    Thomas: But the Antarctic’s a place of incredible beauty and even after working sixteen-hour days, there were still moments of peacefulness.    Gina: But being with the animals for so long, we got to see things the other scientists hadn't. One guy’s been studying fur seals for years – knows everything about them – but he’s never seen them eat. He was thrilled when we were able to tell him about it. And if we’d had his input at the time, we would have realised the significance of what we’d seen and focused more on it.    Thomas: Absolutely. And the highlight of the trip was the day we entered a bay carved into huge glaciers to find around forty humpback whales feeding. It was very quiet, and then we heard a soft explosion. It was the noise of the whales' blowholes. What they do is dive down, and as they start to come up again they release air bubbles from their blowholes. Then they swim round each other, trapping the krill they eat in a curtain of bubbles. So it’s an extraordinarily effective piece of teamwork that really increases their feeding efficiency. We filmed them for ten days because we wanted a shot of them as they finished eating. We waited and waited and then one day they just suddenly stopped.    Int.: And that’s …

Part 4.
Speaker OneI knew I’d be short of money if I didn’t work before going to university, so I decided not to jet around the globe, and found a job in the nearest town instead. I had to live in because of early shifts, and only realised on about day two it meant I couldn’t keep up my tennis –which was a blow, because I was a very keen player. But I got over it in the end, which just goes to show nothing’s that important. Anyway, I was having too much fun with the rest of the staff to fret about it – I wonder if they’re all still there? The worst part of the job was when guests complained, which they frequently did!
Speaker TwoWell, I took a gap year because I thought I hadn’t seen enough of the world. I considered doing an overland trek across the Sahara, or helping out somewhere as a volunteer. Then I found a remote village in Kenya where they needed my skills – they’re all football-mad there – and a Nairobi businessman agreed to pay me a living wage. I settled in OK, although I never got the hang of the language, and that year gave me some serious thinking time. I realised I didn’t want to complete my course back home, even though I’d already spent quite a lot of money and time on it. It’s all good experience anyway.
Speaker ThreeThe whole thing was a disaster from start to finish. I’d had a sort of feeling it might turn out badly. We didn’t have the right training or equipment, and because there was no office back-up, we couldn’t get news forwarded to our families. And the leader – well, I wonder how experienced he really was. He couldn’t speak the porters’ language at all. You could say our pioneering spirit was crushed by the time we got back to base camp! On the other hand, we did bond as a group, and I see a couple of them regularly and have done ever since that time. So perhaps it wasn’t all bad.
Speaker FourI know some agencies will organise your gap year and sort out, say, working for a charity, but I’d much rather do what I did –just go off on the spur of the moment and see where you end up. It was absolutely brilliant, even though it took all the money I’d saved up for it –the fare and the hotels and eating in restaurants were to blame for that. At least I know I can cope on my own now and that’s a new thing for me. Sadly, I haven’t managed to keep up with the people I met in all those different cultures – I’m not surprised though – that’s life.
Speaker FiveI was told to stick to the script whether it was in French, German or Spanish. People don’t even ask many questions – it got quite boring after a while, because I felt there wasn’t any real communication between me and them. And if it’s raining, you get wet just hopping on and off the coach. I didn’t have high hopes before I started, although it certainly was a good way of earning some much-needed cash, and there were some nice people at head office, but in the end I did wonder if I couldn’t have found something a bit more inspiring. How often do people get a year off in their lifetime?

Part 1Extract One
stroll along～沿いを歩く［ぶらつく・散歩する］stroll along a beach  拡張検索浜辺［ビーチ］を散歩する
dusted with road grime 《be ～》道路のほこりにまみれる
curled渦巻いた
hurl強く投げる飛びかかる

Extract Two
what it takes to～するために必要な［欠かせない］もの［こと・特質・資質・素質・能力］、～するための代償have what it takes to be～になる才能がある、～に向いている、～の素質がある
dearest〈古〉いとしい人◆呼び掛けとして
invoke ～を思い起こさせる、引き起こす、かき立てる、誘い出す、呼び覚ます
sparse〔物・人間・動物・植物などの存在量が少なくて〕まばらな、わずかな、希薄な〔毛髪が〕薄い
draw in吸い込む、誘引する〔人を〕引き込む、〔客などを〕集める
raise the curtain幕を上げる［開ける］、開演する〔活動などを〕始める〔秘密などを〕明かす、明らかにする、発表する、公表する、公開する、暴露する

Extract Three
let yourself go 身をまかせる、気持ちを楽にする
self-conscious 自己［自我］を意識する、自意識の〔面前に人がいるので〕人目を気にする、照れくさがる、気の弱い、内気な
at one point 一時、ある時、ひところ
wince 〔恐怖などで〕ビクッとする、たじろぐ、ひるむ、尻込みする〔苦痛などで〕顔をしかめる〔不快感などで〕表情を曇らせる、嫌な顔をするたじろぎ、ひるみレベル10、発音wíns、カナウインス、変化《動》winces ｜ wincing ｜ winced
cornyトウモロコシの、穀物の〈話〉〔冗談が〕陳腐な、つまらない〈話〉〔物語や映画などが〕物まねの、ひどく感傷的な〈俗〉〔人が〕田舎者の、あか抜けない
denigrate〔人の性格や評判を〕傷つける、中傷する、侮辱する、悪くいう〔人や物の価値を〕過小評価する、見くびる
piece〔美術・音楽・文学などの〕作品、曲

Part 2
mastic マスチック樹、マスティック樹◆地中海沿岸の小常緑樹◆【同】mastic treeマスチック樹脂◆マスチック樹から採る樹脂、ワニス。
resinous樹脂の、樹脂を含む
pistachio 《植物》ピスタチオ（の実）◆西アジア原産のウルシ科の落葉樹。淡い黄緑色の実をつける。
exude にじみ出る、染み出す、発散する〔液体や気体を〕にじみ出させる、発散させる
resin 樹脂（製品）、松やに
sap 樹液
grit〔邪魔な物としての〕砂粒、固い粒〔砥石や石臼などを作る〕砂岩〔石臼などの〕きめ、粗さ
pick out 拾い出す、掘り出す、つつき出す、摘出する、抽出する、見つける、見つけ出す選ぶ、選び出す、選出する、選抜する、〔有能な人を〕引き抜く文例文例
gum歯茎、歯肉〔のこぎりの〕歯と歯の間［谷］
gadget 〔目新しい〕道具、装置、面白い小物《コ》ガジェット◆時計やカレンダーなどの小さなプログラム。不要な小物、役立ちそうでそうでもない装置
decent price《a ～》まともな［妥当な］金額［価格］
imprint印、跡、押印印象
grain of barley 大麦1粒
invert 逆になる、転倒する、反転する〔位置・方向・順序などを〕逆さにする、反対にする、反転させるひっくり返す、裏返しにする
ailment 〔重度ではないが慢性的な〕病気

Part 3
snorkel シュノーケル◆ダイバーが水に潜るときに口にくわえるパイプ。これで呼吸する。《船》シュノーケル◆潜水艦が吸気、排気のパイプを水面上に出して艦内空気の出し入れを行う。実用モデルはドイツが開発。これにより潜水艦が100倍長い時間潜水できた。
dusk 薄暗くなる～を薄暗くする夕暮れ、たそがれ暮れかかった、暗い色の
stingray 《魚》アカエイ、スティング・レイエイの一種。縁は黄色、尾に毒針、卵胎生、2m長。沿岸で採れ、食用。
entwine絡まる、絡み合う絡ませる、絡み合わせる
lie awake 目を覚ましたまま横たわる［横になる］
practice run試運転、予行演習
running commentary 〔状況の変化の〕実況解説、随時の口頭説明単語帳give someone a running commentary on（人）に～を実況解説する
anorak 〈主に英〉アノラック、防寒用フード付きジャケット〈英話〉オタク◆自分の興味があることだけに没頭し、ファッション・センスのない社会適応能力に欠ける人間を称する言葉◆【語源】アノラックを着て駅のホームの端でどんな天候でも長時間座っている列車マニアの姿から◆【同】nerd
flown into buildings《be ～》〔飛行機が〕ビルに突入する
back out後退して出る、手を引く、取り消す
taken aback《be ～》～にびっくりさせられる、～で不意を突かれる
carve ~ into one's memory ～を自分の記憶の中に刻むcarve ~ into rolls～を丸繰形に彫るcarve ~ into the shape of～を…の形に刻むcarve a name into～に名前を彫る［刻み込む］
humpback せむし［猫背］の人humpback whale《動物》ザトウクジラ◆ヒゲクジラの一種。アクロバティックに海面から飛び上る。キーキー、ブーブーなどの複雑な連続音を発する。1966年、捕鯨禁止。
whale's blowholeクジラの噴気孔
krill《動物》オキアミ◆複数形もkrill◆オキアミ目（Euphausiacea）の甲殻類の総称。ヒゲクジラなどの餌となる。
piece of work《a ～》作品、仕事扱いにくい人、とても変な人◆通例、悪い意味。important piece of work重要な研究
get a shot of～の写真を撮る

Part 4
fret about～を心配［懸念・腐心］する、～を思い悩む、～について心を悩ます［やきもきする］
blow 〔精神的な〕打撃、ダメージ、ショック
get it over with〈話〉〔不快なことを〕おしまいにする、けりをつける
overland陸路の、陸上の陸路で、陸上で
living wage生活賃金◆人がある生活水準を維持するのに必要な最低の時間給。イギリスやスイスでは、週40時間で付加給がないときの住宅、健康管理、余暇などの全てを含む一定の生活水準を満たすことができる時間給を指す。最低賃金（minimum wage）は、法令で定められたものであり、必ずしも生活賃金で求められる生活水準を維持できるとは限らない。
get the hang of～のこつ［方法・使い方・扱い方］が分かる［を理解する・をつかむ・を会得する・を飲み込む］、～の呼吸を覚える
go off on（人）に怒りをぶつける［腹を立てる］go off on a tangent〔話などが〕脇道にそれる、脱線するgo off on adventures冒険に出掛ける
spur〔乗馬の〕拍車〔行為などを〕誘発させる［動機付ける・駆り立てる］もの、〔比喩としての〕拍車
stick closely to a script台本を忠実になぞる