Test and Train Practice Test 1

C1 Advanced
Reading and Use of English
Important note: a computer-based version of this
paper is available in the ‘Tests’ area on
Cambridge One.
C1 Advanced

Reading and Use of English

 Test and Train Practice test 1

Time   1 hour 30 minutes

INSTRUCTIONS TO CANDIDATES
Do not open this question paper until you are told to do so.
Write your name, centre number and candidate number on your answer sheets if they
are not already there.
Read the instructions for each part of the paper carefully.
Answer all the questions.
Read the instructions on the answer sheets.
Write your answers on the answer sheets. Use a pencil.
You must complete the answer sheets within the time limit.
At the end of the test, hand in both this question paper and your answer sheets.

INFORMATION FOR CANDIDATES

There are 56 questions in this paper.
Questions 1 – 24 carry 1 mark.
Questions 25 – 30 carry up to 2 marks.
Questions 31 – 46 carry 2 marks.
Questions 47 – 56 carry 1 mark.
C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 1

For questions 1 – 8, read the text below and decide which answer (A, B, C or D) best fits each gap. There is an
example at the beginning (0).
Mark your answers on the separate answer sheet.
Example:
0 A known B stated C called D claimed

0 A B C D

Ultimate Frisbee
For the past hour, I’ve been running around a field chasing a flying plastic disk (0) as a Frisbee,

simultaneously dodging five people who want to (1) Impel

me to the ground. I’m exhausted, my fingers

hurt, and I’ve got some impressive bruises to (2) Display

for my efforts. Why? It’s all from Ultimate Frisbee: a

game involving teams and a Frisbee.

(3) Scarcely
officially recognised by the Olympics Committee in 2008, it’s now one of the fastest growing

team sports worldwide. It’s no wonder; all you need is a plastic Frisbee. I’ve joined a team to see what all the

(4) Fuss
is about, and the attraction is obvious. I’m getting a brilliant (5) Workout
because I’m constantly

changing speed and direction. I’ve quickly managed to (6) Master

different types of throws and catches,

amazingly only dropping the Frisbee twice!

I go home inspired and (7) While

I may never play at a professional level, taking part in the odd competition

is something I wouldn’t (8) Rule out

. It’s fun, sociable and there may be prizes.

© Cambridge University Press and Cambridge Assessment 2020 2

 C1 Advanced Reading and Use of English Test and Train Practice test 1

1 A struggle B battle C wrestle D impel

2 A demonstrate B show C exhibit D display

3 A Merely B Hardly C Scarcely D Only

4 A enthusiasm B fuss C fervour D turmoil

5 A training B movement C workout D exertion

6 A master B control C succeed D fulfil

7 A despite B yet C as D while

8 A rule out B shut out C leave out D back out

3 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 2

For questions 9 – 16, read the text below and think of the word which best fits each gap. Use only one word in
each gap. There is an example at the beginning (0).
Write your answers IN CAPITAL LETTERS on the separate answer sheet.

Example: 0 T O

Underground homes – the alternative green home architecture

If we’re asked to picture an underground home, what probably comes (0) To

mind is a fantasy dwelling

from a film such as The Lord of the Rings. We’re perhaps far (9) Less
likely to think of realistic contemporary

architecture. (10) As
a matter of fact, homes in (11) Which
some or all of the structure is constructed

underground are rapidly gaining popularity. Each design is unique, depending on the soil type, climate,

landscape and owner’s requirements.

So why do people choose underground homes? (12) No

doubt, these houses are warmer and easier to

heat than conventional houses. Also, their construction makes use (13) Of
many materials found on or

near the building site. This reduces transportation costs by a significant amount. Last (14) But
not least,

labour costs are lower as underground homes can be constructed rapidly.

In (15) Spite
of these benefits, some people feel uncomfortable underground (16) Whether
or not the

house has windows on the external walls. Ventilation is also an issue due to the fact that it’s very difficult to

create a natural air flow.

© Cambridge University Press and Cambridge Assessment 2020 4

 C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 3

For questions 17 – 24, read the text below. Use the word given in capitals at the end of some of the lines to
form a word that fits in the gap in the same line. There is an example at the beginning (0).
Write your answers IN CAPITAL LETTERS on the separate answer sheet.

Example: 0 U N D E R R A T E

The seabird, the Arctic tern

Birds may be tiny but don’t (0) Underrate

what they can do. They are known for their RATE

diverse (17) Migration

and no journey is more impressive than that of the Arctic tern. MIGRATE

In pursuit of an (18) Uninterrupted

summer, this seabird flies over 70,000 kilometres from INTERRUPT

its (19) Breeding

ground on the coast of Greenland all the way to Antarctica. It’s the BREED

FAR
(20) Furthest
annual journey made by any bird.

Scientists have gained a deeper (21) Seeing

into terns’ behaviour from small devices SEE

fitted to them. These devices record light (22) Intensity

, which tells scientists the INTENSE

times of local sunrise and sunset. From this, the birds’ location can be worked out

(23) Reasonably
accurately. REASON

The use of these devices is revolutionising scientists’ knowledge of Arctic tern journeys.

They’ve discovered that rather than retrace their southward flight paths, the birds follow

a more (24) Indirect

route, which takes the form of an ‘S’ pattern, up the middle of the DIRECT

Atlantic Ocean.

This makes their return journey several thousand kilometres longer, but these diversions

take advantage of the prevailing wind systems to help the birds conserve energy.

5 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 4

For questions 25 – 30, complete the second sentence so that it has a similar meaning to the first sentence,
using the word given. Do not change the word given. You must use between three and six words, including
the word given. Here is an example (0).
Example:
0 James would only speak to the head of department alone.

ON

James to the head of department alone.

The gap can be filled with the words ‘insisted on speaking’, so you write

Example: 0 INSISTED ON SPEAKING

Write only the missing words IN CAPITAL LETTERS on the separate answer sheet.

25 Peter didn’t have the courage to ask his boss for a pay rise.

BRING

Peter to ask his boss for a pay rise.

26 Talking to your boss like that is really not a good idea!

INTEREST

It’s not to your boss like that!

27 I didn’t know that you liked music so much.

IDEA

I so interested in music

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 C1 Advanced Reading and Use of English Test and Train Practice test 1

28 As he could already ski well, John decided to learn snowboarding.

TOOK

As he was already good snowboarding

29 To most people, James comes across as a shy person.

THAT

The impression most he’s a shy person.

30 We decided it was too late to go into the cinema as the film had already started.

WORTH

As the film had already started, we decided into the cinema.

7 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 5

You are going to read part of an introduction to a book about the philosophy of food. For questions 31 – 36,
choose the answer (A, B, C or D) which you think fits best according to the text.

Mark your answers on the separate answer sheet.

Food Matters
An introduction to the philosophy of food
Foodies, gourmands, chefs and others who treasure food might expect that critical reflection on what and how
we eat can contribute to culinary pleasure. Historically, however, philosophical discussions of food have been
subordinate to gaining insight into other philosophical issues. So when philosophers have talked of eating, it has
actually served as a metaphor for some other topic, such as the acquisition of knowledge. Alternatively, we may
find philosophical conversations that do appear superficially to be about food. However, further examination
reveals that these arguments explore deeper, but only loosely connected, points.
It is interesting to note the case of the ancient Greek philosopher Epicurus, who advocated the pursuit of pleasure
and the avoidance of pain but did so across a range of human activities. Nonetheless, the name of Epicurus has
grown synonymous with a passion for eating and drinking; in addition to casual speech, we see it invoked in the
names of restaurants, food shops and online recipe sites, among others. Presumably these commercial interests
expect some return if their products are seen to be approved by an eminent philosopher.
Whatever else food is, it is inherently social and cultural. The food that we eat does not appear from nowhere
but rather derives from historical contexts and is shared with those in our communities. These communities
provide us with dining companions, as well as the infrastructure through which food is grown and distributed.
Indeed, the wonder of food is that we interact with it more frequently and in more fundamental ways than any
other commodity that comes to mind, making it an obvious topic of philosophical enquiry.
Once food has been prepared, critics will start talking and writing about it. But why do these people enjoy
such a privileged status? One philosopher has reminded us that tasting what we eat is not some sort of special
expertise, but rather that influential food critics are simply better at describing food tastes. In fact, this is an area
that has been neglected since, philosophically, the perception mechanisms underlying taste have not received
much attention. Nearly all of the literature on perception has focussed on vision, and this should be remedied.
Another aspect of food is aesthetics. We talk about paintings or symphonies being beautiful, but not the taste
of food. Some philosophers have argued that, given the rise of modern gastronomy, food has earned its proper
place in aesthetic discourse along with sculpture or poetry. But food is destroyed – eaten – by the process of
enjoying it, which is not the case when we view, read or listen. Aesthetic objects must persist across time, so it is
quite erroneous to think that food could be a proper object of aesthetic merit.
There are undoubtedly many ethical issues that attach to food. Most generally, we can ask what should we eat:
organic, free-range, locally grown, vegetarian, foods that are not genetically modified? Whatever the answers, line 28
they will often reveal our ethical beliefs. And philosophers will always ask why the answers are what they are;
engaging in such academic debate is fully justified in relation to food.
A separate matter is the extent to which cooking in restaurants and in the home differ. Home cooks, it seems to
me, have a special duty to their guests generated by the direct relationships of love and friendship. In the home
kitchen, everyone is included as we come together to share food and companionship. Those who cook for a living,
on the other hand, have obligations to their employer and to the food itself. This means that their kitchens are not
open to all, but only those who are suitably qualified, and their relationships are those of colleagues, not friends.
A recent essay titled ‘Diplomacy of the Dish’ examines the ways in which food and dining can play a role in bridging
cultural gaps. This takes place in two ways. First, we can come to appreciate others by learning to enjoy their food.
Second, we forge personal bonds with people from other cultures by coming together to eat – a practice with a
long history in international diplomacy. But what is so unexpected is that the text is fleshed out by many wonderful
examples and entertaining anecdotes which bring to life, for the general reader, this aspect of food philosophy.
© Cambridge University Press and Cambridge Assessment 2020 8
 C1 Advanced Reading and Use of English Test and Train Practice test 1

31 In the first paragraph, the writer puts forward the view that
A food philosophy is an important academic discipline.
B philosophical debate has seldom related directly to food.
C food may be enjoyed without understanding food philosophy.
D food has attracted more philosophical debate than food lovers realise.

32 In the third paragraph, what impresses the writer about food?

A its abundance in such a diverse range of geographical environments
B its role as a vital commodity in the economy of so many different countries
C the fact that food is so intricately connected to the processes of human life
D the fact that people have such a wide variety of ideas about food’s importance

33 In the fourth paragraph, the writer argues that

A philosophers should enquire further into the sense of taste.
B food critics have a more sophisticated sense of taste than others.
C food lovers should form their own opinions rather than listen to critics.
D taste is determined by physical senses rather than philosophy.

34 In the fifth paragraph, when discussing the aesthetics of food, the writer is
A surprised that philosophers do not recognise that food inspires art.
B critical of those philosophers who rate art more highly than food.
C dismissive of the suggestion that food is comparable to art forms.
D disappointed that the visual appeal of food is not more widely recognised.

35 What is the writer emphasising in the phrase ‘whatever the answers’ in line 28?
A Philosophers rarely agree about the ethics of food.
B Ethical questions about food are relatively simple to address.
C Food ethics is an appropriate topic for philosophical discussion.
D The ethics of food is something ordinary people have to consider.

36 What does the writer find surprising about the essay ‘Diplomacy of the Dish’?
A the biased views it reflects
B the originality of the central thesis
C the importance it places on food in political affairs
D the nature of the supporting information

9 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 6

You are going to read four extracts from articles about the role of homework in education. For questions
37 – 40, choose from the experts A – D. The expert may be chosen more than once.

Mark your answers on the separate answer sheet.

Homework
A Mohammed Sewarhli
Researchers claim that, among other things, homework helps students develop responsibility and life skills
and the ability to manage tasks. And homework does indeed provide excellent opportunities for youngsters to
learn to cope with difficulties and distractions and establish routines. However, research consistently shows that
students from low-income homes tend not to benefit as much from homework as those from higher-income
homes – principally because students whose parents have higher incomes have more resources, such as
computers and more space to work in, that are conducive to studying. My own research is angled at the nature of
homework tasks and finds that teachers most frequently assign homework to reinforce class material. In other
words to consolidate that which has been learnt so that it can pass into the memory store. This, I argue, needs to
be done in a fairly controlled way, in order to best achieve its objective.

B Joy Tacon
I am highly enthused by recent research which has shown that students given a choice in their homework
reported higher levels of interest, enjoyment and perceived competence. Choices might include online games
and projects, making films and conducting interviews. But homework also brings good habits for life. It excels at
teaching children to work independently; encourages self-discipline and responsibility – assignments provide
some youngsters with their first chance to manage time and meet deadlines – and fosters a love of learning. An
issue which disturbs me, however, is that where homework is being formally assessed, and especially with older
children in cases where it may count towards some qualification, parents may face an awful dilemma which
runs something like this: ‘If I don’t help my child to get a better mark in such important circumstances, I’m not
being a good parent, and besides, other parents will probably help wherever they can.’

C Martin Gray
I am greatly in favour of integration homework, wherein students abandon boring and routine worksheets in favour of
using a wide variety of skills: for example, they act as video journalists and create photographic and digital resources.
Teachers may assign homework for other benefits, which include learning the importance of responsibility, managing
time, developing study habits, and staying with a task until it is completed. These are clearly admirable intentions,
although it is a moot point as to whether they achieve these goals. And on other issues I have reservations too. Low-
achieving students from poor families suffer due to home circumstances caused by economic deprivation. Such
circumstances as small crowded homes make it difficult to complete any at-home academic learning. So wealthy
families are at a clear advantage in this respect. A separate but related problem is that when parents interfere, or are
over-controlling with their children’s homework, this can have detrimental effects on achievement outcomes. An
example is where a parent insists on using their own methods and ‘overruling’ the teacher.

D Nancy Overweeude
As they go through life, many young people will need to balance work and family lives, so what homework
teaches them in terms of life skills such as self-discipline, priorities and organisation should serve them well.
And yet the most useful homework is that which students do not perceive as work to be done at home. My term
for this is ‘disguised homework’, and it might include reading for pleasure, designing a wooden model, keeping
a record of weather conditions. On another level, I’m aware that inviting parental involvement can also be a
slippery slope. Many parents, especially those with several children requiring help, cut to the quick and simply do
the child’s homework for them. They are then in an awkward situation because they feel bad about their actions.
Homework also has potentially negative associations, one involving students’ economic status. Homework can
increase the achievement gap between students from affluent and poor families. The main reason for this is that
high-achieving students benefit because they often get help and personal attention with assignments.

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 C1 Advanced Reading and Use of English Test and Train Practice test 1

Which expert

expresses a similar view to Tacon about how parents feel when required to get
involved in homework? 37

has a different view from the others on whether or not homework should be creative? 38

expresses a different view from the others on whether attempts to encourage good
life skills through homework are successful? 39

expresses a similar view to Sewarhli on the reason why high household income is
a factor in students benefiting from homework? 40

11 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 7

You are going to read a newspaper article about literary criticism. Six paragraphs have been removed from the
article. Choose from the paragraphs A – G the one which fits each gap (41 – 46). There is one extra paragraph
which you do not need to use.

Mark your answers on the separate answer sheet.

Are ‘puff pieces’ really literary criticism?

Dr Ross Wilson discusses the nature of puff pieces – the short, complimentary reviews which appear on book
jackets and publishers’ press releases – and asks whether they count as literary criticism.

The announcement of the winner of a prestigious But perhaps it is possible to give a slightly more
literary award is always a significant event in nuanced view of puff – one that doesn’t see it in such
the book world. A panel of experts, headed by a negative terms. In 1845, in his wonderfully entitled
respected literary critic, sifts through a list of notable ‘Dashes at Life with a Free Pencil’, Nathaniel Parker
novels from the past year, ultimately crowning one of Willis ventured a tentative defence of the practice.
them the winner. But cynics may say that the media
frenzy surrounding such prizes, and the resulting puff 44
pieces, are primarily a means of providing publicity
This more neutral, less loaded understanding of the
for books rather than a genuine appraisal.
term ‘puff’, my dictionary suggests, seems to have
41 evolved over time. As well as being undeserved,
hyperbolic praise, the puff can also be simply ‘a
When I began looking into this, initial signs were review, comment, etc., regarded as constituting good
not encouraging. Even the definition of ‘puff’ is publicity’.
implicitly disapproving. It is, my dictionary tells me,
‘inflated or unmerited praise or commendation’, ‘an 45
extravagantly laudatory advertisement or review’,
The one which calls Anne Tyler’s novel A Spool of
peddled by a ‘puff purveyor’ or ‘puff merchant’.
Blue Thread simply ‘glorious’ doesn’t get us very far.
42 Eleanor Catton’s description of Chigozie Obioma’s
The Fishermen as ‘Awesome in the true sense of
One way to tarnish the credentials of a literary rival, the word’ is perhaps more promising: what is the
therefore, is to suggest that his or her literary virtues true sense of ‘awesome’, and why does this book in
have been puffed out of all proportion. In its 1848 particular evoke that sense?
issue, the Western Literary Messenger acidly remarked
of the writer George Lippard that his career was 46
‘an illustration of what well-directed and energetic
Analysing these conflicting views is too large a task for
puffing can do for an author’.
this article, but for all their implication in advertising
43 and mutual celebration, puffs are nevertheless little
windows – often smeared and cracked, to be sure –
onto the itself deeply imperfect terrain of literary
criticism.

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 C1 Advanced Reading and Use of English Test and Train Practice test 1

A Nevertheless, there remains that outstanding E If we use author Peter Hohendahl’s definition,
question: are puffs in any way literary criticism ‘public communication on literature comprising
or just public relations? If we look at a couple both description and evaluation’, then these
of the puffs for the books recently shortlisted examples certainly do qualify as literary
for an award, we might be able to bring this criticism. It all depends, of course, on how
question into focus. we define literary criticism. If it is, in critic
M. H. Abrams’ words, the ‘term for studies
B Its original meaning was rather more specific. concerned with […] analysing, interpreting and
When the term first emerged around the evaluating works of literature’, then puffs don’t
beginning of the eighteenth century, it referred qualify since they are hardly ‘studies’.
specifically to ‘publishers’ attempts to promote
their books outside traditional forms of F After all, there’s little doubt that getting to put
advertising’. Such attempts have been regarded a well-known logo, and perhaps a flattering
with suspicion ever since. extract from the judges’ comments, on your
dust jacket is priceless. But can puff pieces be
C He continues, ‘Nobody likes being told that he considered a kind of literary criticism, however
has written a palpitating tale of passion which sceptically some may regard them?
will last as long as the English language; though,
of course, it is disappointing not to be told that, G While deriding the commercial aspect of
because all novelists are being told the same, puffing, he suggests that critiquing the work of a
and to be left out presumably means that your friend is not only allowable, but a benefit to the
books won’t sell.’ reading public, allowing them to see ‘the gold
that is inlaid in his book, and leave his enemies
D And there are many more examples of scorn to find the brass and tinsel’.
for the puff – and not just scorn either, but the
sense that it is genuinely damaging to literary
culture. In his essay ‘In defence of the novel’,
author George Orwell blamed the ‘disgusting
tripe that is written by blurb-writers’ for the
fact that ‘the novel is being shouted out of
existence’.

13 © Cambridge University Press and Cambridge Assessment 2020

C1 Advanced Reading and Use of English Test and Train Practice test 1

Part 8

You are going to read an article about the work of a film sound editor. For questions 47 – 56, choose from the
sections (A – D). The sections may be chosen more than once.

Mark your answers on the separate answer sheet.

In which section are the following mentioned?

the role of the sound editor in clearing up any remaining issues with a film 47

the ability to manipulate emotions while not drawing attention to the techniques used 48

the importance of being able to imagine alternative uses for individual sounds 49

a way of working that involves separating out individual sounds 50

the difficulties involved in articulating thoughts about sound 51

the fact that despite Lievsay’s influence he has a low public profile 52

the writer’s discomfort at realising the limitations of his senses 53

the fact that how a sound is perceived depends on prior expectation 54

the type of sounds that people naturally filter out 55

the importance of making sure a sound is convincing by carefully matching 56

sound and movement

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 C1 Advanced Reading and Use of English Test and Train Practice test 1

The art of sound in movies

A C
Skip Lievsay, an unassuming-looking guy in his mid- There is something very slightly unnerving about
60s, is one of the pre-eminent sound editors working spending time around people whose powers of
in film today. He and his team belong to the legions perception suggest the existence of an entirely
of people involved in movie production, who go different layer of reality that you are missing. The
about their painstaking work largely unnoticed by way Lievsay and his colleagues work requires an
the vast majority of film-goers. But, although Lievsay entirely different – and, in some senses, odd – way
is far from being a household name, he is famous of experiencing sound. ‘Our process reflects that
among people who are. His expertise, fittingly, is each sound is important enough to deserve its own
what can’t be seen – sound, yes, but also everything consideration,’ Lievsay told me. ‘Then after editing
else that sound is to the human mind: the way we we put them all together and see what happens.’
orient ourselves in relation to spaces, to each other; This is radically unlike the way the human brain is
the way we communicate when language fails; the designed to hear. We are predisposed to heed the
way our ears know when a dark room has someone rhythms and pitch of people talking and noises that
lurking in it or when a stranger will be kind. He might indicate threat. Other sounds – like white
orchestrates the levels of human perception that noise – are depressed so that the brain fires fewer
most people either fail to examine or lack the ability responses and we automatically ignore them. This is
to notice at all. His job is to make you feel things how the brain converts sound into information.
without ever knowing he was there.
D
B Sound mixes are notoriously stressful processes, in
It is a central principle of sound editing that people part because they come at the very end of a film’s
hear what they are conditioned to hear, not what production. ‘As a sound editor, you’re the midwife
they are actually hearing. The sound of rain in to the director, who is at this moment giving final
movies? Frying bacon. Car engines revving in a birth to the film,’ says Walter Murch, known for his
chase scene? It’s partly engines, but what gives work on Apocalypse Now, The English Patient, and
it that visceral, gut-level punch is the lion roars The Godfather, Parts II and III. ‘You have to sense
that are mixed in. To be excellent, a sound editor what the unresolved questions are and see what
needs not just a sharp, trained ear but also a gift for assistance you can give in answering those through
sensing what a sound could do, what someone else sound.’ Amongst all the activity, Lievsay’s laid-back
might hear. All this requires a very particular – and demeanour has a soothing effect. ‘To do this job,’
somewhat strange – set of talents and fascinations. Lievsay told me, leaning back in his swivel chair,
You need the ability not only to hear with an almost ‘you need to be the kind of person that people aren’t
superhuman acuity but also the proficiency, and going to mind being stuck in a room with for four to
endless patience, to spend hours getting the sound six weeks. But it’s tough because most people aren’t
of a kettle’s hiss exactly the right length as well as used to talking about sound. Everyone’s trying hard
the right pitch. And not only the right pitch, but to make themselves understood, but they’re running
the right pitch considering that the camera pans out of time – you’re just hanging on by the skin of
during the shot, which means that the viewer’s ear your teeth.’ So it’s a dramatic enterprise, even if to
will subconsciously anticipate hearing a subtle shift an outsider it does not look like much.
downward at precisely the interval that a real kettle’s
hiss would if you happened to walk by at that speed.

15 © Cambridge University Press and Cambridge Assessment 2020