Test I

THÁI Q UANG TUAN P a p e r! R e a d in g

Part 4

You are going to read a magazine article about job interviews. For questions 23-35,
decide which of the people holđ these opinions. Choose from the list of people {A-l).
Some of the people may be chosen more than once. When more than one ansvver is
required, these may be given in any order. There is an example at the begìnning (0).
irst impres5Ìons are o fte n lasting ones. Studies
Mark your answers on the separate answer sheet F sfw>w th a t people fo rm impressions about
J5 wrthir> the firs t fe w m inutes o f m eeting. They
M ovem ent and gestures w ill also influence an
in te rv ie w e r's firs t impression o f a candidate.
Psychologist Albert Mehrabian has discovered
oúserve how w e dress, oưr eye contact, our th a t 7% o f any message a bo u t oưr feelings and
oođy m ovem ent and how fast o r slow ly w e talk, a ttitu d es comes fro m th e words we use, 3B% fro m
People our volum e and ton e o f voice as w e ll as our o u r voice and â surprising 55% fro m o u r
actual words. ■faáal expressions. W hen o ur facial expressions and
A Mary Pearce F Atbert Mehrabian
o u r w ords send d iffe re n t messages th e
B Head Teacher G Sheila Rice lẩary Pearce studied to be a teacher. She says, 'ì
listener w ill p ut more w e ígh t on the non-verbal
c Simon Grant H David Artesio worked hard to earn my degree. W hen I fin a lly
message, So make sure your words agree w íth your
D Janet Goodwood 1 Marian Woodall graduated I was very co níident.' She applìed fo r a
body íanguage. Mixed messages w ill only coníuse
E Director of Personnel job a t a nearby p rim a ry school and g o t an
th e intervìewer.
intervievv w ith the Head Teacher. 'I noticed a small
hole in my jacket th a t m o rn in g,' she recalls. 'J It is also im p o rta n t n o t to appear to o desperate
w o u ld have changed, but I knew it vvould make me fo r the jo b or to o eager to please. w h e n sheila
late, and I alvvays th in k it's im p o rta n t to be on Rice, a m a rke tin g specialist, a pp lie d fo r a
Which person or peopìe hold(s) these opinions? tm e .' Mary d id n 't get the job. In fact, one o f her p ro m o tion her intervfew w e n t so w e ll she was
friends w ho also teaches at th e school to id her the oítered the jo b on the spot. 'I was d e lig h te d / she
You should not taik too much. Head Teacher*s o nly com m ent wasr 'l f someone recalls. 'B u t I reacted to the o ffe r w ith to o much
doesn't take th e tim e to present her best image at enthusiasm, Once the boss sensed how excited I
an interview, w h a t kind o f teacher is she going to was, he knew I w asn't going to tu rn him dow n.
You should not appear too keen. be?' Consequently, he offered me a lovver salary than
^ w i,' r d hoped for. I'm sure I could have g o t m ore had I
As Simon Grartt, hotel manager, says: 'lntervỉewees
Intervievvees should prepare what they want to say. managed to control my excitem ent.'
HI w h o look as if theỵ ca re a bo u t themselves are more
lìkely to care a bo u t th e ir jobs. People th in k it's Finally, a consideration o f w h a t w e say and h o w we
psspỉ w hat's inside th a t counts, b ut in an intervievv ỵou say it w il| c o n trib u te t o th e success o f an
The more important the job, the better you should dress.
ỂỊỊỄ^Í should aim to come across in the best possible intervievv. Davỉd Artesio, th e m anager o f an
way.' em ploym ent agency, suggests th a t it's a good iđea
Intervievvers can tell how candidates feel. to inform yourselí about the company beíore
Yet many people ig n ore th e ìm portance o f
you go fo r an interview. 'The annual report, fo r
having a professional image. For example, Janet
example, w ill tell you a bo u t areas o f company
Punctuality is more important than appearance. Goodwood w o rk e d fo r te n years as an
in vo lvem en t. M e n tio n an area th a t interests
adm ínistrative assistant in a large accounting ỉirm .
you d uring the interview . This w ill give a positive
When the office manager retired, she applied fo r
Faulty communication can affect your chances of success. note and convince others o f yo u r interest in
mÊSÊấ th e position b u t wasnJt even given an intervievv.
th e com pany/
'I th o u g h t it was a mistake so I asked th e Director
Ề Ê Ê ị
The way you dress reílects your attitude to a job. of Personnei vvhat had h a p p e n e d / she says, Business consultant Marian Woodall suggests you
‘ He to ld me I d id n 't f it the image o f an office have a fe w questions ready and avoid speaking
ịMMị/ậ manager. He suggested I improve my w ardrobe in long, coníused sentences. As she puts ít, 'Poor
Character is not the interviewer’s main interest. b e ỉo re I appíied again fo r p ro m o tio n , I was com m unicators ta lk in paragraphs. Successíul
\'JỂí$Ểầ,íịĩ\
shocked. I do a very good jo b and th e way I dress communicators ta lk in short sentences and even in
People should be able to wear what they like. shouídn't make any dỉfference.' h ig hligh ted points.’

8
9
Test 2 Paper ỉ Reading

1 1 T 11 ĩ
Part 4

You are going to read some information about tive women who have started businesses
Running a business in the countryside
from their homes in the countryside. For questions 22-35, choose from the women F iv e women ta lk ab out th e ir experiences s e tỉin g up a business in the countrysỉde.
(A-E). The women may be chosen more than once. When more than one answer is
0 'My customers are friends/ says CH RISTINE them bccause of the decline in thc economy,
required, these may be given in any order. There is an example at the beginning (0).
HOGAN, who runs a computer-aided design which was painful because ÌL is not easy to find

1! 1 1 f w
busíness with a tumovcr of over £200,000 a year other jobs in this area. I am right back almost to
Mark your answers on the separate answer sheet- where ỉ started, making the curtains at home
and four full-time employees. 'My husband and I
moved out of London to the country when our myself, wìth my husband’s help, and using women
children were small? and I wanted work I could do who work from their homes. Thave Lo be prepared
Which woman or women at home. I had worked with computers beíore ĩ lo cut my prices when it’s necessary and to look at
was married, so my husbanđ suggested I set up a dìffcrent opportunities.’
computer-aided design busíness. It needed a huge ĩ ỉ i TESSA STRICK LA ND runs the editorial and
has international contacts? D amount of money and things were dilĩicult in the production sidc of her childretvs book
ễiẰÍỂÊ beginning. But I havc been very carefuJ, making publishing business from her íarmhouse. ‘I movcd
sure that 1 told the bank manager if I was likely to to the countrysíđe three years ago for two reasons.

m
don’t employ anyone? Ú overspend. Being in Ihc house is a big saving, and The iư st was fínancial, because London was so
:VV.... 1 can carry on working in the evening if I want, It expensive, and the second was because I love the
has remained a small business. We hardly ever country. I enjoy bcing able to work when I want
deliver work - peoplc írom the area tend lo collect to. Eighty per cent of my income comes from
were initiallỵ short of money?

f f! f 111! ti 1! w
: VìỉlĩứĩĩTi it from us.’ deals wiih Australia, the Far East and North
0 1 enjoy being m đcpendent/ says M AGGY America, so T have to take calls at odđ hours. The
SASANOW, wlĩỏ works from home as a desỉgĩicr disadvanlagc Ỉ5 that it requires discipline 10 shut
needs to be avaílable outside office hours?
' w. of greetings cards. ‘I lĩained in art at universily, the offícc door. ĩ publish children’s books frt>m
and wanted to work in a rnuseum* But when T cultures around the world, working with authữTS
married, we went co live in the countryside, vvherc and artists. All my proíessional experience had
has tound a separate vvorkpiace? W Ễẫ there wasn’t that sort of work. So I decided to set been in London, so 1 used to feel very alone at
«ĩEBìil
up my own business and ĩ produce a range of 50 rirsL1
greeúngs cards which I scll to museums. I work in H M E G R1VERS runs a cakes-by-post business
has suffered setbacks in her business? SSE
ỉiìĩiĩUĩí:
a bíg room upstairs. The disadvantage of workiĩig and a shop wilh a tumover of £250,000 a ỵear and
from home is that therc is always somethins that employs six pcople, some part-tiine. *I starled ten
needs đoing “ ìike mowing the lawn. My business years ago at hi)me. I am very interested in hcalth,
ỉĩíậĩvMúĩ'* comes completely by word of mouth - I don’t
have changeđ their roies in their companies? Ip Ỉ! so I startcd making fruit cakes, usíng good quality
advertíse at all. Pcopie send work đown from flour and cggs. Then 1 started getting rcqucsts
W l 11 li 11 w

London as I am eheaper than olhcr artists. from friends and relativesTand soon I was sending
V.4 • ' ' ....
Working alone, I don'i get to exchange idcas with cakes all ovcr the country, Seven years ago T
charge less to be able to compete more easily? 'Ểmậlũ.
nmsaxi: other people any more. but generalỉy there are rented a small building and everything is made
more advantagcs than dísadvantages.’ there - we have a baker and assìslant, and a
depends oniy on personal recommendation? Q i t has been hard aL tim es/ says DELIA proĩessional cake-icer. I don’t cook at aJJ now, as I
l i i TURNER, whose curlain-making busìness has run the commercial side. My grealest problem has
seen good times and bad. 'ĩ started my business bccn the financial sỉde of the busincss, whjch has
eight years ago. Then this type of busìncss was been diíficult simply becausc wc dicln1t have an
has had to make an unpleasant decision? I m :
enormous amount of money to sct up w ith/
ỉ.tữ%ìềỉ.ĩvi expanding, and in two years my tumover went
from £24,000 to £80,000, I used lo manage © Woman ẵ Honte/IPC Syndication
SL\ íulMime curtain-makers. But I had to sack
produces work mostly for local people?
lilM

34
 n u u n
Test 3 Paper ỉ Reading

P art 4

You are going to read a magazine article about some successtul children and their
mothers. For questions 23-35, choose from the people (A-F). The people may be
chosen more than once. When more than one answer is required, these may be given in ỉ f ĩhereh one thingguaranteed to send tears ru n n in g down y o u r cheeks, ừ ’s the sight ỡ f
any order. There is an example at the beginning (0). ã b riỉỉia n t ch iỉđ coỉỉecting a medal. ỹ u lia Gregson asked ĩhree you ng stars, and their
mothers, to describe some o f the pỉeasures a n d pains o f their lỉves.
Mark your answers on the separate answer sheet. glad they are happy when I wirij but I ’m n o t
won a gold
doing it for them . M y goaỉ this ycar is to
medal for gymnastics at the Commonwealth
qualiíy for the British young riders (undcr-18)
G am es. H er am bitions are to becom e a
Which of the people te am. M y really big am hition ỉs to win a gold

n m t t t t t t t títt í t (1«t ttttinnn

physiotherapist and com pete at the next
m edal at thc Olympics.’
Olympics. cThe work is very hard at thc
moment. There is no time to watch televisioiỊ> ‘F ro ra the
is guided by her parents?
m or go out with friends or đo much more than
gym and schooỉ. I trỵ to take ứie training
m om ent Sarah sat on a horse> agc ìy tíiat was
it3 her passion. WTien she was she used to get
day by day, and when I feel very, very tired u p before us all to exercise h cr pony. To
says she must not neglect her pìíysical condition? ỳ v sometimes my coach gives me a day off, but qưaliíy for m ajor shovvs you have to jum p all
usualiy I just carry on - you can5t take too Over England- To save m oncy3 we ồÌeep irl the
many days off5 it makes you stiổ? living quartcrs o f our horsc box. Sarah is w dl
doesn’1 feel the need to pay attention aH the time? 24 organised. She is 100% happy on a horsc, she
□ x rn m m T ro m an early
knows w hat she5s doing. W atching your child
age Annika showed tremendous potential. Tve
succeed aĩ som ething they love is h ard to beat,’
seen some paj^nts try to pưsh their children
realise people cartt be íorced to do what they don’t want to? 26 and ìt doesn’t work. To períbrm at die level ĨĨẾềÊ ỆỆM ÊÊ ÊÊ ÊÈÊ ề 10, is B rita in ’8
Annika does is so đemanding of time and U n d e r-1 4 C hess C h am p io n . *It’s really
encrg>T you have to want to do it yourself. friendlỵ at tournam ents. I know cverybody and
recognises the rtiistakes some parents make? People tell me all the time that vve3 as parents3 itJs fun. WTien F m playing, I d o n ’t concenĩratc.
have given up so much, but w hat they d o r ìl see I should do really, b u t uistead I just stare
is what rhe sportJs gìven us. We love it and what a ro u n d an d d o n ^ b o th e r to think. I ’m
has to make an effort when she doesn’í want to? it?s done for Annika. Before shc did gym she n o t scared o f getting bíg-headed^ I d o n Jt
was a very shy little girl who sucked her thumb talk ab o u t my success at school. I don"t like
and hid behind mty but now she’s met people em b arrassm en t/
mentions the tinancial sacritíces necessary? from all over ửie world and she's got die
confidence of success/ ‘Jane played her íĩrst
game when she was 5* My íather said3 "Let^s
3 m ade hcr fírst see if she likes it.5í My father had ưied to ĩeach
is pleased by the way her daughter’s character has developed?
show-jumping appearance at ten. Since dien me when ĩ was young and I used to sit there
she has won ĩhe British N ational bored, but Jane lơvcd ii irom the start* By the
Championship. £It*s a good job my m um and end of that afternoon she had m emorised all
like the atmosphere at competỉtions? 31 dad like show-jumping because they train me ửie movcs3 and by 6 was starting to beat âdults.
m

and have to ta ke me everyvvhere ín the horse she’s won of coưrse r m pleased, but if
box. The shows are from one day to íìve days she said she vvanted to give ít all up tomorrow3
have set themselves speciíic goals in their activities? 33 W ề long. I don5t ever gettired of it — I love I wouldn*t stand in her way. On th^"Otherhaĩĩđ
show-jumping events> they are exciting and ĩ don": w ant to do the awful thing of puttữig
fan. Even if I đidn^t have M um and Dad, I somebody down be c au se they are exceptionaL
doesn’t share her daughter’s enthusiasm for the activity? would do it because ĩ am so determ ined. Fm If she has ứiis gift> let her fulfíl her potential.5

60
Test 4

Paper ỉ Reading

Part 4

You are going to read a magazine article about five orchestral conductors. For questions
22-35, choose from the conductors (A-E). The conductors may be chosen more than
Conduct becoming
once. When more than one answer is required, these may be given in any order. There Grving directions to ơn orchestra is never eơsy. Anne Inglis tơlks to fìve new
is an example at the beginning (0). conduơors about their work.

B ANNE MANSON w íth Sían Edwards was the key m om ent fo r h e r 'I saw
Mark your answers on the separate answer sheet
her conduct and realised she was che same síze as me
W hen Anne Manson, 30, asked if she could attend - 1bad aỉways been taught by much bigger people which
co n d u cto r Claưđio Abbado's practice sessions ỉn makes a huge difference/ She likes the complicated
Yienna, she found herselí standing rn fo r an absetìt
Which conductor or conductors ... nature of opera: T h e re are lots o f arguments, and
zssi$tam. $he was then asked to help on another opera youVe g ot síngers’ personaỉỉties to consider
the next season. 1 had to take the fir$t orchestral
rehear^aỉ fo r Abbado. N o, í wasn’t nervous. I always had
has an open mind about the work he/she accepts? 0 ROGER VIGNOLHS
a goo<ỉ actitude to standing up in fro n t o f an orchestra.*
Am erican-born Manson works W(th a weỉl established *C onductinị has come upon me as something of a
London-based opera company which concentrates on surprise, but ỉt holds great íascínation fo r m e’ says
did not plan to become a conductor? ip i m odem works. She ís also building a reputation in Roger Vignoles, 48. In fact, it’s n o t such a strange career
other European countries, which she has visited w ith move. He started o ut as a resident musicỉan w ith an
fìnancỉal aid from the British A rts Councií, and, Sínce opera house, and worked w ịth good conductors. Last
that fìrst occasion, she has assỉsted Abbado ôn several year he was asked to direct Handel'$ Agrippinơ from the
have had difficulties with other pertormers? m ore proịects. piano at a íestìvaí, something he had never done beíore.
Mt was much less dìfficult than I thought. 1found I knew
ĨMMMĨÍ 0 ANDREW CONSTANTINE the music well, í knew w hat 1 wanted it to sound lìkeT
talks about the problems of getting suitable work? ụWmỆ and t tríed my best to ger the períormance Ị wanted.
The m ost difficult part o f being a conductor is decidỉng Fortunateỉy, people have respected my ability as a
how to convince peppíe to present you Wíth ứie right musicían generally. I am beneíìting from every piece o f
opportunities/ says A ndrew Constantine, 31, w bo vvon experỉence (Ve ever had, both in musical styỉe and in
enjoys the preparation ỉor a pertormance? Zũ a m aịor com petition ỉn 1991, after fâiled attempts in
ỀMẾM the actual business o f performing. N o w ( wilỉ do
tw o oứíer contests. Looking back, he ỉ$ grateíul fo r the whatever people ask me to do so ( can fir>d o u t w h a t)
timing; ‘ỉf it had happened any earlier, ỉ am sure I would lỉke doing.’
have had no proỉessional training as conductors? ISễỄI have đísappeared w ithouc trace.’ The com petition
mẾÊễầ
provỉdeđ many períorm ance o pp ortu nities and a
11 VVAYNE MARSHALL
Tri~r p erio d as assistant to a w el)-know n conductor,
iệỆỂỊMế but Constantỉne is íindíng it difficult to íose the It was back in ỉ 986 that the conductor Simon Rattle
had an unexpected experience early in their careers? ệtỉýỊĩỹ’ nociced a young assistant conductor on one o f his
'com petition’ labeỉ: ‘ff in three years’ tim e my name is
still associated w ith the com petition then ) v/ill be productìons and to ld his agent about Wayne Marshalỉ.
wo^rie<ỉ>, he says. 'B ut orchestras such as the English Marshalỉ, now 32, soon found himself conducting a
is glad he/she did not succeed sooner?
m Chamber O rchestra who to o k me on after the
com petition are now inviting me back. lf this doesn't
musical ín London at short notice, a diffícult beginníng.
He even had to deaỉ w ith some over-relaxed
happen, your career w ill gradually fall to pieces’ proíessíonal musicians readlng newspapers during the
received help from a national organisation? shovv: ‘I was just tougb w ith them. I aíways gave a clear
0 WASFI KANI beat and got the best re s u ỉt! could. A ỉo t o f orchestraị
musicians IVe seen don't seem to need advỉce and
P/ỵẬiV /iV '/", Wasfí Kaní, vvho set up Pímlíco Opera, (oves the long ỉnstruction from a conductor. But l’m never aíraid to
created his/her own musical company? practice period which is p art o f any opera productịon. say w ha t I w a n t lf peopỉe see you’re vvorried, it gets
T h e music is w o rth four vveeks’ attentíon,’ says Kanì, worse. lv e never studied condacting íorm ally and no
w ho started conducting seriously in her late twentỉes. book tells you hovv to conduct but peopỉe have been
mentions a possible danger he/she faces? A fte r universíty» she supported herself by w orking in kind co me. I am determined and 1 know what I lỉke.’
LondorVs commercial centre untií Pimlico o p e ra
turned fully professional tw o years ago. Starting lessons © BBC Music Jan 1994

thinks it is essential to appear contident? -36

87

86
 Paper 1 Reading
Thái Quang Tuân's Archives
Test I

Part 4
Style M erchants
You are going to read a magazine article about five young designers. For questions 22-35.
chcx>se from the designers (A-E). The designers may be chosen more than once. When S tyle in /o rn is every p a rt o / o u r lives lo d a y Ịr o m clothes to in te rio r decoraiion a n d
more than one ansv;er is required, these may be given in any order. There is an example accessories. J o Poley prỡvides a taste o f the tretìds f o r this y e a r’s f'olỉơĩvers o f /ashion.
at the beginning (0). ‘s o m e t h i n g d i í ĩ c r c n t ’. A n d h c r s i m p l c , y c t i n c r c d i b l y
Q N éd Ingham : Dre$s D esigncr
m od ern , creaũ on $ have begun to c a p tu r e ev ery
Mark your answers on the separatc ansvver sheet. N ed I n g t u im m akes d ream y, r o m a n tic u c d d ĩn g d c s ig n p r iz c in th e f lo w c r b u s in c s s, \ v h ic h has
d rcsscs. ‘P c o p l c arc t u r n in g avvay frc im th c h c l p c d h c r i n s e t t i n g u p h e r O ttn L o n d o n F l w c r
i r a d i ũ o n a l , r a ih c r s t i í ĩ d r c s s c s to m uch s im p lc r S c h o o l . S h c h a s r c c c n t l y c o m b i n c d h c r s k i ll s o n
s ty lc s ,* h c c x p l a in s . I n g h a m h a s b c c n d r a w i n g a n d
W hich desỉgner(s) c x t r c m c l y s u c c c s s t u l l c c t u r e t r ip s t o ỉ a p a n a n d t h c
d c s ig n in g w c d d in g d r c s ic s s in c c h c w a s a s c h o o lb o y . U SA . Shc s u y s , ‘F l o w c r a r r u n R c m c m s a r e m u d ỉ
T h e n , a t t h e i ig e o f 1 6 , h e e n r o ll e d a i f a s h io n s c h o o l , s im p lc r t h c s c d a y s. K c c p th c m s im p lc b u t s tr o n g
w h crc h c g a in c d th c t c c h n i c a l s k i ll s t o cut and a n d d o n ‘t h a v c t o o m a n v l c a v c s - « h c y a r c t o o la r g c
works in a variety of environments? 0 c c o n s t r u c t c lo t h c s . B u t y o u d o n o i h a v c t o b c a b r id c a n d a r c h it c c t u r a l . F o r w c d d i n g b o u q u c i s , w h a t c v c r
to ovvn a n I n g l ia m d rcss: h c a ls o d e iig n x lo n g , y o u r a r r a n g c m c n t, th e g o ld c n r u lc r c m a in s th c
c la s s ic c v c n in g d r c s s c s , g ĩv c n a fr c sh t o u c h b y u p - t o - f lo w c r s m u s t b c o f t h c s a m c s p c c i e s .'
advises against certain styles? 22 c h e -m in u ie c o lo u r s and í a b r ic s . For th c le s s
a d v c n t u r o u s , I n g h a m s d c s i g n s i n c l u d c a c lít s s ic a l
su m m er n a v y -b lu e su iti th e c c n ơ c p ic c c of ih c 0 P ctcr I.ittlc: H airdrcsscr
E n g l i s h \ v o m a n ‘s uardrobe fo r m o s t o f th e 2 0 th F o r w e r 2 0 y e a r x , P e t e r I i t t l e h a * t a k c n h i s s c is s o r s
23
c c n tu r y . But in h is h a n d s, it lo o k s as ncw as t o s o m c o f i h c w o r l d ' s t o p h c a d s . E v e r y o n e w h o Í8
to m o r to w . a n y o n c h a s h a d t h e ir h a ir st> 'lc d b y t h i s m a n . ‘M o s t
v v o m c n w a n t r e n l- l o o k in g h a ir a n d a st>’l e t h e y c a n
had begun desigrìĩng beíore being trained? 24 Sally Quail: Jcwcllcr m a n a g c a t h o m c , ’ h c s a y s . S o h ĩ s a p p r o a c h is a n o v e l
o n c - t o c n s u r e t h a t h i s c l i c n t s n c \" cr a p p c a r a s i f
A l t h o u g h s h c o n c c w o r k c d f o r a n a r t d c a l c r , S a l ly
th cy havc ju st w a lk c d out of a s a lo n . But t h is
Q u a i] h a s h a d n o f o r m a I i r a i n i n g i n jc w c llc r > ’. I t w a s
have adapted a traditional style? 25 o n l y w h c n s h c c o u l d n o t f i n d a n c n g a g c m c n t r in g
c a r e ír e e a t ũ tu d e a n d c a s u a l lo o k d o « not com e
chcap £ 2 5 0 f o r t h c f ir s t a p p o i n t m c m , a n d t h c r c ’5
s h c lik c d t h a t s h c d c c i d c d t o d c s i g n h e r o w n . T h e
a t h r c c - m o n i h w s á ã n g l is t . T r a d i n g o n h i s c c lc b r i t y ,
r c s u lt in g c n q u i r i e s c n c o u r a g e t i h c r t o s c t u p a s a
P c tc r h a s p r o d u c c d h is o w n r a n g c o f h a ir d r v c r s a n d
is vvorking with a material vvhich is new to them? 27 d c s i g n c r in 1 9 9 0 . N o v v h c r p ú r c c s a r c s o u g h t o u t b y
o th c r s ty lin g c q u ip m c n t. N ow , th o sc who c a n ’t
m a n y s t a r s o f s t a g c a n d s c r c c n . H c r s ig n a t u r c s ụ l c
m o k c it t o h i* Síilon c a n c r e a t c t h e ir o w n s t v l e s b a c k
i s la r g c s c m i - p r c c i o u s s t o n e s s « t in g o l d t o m a k c
at h om c.
m a g n i f i c c n t n c c k l a c c s , b r a c c l c t s a n d r in g s í a s h i o n c d
have used their reputation to develop a new area of business? 28
a f t c r t h o s c w o r n in t h e 18 t h c c m u r y . H o w e v e r , s h e
h a s r c c c m ly b c g u n to u s c th e m o s i p r c c io u s s t o n c o f 0 Lily G rim son: H andbag D csigner
a ll d i a m o n d ỉ . ‘It m u s t r e í l c c t m y aRC,’ «1>’S 3 6 -
are completely self-taught? Ju st ío u r years a íte r s e tt in R up in U ic í ic r c c l y
i 30 y c a r - o l d Q u a i l . *I r c a c h c d t h a t m o m c n t in e v e r y
c o m p c i i t i v c í a s h i o n b u s ĩ n c s s , L i l y G r i m s o n , \ v it h
W f>m an’s lif e w h e n s h e w a m s a d i a m o n d a n d i h a t is
o n ly an in ư o đ u c T O P ,- c o u r s e in art and d c sÌR n
w h e n I b c g a n w o r k in g w it h t h c m .’
b c h i n d h c r , h a s h a d c w o o f h c r c r c a t i o n s s c l c c t c d fo r
mention how tastes have changed recently? 32 a m a ị o r d o i g n c x h i b i t i o n . 'Xrh a t c v c r t h c s h a p c a n d
0 Pcnny P ra tt: FIorist fo r m o f h e r d c s ig n s , th c y a r c n c v c r ig n o r c d . A U o f
I n a d d i t i o n t o r u n n i n g h c r t in y s h o p , P c n n y P r a t t is G r i m s o n ’* í a s h i o n b a g i a r c h a n d m a d c i n t h c U K .
have received protessional recognition? Ị 34 ' J ; 35 Ị a f lo w e r c o n s u l t a n t f o r a la r íte C h a in o f * u p e r m a r k e t s T h e G r i m s o n h a n d b a g i s n o t s i m p l y a C o n t a in e r -

and p r o v id c s A oral id c a s to a num bcr of to p t h c b a g s a r c f u ll o i g b m o u r , w h e t h e r f a s h io n c d

r c s t a u r a n t s . AJ1 o f i h i s i$ g o o d g o i n g f o r s o m e o n e fro m th c G n e st c a lís k in or th c h c a v ic s t s ilk . A
w h o h a s n o H o r is tr y q u a l i í i c a t i o m a n d g a v c u p h c r c o m h in a tio n o f c h ic a n d c a r c m a k e a G r im s o n b a g
jflb a s ỉ tca c h c r 10 vcars 3RO i n ordcr to do s o m c t h i n g s p e c ia l .

8
9
 P aper 1 Reading
Test 2

P a rt 4
Confident people
You are going to read a magazine article in which five people talk about their characters.
For questions 22-35. choose from the people (A-E). The people may be chosen more than
What's their secret?
once. When more than one answer is required, these may be given in any order. There is C o n ỉid e n t p e o p le m a y look as ihough they w ere b o m thot w ay, b u t m ost w ill tell yo u th at it's a
an example a! the beginning (0). skill they've learned because ih e y h a d to. N in a H a th w a y asks five p e o p le h o v/ they d id it.

a b o u t h o w th c y lo o k .’ I ’v e f o u n d t h a t s w c ll w o r t h
Mark your answers on the separate ansvver sheet. A Jenny
r c m e n ỉb e r in g .
\v h en I leíc school I was vcry shy and 1 akvays I also th in k y o u g a in c o n C d e n c e b y ta c k lin g th in g s
thouglit I’d stay that \vay. I \vas about twcnty-five th a t sc are y o u . W h c n I to o k Iiiy d r iv in g tcst I w a s so
W hich person or people state(s) th e fo llo w in g ? w hen I \vas askcd to hclp out at my duightcrs n c rv o u s , b u t I p asscd . A ftc r th a t I fclt su rc t h a t IVi
school. 1 was surc I wouldn’t cope. but I surprised n c v e r feel s o í r ig h te n e d a g a in , a n d I n e v e r liave.
I used to avoid giving my opinions at work. Ị 0 ị E myseir by doing \vcll and someone there suggcstcd
that I should do a unỉvcrsity coursc. D B a rb a ra
Thcrc \vas a huge ktiot in my stomach the day I
curned up for my first lectiirc. But my coiứìdcncc My coníìdcncc comes naturally from rcally enjoying
Taking time off for your protessional development can make 22 I thc \vork I do. but it’s something that 1’ve builc up
gradually grcw - I bccaine iuorc outgoing. Looking
vou (eel
you SRlí-assurpd
feel more self-assured. 1 over the ycars. If you just gei on with ic and leam
back, working at tho school was thc turning point in
my life that has helped everything clsc fall into placc. from any mistakes you niakc, you’re morc confident
thc ncxt time round. I work hard and I’m popular in
I never thought l'd be a contident person. the restaurant, but its prob.iblc that onc out o f ten
B M ic h a e la
peoplc docsn’t likc me. 1 don’t let that affcct me.
It all startcd four )-cars ago whcn my íathcr becanie YouVe got to likc yourseir for w hat you arc, Iiot try
iO and I had to take over the íamily business. I was to be \vhat othcrs cxpcct.
I'm not induenced by people’s opinions of me. r a :
50 scarcd. I went over the top and bccamc a bit too My coinpany runs ạ lot o f training courscs, and
aggrcssivc and inipaticnt. I tliouẹht that was what going on those has built up my sclf-e$tccm. The

Everyone gets nervous at times.

mu [»L contìdenc peoplc wcrc like, but gradually I learned
othenvise.To be confident you‘ve qot to bclicvc in
yoursclí.
If tỉỉings get too denianding for mc at work, I
company abo cncourages employces to sct
managcablc largets. It hclps no end if you can S C O
you rc achieving sometlùng tangiblc, rathcr than
rcaching for thc stars all at O I 1 C C , and cnding up \vith
Irìitially. I misunderstood what conlidence was. ị 27 don't let myselítccl if l savc a number oftasks nothing but airỉ
until the next đay. W hen I’m confrontcd with
soniething difficult. I tcU niysclf that I‘vc got nothing E E laine
I find making notes very supportive in my work. 28 to losc. Its fear that makes you lack confidencc, so
I‘m aKvays having quiet cliats with myselí to put After I left collcge I worked for ycars as a sccretan,1
asidc tliosc fcars! and \vould sit in meetings, not aKvays agreeing \viih
\vhat was bcing said, but too scarcd to spc3k up.
A certain event changed the course ol my life. Eventually, I summoncd up thc coníìdcncc to start
c Carol
making my point. Even so. w hen I íĩrst \vorkcd in

IVe vvorked on having a contident appearance.

mz People think I’m very coníìdent bnt, in fact, the
calmer I look.thc niorc tcrridcd I rcally am. I’ve had
to develop the ability to look confidcnt bccause it’s
politics, l*d ncvcr spokcn in public bcíorc and aKvays
useđ to shakc likc a lcaf. I would say to myself,‘D on’t
bc so silly. People do this cvery day o f thcir livcs, so

mu [=1
ihe most vital thing in TV. Intervievving pcople has thcres no reason why you can‘t.’ I also íound ic
helped me realisc th.1 t niost - if not all - o f us get hclpíul to jo t â few rhings down to refer to - rathcr
I am realistic about my abilities.
tcnsc in important situarions, a»d vve fccl caliner likc having a comíort blankct!
when we Sị>eak to somcone w hos gciiuinely I don’t think therc is anyone w ho isn’t a little
triendly.Tlie besc evcr piccc o f advice camc íroni my shaky \vhcn it conies to talkiug piiblicly. T h e rcal
My behaviour helps others relax too. 34 mothcr \vhcn I was agonising as a teenager about sccrct o f confidence lics in tclling yoursclí over and
wcaring chc riglít clothes. Shc simply cried, ‘W ho’s over again,‘N othing is imposỉible.’
looking at you? Evcrybodys too busy \vorrying
Getting things wrong can have a posltlve result.
E [

34
35
Test 3 Paper I Readi/IỊỊ

P a rt 4

You are going to read a magazine article about members of a part-time drama Club called The Globe Players
The Globe Players. For questions 23-35. choose (rom the people (A-F). The people may
be chosen more than once. When more than one ansvver is required, these may be given Ũ C hristina H ow ard 0 Clarc MacDonald
in any order. There is an example at the beginning (0). w hen I moved to this area the children were quite W h c n I w a s M sc h o o l, I u so d to th in k r d ra th e r lỉke
little, and I wondere<i how I sva$ ever going to to g o o n sta g e. But th e n o th e r th in g s c a m e a lo n g .
mec« people. Then I met Susann.1 Dickster, who O n e jo b I d id w a s a s a stev v ard ess ÍOĨ a n a irlin e .
Mark your answers on th e separate answ er sheet.
was thc organiser of The Clol)e Players, and sht* T h a t's lik e g iv in g a p e río rm a n c e . I ỉeft th e a irlin e
said, 'Do you vvant to join?' And I said, 'VVcll, ycs, a n d jo in e d T h e G lo b e P lay ers. M y h u s b a n d vvill
all right.' Thcy .ìppearcxỉ to l>e incredibly extrovert aK vaỵ s c o m e to p e rto rm a n c e s , b u t h e d o e$ te n d to
W hich person o r people people, which I supposc I am by naluro too. For m o a n a b it f)ec<iuse h e íe e ls it ta k e s u p to o m u c h
three years I was the thealre manager. I think I lim e . A s a c lu b I feel \v e a r e v ery p ro íe s s io n a l. I d o
make a bettcr manager than an actress, but I dicl a b o u t o n e p la y a y ear, \v h ic h is q u itc e n o u g h .
mentions joining because of loneliness? H I
have a dream role in a play the ycar before last. O b v io u sly , th e re a r e fe w e r p a rts a s y o u g e t old er,
p a rtic u la rly (or w o m e n : o n e c a n n o lo n g e r p la y
Juliot o r o th e r y o u n g p arts, w h ic h I feel sa d
had some theatre experience beỉore joining The Globe Players? n r r
0 Eric Plum ber
I d o a b o u t o n c p la y a y ear, ju st o u t o i in te re si. But
has a high opinion of The Globe Players? 24 0 Robin vvilson
l'm a q u ie t so rt o f c h a p , n o t o n e o í th e vvorld's
c x tro v c rts, a n d y et h c rc I a m in a n e x tro v e rt íield , I w o rk b e h in d t h e s c c n c s w ith Tlx* G lo b c P l.ìycrs
d o in g th e a tric .il a c tiv itie s. T h e re is a so rt o í m ag ic b e c a u s e it's a lw a y s a c h a llc n g e . For in sta n c e , ih e
believes the other members are like them in character? 25 to th o th o atro . T h ero 's a so n s c o i to g c th c rn e ss w ith last p la y I d id n e c d e d a íu ll-s i/c d , \v o rk in g
th e rest o í th e a c to rs in th e c a st. W h e n a p la y is s\v im m in g p o o l. W ell, m o st a m a tc u r Ih catro s h a v c
over, o n th e last n ig h t, Ih e re 's a c o m b in a tio n o f <1 b u c k e t o f w a te r in th c w in g s. But o u r d ire c to f
has mixed íeelings about linishing a shovv? sa id , 'I vvant a re a l ssv im m in g JWX)I o n th a i se t. G o
!_ » a n tic lim a x a n d relieí. Ii's rath o r n ic e to th in k y o u
w ill b c a b le to d o a ll th e th in g s th a t y o u w e r e n 'i avvay a n d d o i t / It w a s a rcal c h a llc n g c ío r m o.
a b le to d o w h e n thc* p la y w a$ o n . But th o rc 's a ls o H o w e v e r, vve d id it. W e g o t m o re revievvs th a n w e
have dittĩculty íinding suitablo rolos? 27 i [ » n u su a lly d o b e c a u s e , o i c o u r s e , il w a s s o m e th in g
a so n so o f loss, so y o u lo o k ío r\v a rd ỉo íh e n ex t
play. differen t. A n d q u ite a lo t o i a m a te u r s o c ie tie s c a m e
to SCO if th e y c o u ld d o it - a n d a lot o i th e m
enjoys being with people who have ditterent i deas? 1 29 1 d e c id e d th e y c o u ld n '1 .

3 Laura Goìdcrest
thinks that acting is out of character for them? 30 Ị
I h a v c d o n e s o m e sla g e m a n a g e m e n l ío r
□ M ike jamcs
p ro d u c tio n s a t m y s c h o o l a n d w h e n I s a w th e p la y
T he G lo ỉíe P lay ers w e r e g o in g to tlo n e x l, I th o u g h l I w a s a S c ie n c e le a c h e r a n d to o k e a rly re tire m e n t
mentions the publicity they sometimes receive? 31
r d try io r it. U su a lly th e re a r c n o t a lot o í p a rls ío r íro m m y c o lle g e . A íter K venty-ío ur y e a rs it w a s
p e o p le m y a g e , so vvhen I h e re w a s this a bĩt h a r d a n d I g o t ra th e r b o r e d . D u rin g th at
joined to keep busy? 32 o p p o rtu n ity , I w c n t a lo n g a n d a u d itio n e d . It w e n t tim e it vvas g o o d to h a v e Ih c d ra m a g ro u p . It lake$
a ll righl. a n d I g o t th e p a rt. Lots o f m y írie n d s ju st y o u r m in d o tí th in g s; y o u c a n 't a c t a rn l svorry
h a n g a r o u n d w ith p e o f)le o í th e ir o \v n a g e , b u t a b o u l s o m e th in g e ls e . But it's v erỵ d is ru p tiv e to a
talks about the complications of putting on a play? 33 th e re a ro |> co p le a i T h e G lo b e P la y e rs \v h o a re ía m ily - m y w ife w ill tell y o u th a t. T cach in g in a
q u itc o ld , a n d I g e t la lk in g to th e m a lx iu t a ll MKls w a y iỉ lik c b c in g o n sta g c. YVhcn y o u g o into
o i th in g s. It's a m a z in g hovv o u r vievvs d iííer, b u t \v e a c la s s y o u m a y n o l b e íe e lin g v ery vvell, y o u a re
feel that not everyone approves of them acting? 34 [3 5 J h a v c lo v c ly c o n v c rsa tio n s . n o t n e c e s sa rily ver>' kecrt o n th o s u b ịc c t y o u aro
te a c h in g - th e w h o le ih in g a d d s u p to .1 n o -n o . But
y o u g o in, y o u a r c c n th u s ia s lic a n d y o u try to
g e n e r a le in te rc st, a n d il's a n a c t.

61
60
 Paper I Reading
You are going to read a magazine article about theme parks in Britain. For questions
23-35, choose from the theme parks (A-E). The theme parks may be chosen more than
once. There is an example at the beginning (0).
Variations on a Theme
Mark your ansvvers on the separate ansvver sheet. l f y o u ’re th in k in g o f ta k in g children to 3 them e park, there are dozens to
choose fro m in B ritain. We asked five tam ilies to test th e best.

Of vvhich theme parks are the tolỉovving stated? □ Fun Island

Ị n n a n d S t t v t R u r t u tc o k d a u í Ịh i e r Sítm a n r h a , 3, a n d
t a v o u r it c r id c w a $ R u nninjf: R iv c r , w h c r e y o u t h in k
y o u ’r c ^ o in g t o g c t s o a k c d , b u t v o u d o n ’t. F o r y o u n g c r
c h i ld r c n , T a y L a n d i s g r c a t f iin . T Ik ' c h ik lr c n h a d a ! o « k
I x r c o iiíin s G a r y , 8 , a n d ) ( m m a , 1 0.
a t t h e «KW r id c , F c a r K a cto r , b u t \v c b r c a th c d * M ^h o f
I-»st y c a r w e w x n t t o a h u g c t h c m c pa rk in t h c ư s a n d r c l i c í vvhcn t h c y f o u n d t h a t t h c y w c r c t o o s m a ll t o g o
We had no previous experience of places like this. 0 B
_____ \v c ih o u g h t th a i Fun K la iu i n i ig h t sccm d u ll by u n itỉ T h e p a r k IV v o vvcll d c v ig iK d t h a i e v e n q u e u i n g fo r
c o in p a r is o n . In f a c t , w c w c r c im p r c s s c d . T h e p a r k iricx r id c s i i n ’t t o o b o r i n g . I t ’s s p o t ic s s ly c lc a n , a n d t h e statY
h a r d t o C it c r f o f m i H ị i c r c h i ld r c n , s o o u r ih r c c - y c a r - o ld a r c g r c j t . O n o n c r id c I c o u l d n ’t sit « i i h b o t h g ir ls , M>
d i d n ’t f c c l lc ft OUI. n > c k id s .(II lo v c d t h c C r t K o d ilc
Some of the children showed they were írightened on a certain ride. 23 R ic k a n d t li c G ia n t \ V h c c l. 'r h c r c * s 3 N^Ktuil lU x iv ỉc in s
* m c m b c r o f * t a f f oATcrcd t o g o vvith o n c o f t h c m .

r u lc t h c v c r y « > » in g k id s , w h ic h vvas .1 g r c a t s u c c e s s .
F o r o l d c r c h itd r c n , t h c r c a r c s ta r ic r r id c s , s u c h a s spla%h
r a The Great Park
The children were all young enough to enjoy it. O u t , w h c r c y o t i c n d u p ị u m p in g in ì ịXMil' A f t e r fiv c Ị c ì i n y L t M Ị Ị r i d / Ị t m u i Ite r f r u n c i L i n d a took R e n , 6 .

h o u r s , S i c v c a n d I w c r e r e x i y t o c a ll it a d a y , b u t t h c [a n te s , 9, a n d S o p b it, 12.

c h ild r c n o b j c c t c d b c c a u s c t h c y w c r c h a v i n g s u c h f u n . \ ^ c a r r iv c d o o c o ' c l o c k And u c r c d i u p p o t n t c d t h a t i h c

O u r o n l v critk ÌM ii u o u l d b c th a t t h c p a r k is s lig h t lv p a r k w » o n l y o p c n u m il 5 p .m . T h i i L\ J M ip cr t h c m c
It was good that you could tind somewhere to rest. l a c k in g in a tm o sp h crc, and th e sccn crv Icìvcs p a r k tb r y o u n g c r c h ik ir c n b cca iB C t h c r id c s j r c n '« t o o
M im c ih in g t o b c d c ã r c d . B u t i h c « a f f a r c c x t r e m d y ttfr r if> in g . I*m a r c a l c o w a r tỉ b u i e v c n l cnjo% cd m y s e lí.
lic lp tu l a n d vvc fc lt it \v ÌS c lc a n , w c l l o r g a n is c d a n d v c r y W e ->11 a d o r c d E x o t ic T r a x c U , ì b o a t r iđ c w h ic h s ta r t s otV
s c c n r ity -c o n s ô o u s . q u i t c t a m c ly a n d i h c n b c c o m c s tc r r ilìc lu n . VVc q u c u c d
It was more enjoyable than we had expected. ti>r h a l f a n h o u r fo r U g h t n i n g R iv c r , a n d t h e n u w a s w c r

0 Wonderland
b c t b r c \v c k n c w it! I > v o u ld n 't g o o n t h e B ig L c a p , b u r
i f y o u h a v e t h e ncrvx :, it l o o k e d g r e a t. T h e r c a r e l o t s o f
The children disagreed about what was the m ost írightening ride. M o i r a M c M i l l a n a n d h ( r f r i c n / i p ra n c e s took O s ía r , c n Ị o y a b lc b o a t a n d t n i n trip s a r o u n d i h e p a r k i n đ 1 tclt
1 8 m m t h t , E llic , -í, A ỉtX y 5 , a n d A k x a n d t r , 6. aII t h e a t tr a c t io n s w c r c v c r y sa fc a n d vvtll c o n i r o l l c d . l f
N o n c o f u s h i d b c c ii l o ì t h c m c p a r t b c f c x c , M) \v c t h e c h ilđ r c n h a d b c c n a lit tlc o l d c r , t h c y m ig l u l u v c
d id n 'c k n o w w h a t t o c x p c c t . W c t li o u g li t ( H c a r m ig h t t õ u n d ĩt a b it t a m c , b u t i h c y w c r c a ll in t h c r ig h i a g c
The surroundings are not particularly attractive. 28 Iht t o o y o u n g , b u t h c a d o r t d it. H c n u i n h c a v c n o n g r o u p a n d t h c y lo v c d it.
t h c M o u m a in T n i n , a n d p a r ũ c u U r lv iik c d U t t l c I - j n d ,

We didn’t mind having to wait to go on the rides.

w it h its s m a ll r c p li c is o f t ã m o u s b u i ld in g s th a t \v c r c at
h ũ lc x c l! T h e o l i k r c h ilitr c n c n ị iẠ c d t h c tcr r is w h c c l ,
01 FantasỵW orld
29 a n d l o v c d d r iv in g th c l o v c a r s o n 1 p r o p c r r o a d U y o n t.
\V c s p c n t six h o u r s ih c r c a n d w c r c j J jiI t h a t t lic r c w c r c
/ wifr R u t h
H U I H r x a k a ií a n d b u
e n n ie , 1 5 . a n d t k n , 1 9.
took S a r a h , 1 0 , 'lo m , 1 3 ,

A c c o r d i n g t o t h e p a r k ’s a d v c r iis in g t h c r c is ‘N o L im it
p U cci \v h c r c y tju c<Mild J»«t your fcct up. The
The children vvanted to stay longer than we did. 30 la m b c a p in g is p c r tc c t a n d i h c H aflf \'c r y h c lp iu l a n d t*> t h c Fun*, and wc c c r t a in ly t'clt th a t w as tru c.
liricndly. A n d thcre** s o m c t h i n g f o r e v e r y o n c , i d u l t s E u r o p c * s t a llc s t r x > llc r f o is t c r , t h c R o c k c t , d o m in a ic t
in c lu d e d . t h c s k y lin c , a n d R c n t h o ii g h t it w a s t h c m o « tc r r ííỹ in g
o f t h c r i d c í , j ) t h o u g h J c n n ic w k l t h c H a n g c r , w h c r c
One of the rides seemed to íinish very quickly.
H A dvcnturc W orld
y o u h a n g u p s id e -d fw n 3 0 m c ir c i ib o v c th c g r o u n d ,
w a s C'CI1 v vorec! T h e i c i r c J d o / c n o r s o m a in r ii k s ,
T i m Ị e Ị Ỵ r t t a n d h is m f e C l a r e tữữk T ím o tb y , 3 , O i i v i ã , w h i c h t h c o l d c r c h ild r c n w c n t o n sc v er a l t im c s . Sarah
", a n d F .m » ia , 9. w a s t o o s n ia ll f o r i c o u p l c o f t h c m , b u t c n ị o y c d i h c
We were glad that the children couldn’t go on a certain ride. ACtcr w c n h o u n w c tclt t h c r c w a * M ill ì l o t l o s c c . ' r i m ỉ ^ i n g S lid c . T o m lc n v d t h e z o o a n d w il d li íè park T h e
a n c n o r m o u s t h c m c parfc, c x ir c m e l y w c l l n i n a n d IuII p a r k is c k a n a n d h a s g<Hxl p a r k in g r a c iliiic s . W c ÍOUIHÌ
o f g c x x i r id c s . T h e c h ilđ r c n lo v c t h c l ỉ i g T o p C i r c m , « h e s tJ lY .m it u d c s w c r c m ix c d . S o n i c o(t h c m « c r c ^ r c it

One òf thê childrérì had â bettér' time than we had expected. w h ic h h a d i (â n ta s tic tr .ip c z c a c t a n d k c p t u s o n th c w ith t h c y o u i ig c r c h ik ir c n , b u t i h c v v c lc o m c » v u n 't
c d y c o f o u r » c a ts . W c w c n t o n t h e T c r r o r L in c a n d , ahvavN a s w a r m . Y o u n c c d * fvill d a y t o c n f o y l :a n ia s y
ỉ l i l t o u g h t h c p ir ls w c r c r a th c r s c a r c d a n d k e p t t h c ir c y o W o r ld . W c w o u l d n ’t h a v c d i r c d t d l t h c k iđ s w c vscrc
s h u t m o s t o f t h c t ì m c , the>- « i i l t h c y \ i c n ị o v c d it. T h c ir g .o in g h o m c carly.
r
It makes a claim vvhich is accurate. 34

None oí the rides would írighten young children very much. 87

Test 5 Reading and Use of English

Part 7
Adventure guides
You are going to read an article in which four tourist guides talk about their work. For questions
43–52, choose from the people (A–D). The people may be chosen more than once. Four guides describe the benefits and drawbacks of taking tourists to
some of the world’s most scenic, beautiful but different terrain.
Mark your answers on the separate answer sheet.

A Torfi from Iceland C Ngima from Nepal

Which person
The worst thing about being a guide in Iceland I used to watch the trekkers going through my
says that a guide must be able to react to unexpected events? 43 is when people haven’t bothered to bring the village to the mountain peak situated just above
right clothes for the weather. We like to say it and that made me want to become a guide.
that there is no such thing as bad weather, only The house where I grew up was on the old
takes clients to a location which is starting to disappear? 44 bad equipment. I haven’t had any disasters trekking path to Everest base camp. This is the
but funny moments and blunders are endless: route Sir Edmund Hillary and Sherpa Tenzing
locking myself out of the car in a mind-numbing Norgay took to become the first people to climb
had a sudden realisation that he wanted to be a guide? 45 blizzard, taking folks hiking over a mountain Everest. We saw an inspiring video about them
when the schedule clearly said we should have at school. On my first job as a lead guide, as
been going rafting, being stranded on a glacier in we crossed the difficult Tashi Lapsa pass we
says he can look back on his experiences with pleasure? 46 a blizzard with a broken-down car for 16 hours. had very heavy snowfall and one of our porters
This is a job that provides a stream of good had to be rescued by helicopter because he got
memories and friendship. The river Hvitá is my frostbite and snow-blindness. We have many
fulfilled a long-held ambition? 47 favourite place for white-water rafting. I’d also beautiful places in Nepal but my favourite trek
recommend a visit to the glacier to hike across is up Mera Peak – from the summit you can see
admits to taking tourists on the wrong trip? the ice – you won’t be able to do that for much five mountains above 8,000m, including Everest.
48
longer as the ice is melting at an alarming rate.
D José from Peru
lived close to where history was made? 49
B Tulga from Mongolia
I was working in a factory when a school
enjoys seeing his clients’ sense of achievement? 50 When I became a guide I had virtually no friend who was a river guide took me on an
training at all, just a two-hour lecture about expedition. The moment our boat set off down
what not to do. I had to learn from my mistakes. the river I knew I had found the job for me. After
criticises some of the people he guides? 51 There were four Swiss people on my first trip. two months of training, I guided my first group.
When I met them, I said: ‘Hi guys.’ They gave Ten years later, one of my hands was badly
me a strange look. I asked if there was anything damaged in an accident so it was impossible
mentions that his work changed someone’s life for the better? 52 wrong but they said: ‘No, no problem.’ After for me to continue. My boss suggested I use my
two days, one of them explained, ‘Guys means legs rather than my arms, and this was the start
“goats” in our language.’ I felt terrible. On a of my life as a trek leader. You have to deal with
later trip, clients were upset because they were lots of situations you hadn’t anticipated would
meant to see an ice gorge in the Gobi desert occur. There was the time when it snowed on
but our vehicle broke down and we didn’t the Inca Trail and the combination of snow
get there so they demanded half their money and sun made for blinding conditions. So we
back. On a happier note, I once guided a family had to improvise sunglasses out of the silver
whose son had behavioural problems, and the lining of our drinks boxes! I still love watching
child improved so much during the trip that a people’s reactions on arriving at the summit of
documentary was made about him called The a high pass – it’s so much better to get there
Horse Boy. after a few hours’ walk than after a comfortable
car journey.

18 19
Test 6 Reading and Use of English

Part 7
Four books about sleep
You are going to read four reviews of books about sleep and dreams. For questions 43–52,
choose from the reviews (A–D). The reviews may be chosen more than once.
A Sleepfaring C Counting Sheep
Mark your answers on the separate answer sheet.
Why do we sleep? Are we sleeping enough? Even though we will devote a third of our
How can we tackle sleep problems? Jim Horne lives to sleep, we still know remarkably little
finds answers to these questions and many about its origins and purpose. Does getting
Which review more in Sleepfaring, a journey through the up early really benefit us? Can some people
science and the secrets of sleep. He reveals really exist on just a few hours’ sleep a night?
emphasises how enjoyable sleep is? 43 what goes on in our brains during sleep, and Does everybody dream? Do fish dream? How
also gives some hints from the latest sleep did people cope before alarm clocks and
research that may just help you get a better caffeine? And is anybody getting enough sleep?
says certain aspects of our lives are becoming less distinct from one another? 44 night’s rest. In recent years, understanding Paul Martin’s Counting Sheep answers these
sleep has become increasingly important, as questions and more in this illuminating work of
people work longer hours, styles of working popular science. Even the wonders of yawning
points out that many people share a mistaken belief? 45 have altered, and the separation between are explained in full. To sleep, to dream:
workplace and home is being reduced by cell Counting Sheep reflects the centrality of these
phones and the internet. Horne draws on the activities to our lives and can help readers
describes the structure of the book? 46 latest research to reveal what science has respect, understand, and appreciate that
discovered about sleep. Nor does Horne avoid delicious time when they’re lost to the world.
explains why we have certain experiences? controversial topics; challenging, for example,
47
the conventional wisdom on the amount of
sleep we actually need. For anyone wishing D Dreamland
mentions a practical problem faced by scientists? 48 to know more about the many mysterious
processes that begin when we close our eyes Reporter Randall provides a brisk tour of sleep
each night, Sleepfaring offers a wealth of research and what it means for individuals
says the book shows that major developments have occurred in a field? 49 insight and information. hoping to feel well rested. The author engaged
with sleep research in part because of his
sleepwalking. Researching the world of sleep is
says the writer deals with issues that cause debate? 50 B Dreaming
obviously difficult because sleeping subjects
selected for studies rarely remember anything
What is dreaming? Why are dreams so strange specific. Nonetheless, Randall interviewed
comments that our lack of knowledge regarding sleep is surprising? 51 and why are they so hard to remember? In sleep researchers and read academic papers
this fascinating book, Harvard researcher to learn what he could from those who devote
Allan Hobson offers an intriguing look at our their careers to the science of sleep. The book
says the reader learns how a technological advance caused problems? 52 nightly journey through the world of dreams. is not a continuous narrative but rather a
He describes how the theory of dreaming loose progression of chapters about different
has advanced dramatically. We have learned sleep-related issues. For example, Randall
that, in dreaming, some areas of the brain are explains how the invention of electricity led
very active – the visual and auditory centres, to countless cases of sleep deprivation; the
for instance – while others are completely shut lack of utter darkness after sunset is often the
down, including the centres for self-awareness, enemy of sound sleep. He also emphasises the
logic, and memory. Thus we can have visually too-often neglected common-sense realisation
vivid dreams, but be utterly unaware that that sleep is no void; rather, it is perhaps one
the sequence of events or localities may be third of the puzzle of living well.
bizarre and, quite often, impossible. And
because the memory centre is inactive, we
don’t remember the dream at all, unless we
wake up while it is in progress. With special
boxed features that highlight intriguing
questions – Do we dream in colour? (yes), Do
animals dream? (probably) – Dreaming offers
a cutting-edge account of the most mysterious
area of our mental life.
40 41
Test 7 Reading and Use of English

Part 7
Canaletto and Venice
You are going to read an article about the Italian painter Canaletto. For questions 43–52, choose An expert describes the close relationship between the great 18th century
from the sections (A–E). The sections may be chosen more than once. Italian painter Canaletto and his home city.

Mark your answers on the separate answer sheet. A Canaletto’s lifetime subject was the city of Venice. Apart from the works done during his
decade in London, he painted virtually nothing else, and Venice has never been so minutely
and extensively painted by any other artist. His response to Venice was not like the dramatic,
emotional response of a visitor overpowered by the city’s haunting beauty and magic, as the
In which section does the writer British painter Turner was later, for example. Canaletto’s paintings, with their love of incidental
detail, betray a deeper-rooted, more lasting attachment – the affection of a native Venetian.
suggest why Canaletto’s work was less appreciated in his home city 43
than elsewhere? B Canaletto depicted the city as it really was, documenting the changes in the cityscape over
the years – Piazza San Marco being repaved, palaces being reconstructed, graffiti appearing
and disappearing. Above all, he suffused his painting with the natural light and atmosphere of
give examples of how Canaletto tricks the viewer in his pictures? 44 Venice which was second nature to him. When he went to London in 1746, Canaletto could not
quite come to terms with painting the cooler tones and the unsympathetic climate of England,
and somehow his paintings of the River Thames always ended up looking rather like the Grand
claim that Canaletto’s paintings contain a kind of historical record of Venice? 45 Canal.
C In spite of his natural affection for Venice, Canaletto’s paintings were rarely bought by his fellow
tell us where Canaletto worked on the composition of his pictures? 46 Venetians. This was probably because the locals did not need reminders of their city, and also
because in Venice ‘view painting’ was not taken very seriously in comparison with historical and
religious painting, or even landscape and figure painting. To become a ‘view painter’ at that time
mention the reason why Canaletto didn’t paint exactly what he had seen? 47 was quite a brave choice and, by the end of his career, Canaletto had done much to raise the
status of the genre. However, his influence was felt more among painters in England, the home of
his major patrons.
suggest a weakness in the work Canaletto painted away from Venice? 48
D Canaletto’s extraordinarily detailed and accurate scenes were perfect for the foreign tourists in
Venice, who wanted souvenirs or mementoes of their visits. The more accurate the scene the
give some details of Canaletto’s initial painting technique? 49 better, in fact, and Canaletto’s first patron, Owen McSwiney, persuaded him to change from
his earlier picturesque and theatrical style to a more factual one. Instead of loose brushwork
and thick paint, alongside dramatic contrasts of light and shade, Canaletto adopted more of
say that Canaletto took a risk by specialising in a particular kind of art? 50 a snapshot approach, which proved to be very commercial. His colours became brighter, the
paint surface smoother, and the scenes looked more realistic. McSwiney wrote ‘his excellence
lies in painting things which fall immediately under his eye’, as if he worked directly from
describe different artistic reactions to Venice? 51 nature. At a casual glance, everything in his pictures is instantly recognisable and looks exactly
as it does, or did, in reality. In fact, Canaletto never painted from nature – his pictures were
refer to the effect Canaletto’s paintings had on artists in another country? 52 created in the studio.
E In working out the compositions, he used his imagination and a certain artistic licence. Although
he paid the minutest attention to the detail of a decorative carving, a ship’s sails or washing
hanging out, Canaletto felt at liberty to distort and reorganise the main objects in his paintings
in the interest of dramatic effect. He would alter the sweeping curve of the Grand Canal, for
example, or include more in a composition than could be seen from any single viewpoint. The
clutter of traffic on the waterways looks random and natural, but the position of each boat
was carefully worked out to achieve the best effect. In this way, he conveyed the essence of
Venice even if he deceived the eye. The drawings which formed the basis of his compositions
range from rapid sketches of ideas for painting, done on the spot, to large-scale fully detailed
preliminary drawings. Sometimes, he made precise drawings for engravers to copy, and
occasionally he produced them as works of art in their own right, in which case they were
finished in the studio.

62 63
Test 8 Reading and Use of English

Part 7
The Marshmallow Test
You are going to read an article about a psychology test carried out on very young children. For A psychology experiment carried out with a group of pre-school children in California
questions 43–52, choose from the sections (A–D). The sections may be chosen more than once. in 1968 led to the development of ideas that are still relevant today.

Mark your answers on the separate answer sheet.

A C
In which section does the writer mention
In 1968, Walter Mischel set a challenge for a Mischel still teaches psychology at Columbia
how a child’s background can affect behaviour? 43 group of children aged three to five at the nursery University and has just written The Marshmallow
school his daughters attended in California. A Test, a book summing up half a century of
researcher offered each of them a marshmallow research. When Mischel was young, his family
that the results of Mischel’s long-term research were surprising? 44 and then left them alone in the room. If they was forced to move from a comfortable life in
could resist eating the colourful sweet until the Austria to the US. They settled in Brooklyn,
researcher returned up to 15 minutes later, they where they opened a bargain shopping store.
reasons for questioning the results of the original experiment? 45 would be given a second sweet. Some children Business was never good and Mischel believes
ate the marshmallow straight away, but most that moving from ‘upper middle class to extreme
would engage in unintentionally comic attempts poverty’ shaped his outlook. He is concerned
claims that training young children to resist temptation will have 46 to resist temptation. They looked all around the with trying to reduce the impact of deprivation
long-term benefits? room to avoid seeing the sweet, covered their on an individual’s life chances. The conclusion
eyes, wiggled around in their seats or sang to he draws from his marshmallow research is
themselves. They pulled funny faces, played positive: some people may be naturally
the proportion of very young children who were able to resist temptation? 47 with their hair, picked up the marshmallow disciplined but the ability to resist temptation
and just pretended to take a bite. They sniffed is a skill that can also be taught. Teach children
it, pushed it away from them or covered it self-control early and you can improve their
an everyday example of the need for self-control? 48 up. If two children were doing the experiment prospects.
together, they engaged in a conversation about
how they could work together to reach the goal
that Mischel may have oversimplified the route to success in life? 49 D
of doubling their pleasure. About a third of the
children, the researchers reported, managed to
that Mischel’s own life experience has influenced his work? 50 wait long enough to get the second treat. However, no single characteristic – such as self-
control – can explain success or failure. Some
critics have pointed out that Mischel’s original
strategies employed by participants during the test procedure? 51 B subjects were themselves children of university
professors and graduate students – not exactly
What Mischel, a clinical psychologist, wanted a representative sample. Other scientists noted
two major factors which affect everyone’s ability to resist temptation? 52 was to understand how children learned to that variations in home environment could
deal with temptation. Over the following account for differences: stable homes and one-
years, the group of children remained friends. child families encourage self-control, whereas
When Mischel chatted to his daughters in less stable homes and those with many
about their former classmates, he began to children, if you don’t grab a marshmallow now
notice an interesting pattern: the children there won’t be any left in 15 minutes. Mischel
who had exhibited the most restraint in the answers these critics by noting that studies in
‘marshmallow test’ were doing better in life a wide variety of schools found similar results.
than their peers. He decided to investigate He acknowledges that the environment shapes
further. For more than 40 years, Mischel our ability to resist temptation and observes
followed the lives of the nursery students. His that genetics plays a role too. But he still
findings were extraordinary. It turns out that believes that the ability to resist temptation
being able to resist a treat at the age of five is a can be learnt and encouraged. I asked Mischel
strong predictor of success in life: you are more whether self-control comes easily to him. ‘Not
likely to perform well at school and develop at all,’ he said. ‘I have great difficulties in
self-confidence and less likely to become obese, waiting. It’s still difficult for me to wait in a
develop addictions or get divorced. queue in the bank.’

84 85