I - Read the whole text carefully. Choose the correct answer: Roland went out. Telling himself that any intelligent man in his position (1) _____ these possible developments made things worse, not better. He went along the High Street in search of a telephone box. In a grocery store he provided himself with (2) ______ . He crossed the bridge into the centre of town, where he found a card phonebox (3) ______ because there was a long queue. He waited. Two people, a black man and a white woman, talked until (4) _____ their cards. When the woman stepped out, the people before Roland were courteously brief, and it was finally Roland’s turn. He (5) _____ place, and a voice told him (6) _____ at that moment. Then, at last, Mary was there. ‘Roland? I tried to phone you. I don’t know (7) _____ . I don’t even know what we were trying to do with the letters.’ ‘I wish (8) _____ when I had the chance.’ And (9) _____ , everything would have been so much easier. No awkward questions (10) _____ . They were neither of them very decisive, but now they (11) _____ . (Based on: Possession, by A.S. Byatt) 1. A B C D 2. A B C D 3. A B C D 4. A B C D 5. A B C D A B C D must have foreseen should have foreseen must be foreseen should be foreseen a phone card and a change a phone card and some change phone card and a change phone card and some change which had functioned that had functioned that had to be functioning what had to be functioning they exhausted they have exhausted they were exhausted they had been exhausted got up to Mary got up to Mary’s got through to Mary got through to Mary’s she had taken a shower she has taken a shower she was taking a shower she is taking a shower 7. A B C D A B C D A B C D if Valerie had told you if Valerie told you had Valerie told you did Valerie tell you I disappeared I had disappeared I would disappear to disappear he had done so he had to do so had he to do so had he done so would have risen would have raised would have been raised would have been risen know what has to be done know what will have to be done knew what has been done knew what had to be done



10. A B C D 11. A B C D



II - Choose the correct answer: 12. He ______ the gun but no one at the party had actually seen him with it. A was gossiped to bring B was rumoured to bring C was gossiped to have brought D was rumoured to have brought 13. Although Joan felt _______, she smiled ______ . A nervously / in a friendly way B nervous / in a friendly way C nervously / friendly D nervous / friendly 14. If you are lying _____ your boyfriend now, what will happen ____ six months, when you get married? A - / for B - / in C to / in D to / for 15. 'I hope there was nothing ________ in the portfolio,' she said. A worthy B worth C valueless D valuable 16. _______ all the letters, they finally posted them to different people. A Having to stamp B Having been stamped C Having stamped D Being stamped 17. In order to please his manager, he felt that it was absolutely necessary ______ the conference. A for him attending B for his attending C that he should attend D that he ought to attend 18. By this time next Monday we _____ for three weeks. A will have been sailed B will have been sailing C will be sailed D will sail


19. My cousins lost their lovely dog a month ago. It appeared ______ yesterday. A out of the blue B out of the blue moon C over the blues D over the moon 20. Which of the words below means the opposite of reluctant ? A unwilling B disinclined C eager D earnest

Read the texts carefully and choose the correct answer: 1) There are few things that play as central a role in our everyday lives as language. It is our most important tool in communicating thoughts and feelings to each other. Infants cry and laugh, and their facial expressions surely give their parents some notion of the kinds of emotions they are experiencing. However, it is not until children are able to articulate speech that we gain much understanding of their private thoughts. As we grow, language comes to serve other functions as well. Most young people develop jargon that is more meaningful to those of the same age than to older or younger individuals. Such specialized language serves to bind us more closely with people of our age and social status while at the same time excluding those who belong to another age or social group. Over time, for many of us, language becomes not merely a means to an end, but an end itself. We come to love words and word play. So we turn to writing poetry or short stories. Or to playing word games, such as crossword puzzles. Or to reading novels on a lazy summer afternoon. A tool that is vital for communicating our basic needs has also become a source of leisurely pleasure. The diversity of how we use language is of overwhelmingly vast interest for psychologists who wish to study language. How can something so widespread and farreaching as language be examined psychologically? An important consideration is that the psychology of language deals with the mental processes that are involved in language use. (Based on: The Psychology of Language by David Carroll)


1. According to the author of the text, there are ______ things that are so important for our lives as language. A) B) C) D) many not many just enough several

2. According to the text, most young people
A) B) C) D)

exclude those who belong to different social status. bind themselves closely to younger individuals. use jargon that distinguishes them from other age and social groups. develop a specialized language that is more meaningful than ordinary language.

3. Children's thoughts and feelings A) are best understood through their facial expressions. B) can really be understood only when children start speaking. C) help their parents experience the same emotions. D) reveal their experiences to their parents. 4. For many people language becomes a means of A) B) C) D) pure enjoyment. writing poetry. doing crossword puzzles. playing word games.

5. Different ways of using language A) make the psychological study of language overwhelmingly difficult. B) can be widespread and diversified by psychologists. C) are of enormous interest for psychologists who study language. D) make a number of psychologists wish to study language.

2) Warren J. Belasco smiled to think that rice, long associated in Anglo culture with despised immigrants, drooling babies, and toothless old people, had become fashionable. At the conference where he was speaking, it was clear that Mr. Belasco's specialty, "food studies," is much like rice: once shunned as too ordinary, it's now a hot commodity, available in countless varieties.


A professor of American studies at the University of Maryland-Baltimore County, Mr. Belasco is one of a growing number of scholars interested in the historical, social, and cultural meanings of food. Most of the panels at the conference – a joint meeting of the association for the Study of Food and Society and the Society for Agriculture and Human Values – were filled by nutritionists, rural sociologists, and political economists, who talked about sustainable agriculture, food security, and farmers' rights. But many of the participants were historians, philosophers, folklorists, or literary scholars, discussing what we can learn about human nature and particular societies from the way people cook, eat, market, and talk about food. Mr. Belasco, for example, didn't give advertising all the credit for rice's rebirth. He also pointed to the modernist search for "authenticity," a postmodern desire to incorporate the Other, and the recent tendency to think of meals as medicine. "Grains have been recast as protective and life-sustaining," he said. At panel sessions and over elegant meals featuring organic produce or one of Toronto's 80 different ethnic cuisines, other scholars talked about food as a symbol of power, an aesthetic display, a community ritual, and an expression of ideology or identity. (Article from The Chronicle of Higher Education, by Jennifer K.Ruark) 6. The author is writing about a conference that took place in A) B) C) D) the USA. the UK. Canada. Japan.

7. Mr. Belasco’s specialty is compared to rice because A) B) C) D) it is appreciated by many people nowadays. it used to be considered fashionable. it was available at the conference. it is clearly too ordinary.

8. According to Mr. Belasco, the popularity of rice is due to A) the fact that it is advertised and that it is available in a number of varieties. B) advertising, promotion of healthy food and changed philosophical and cultural attitudes. C) the power of immigration from the East to the West. D) the fact it enhances your identity, authenticity and postmodern Otherness.


9. Food studies are becoming increasingly attractive because A) you can learn a lot about what people and a society are like from the way they prepare their rice. B) they allow you to become a gourmet and a powerful and healthy scholar. C) knowing how people relate to food reveals a lot about human nature and societies. D) the food topic is widely popularized by rural sociologists advocating sustainable. agriculture. 10. The conference was organized by A) B) C) D) Mr. Warren J. Belasco. the University of Maryland- Baltimore. two associations. a restaurant of ethnic cuisine.

You are going to listen to a radio programme. While you are listening you can mark your answers on the question sheet. When the recording has finished, you will have 5 minutes to complete your official answer sheets. You now have two minutes to read through the comprehension questions that are on the paper in front of you. The radio programme will begin when you hear the first beep and you will hear the recording twice.

Part One
Listen to part of a radio interview with Harry Smith, an artist whose work is used on CD covers. I: Hello. Welcome to this month’s edition of ‘Art in our Lives’. My guest on the programme is Harry Smith, best known for the CD covers he illustrates for the rock band ‘Hell-o’. I went along to talk to the rising star about his dual career as an artist and illustrator. Harry, you’ve recently enjoyed a solo show of your original paintings and you certainly now have a successful career as a painter, so I guess my first question has to be – why did you get involved in the area of illustration and prints? Well, I trained initially in painting, but then I decided to go on to study illustration at the Royal College. In an ideal world, I’d have stuck with the painting, but I didn’t like the idea of coming of college with an art degree and trying to make my way as a painter – you know, selling large original paintings on canvas. I wanted to create some kind of solid career out of what I was doing. I dreaded being left out there, just painting pictures, hoping to sell a piece of work – not that there was any definite promise of a job in illustration either.



I: H:



I: H: I: H:



Indeed, getting that big break, if you like, doesn’t come easily... So how did it all happen for you? Well, while I was at the Royal College, a visiting lecturer, who seemed to like what I did, asked me if I’d provide some illustrations for a popular lifestyle magazine... the CD cover project came later on, when I had my degree show, which included the magazine stuff. A design company spotted it and basically one of their guys just asked me if I’d agree to take part in a project designing CD covers for the rock group ‘Hell-o’. A great opportunity for a young person just starting out and the ‘Hello’ project has given you a reputation as one of the most promising illustrators around – I heard that even rock star and well-known art lover David Bowie admired your work on television when it formed a backdrop to Hello’s performance. Yet for a painter with very little experience of deadlines and commissions behind you, it must have been unnerving when you started. Well, one of the biggest problems for me was that I had no idea what to charge initially, so I just agreed with whatever the record company suggested – that might sound naïve to you but a lot of people just price themselves out of the market too quickly, whereas for me the approach paid off... my rate soon doubled. Now, even my original paintings sell well too. People actually contact the record company to track me down. So you didn’t even have to put them in a show? No, there’s an irony there! Did the deadlines get easier, too? Well, at the start, I was usually given between one and two weeks to complete a commission. Now they’ll just call me up and say: ‘the next single’s coming out – go ahead.’ They usually give me the title of the song – so I’ll have that to go on, but sometimes I don’t even have that, which is a pretty flexible approach. I think that once the record company had decided that my work represented the image of the band, they were happy to leave me to my own devices. So the brief was almost entirely open – to the point where I had full creative control if you like. In one piece, where I’d painted an empty playground, they wanted me to add a figure. But even then, they ended up using both versions. Yes, let’s talk a little bit about what you actually draw for the company, because these are scenes of, well, urban desolation really... deserted playgrounds, kids playing in the street... they’re quite claustrophobic in some ways – you know, you don’t want to be there. You’ve got a point there. They feature these sort of defiant characters. I achieve that by blocking out the eyes and mouths and there’s an underlying sense of danger. Places can be like that – quite off-putting in some ways. Yet despite the sombre feel of the work, there’s also an enjoyment of materials and colour. I use old family photos for ideas and I’ve got a huge collection of pictures that I’ve taken of buildings, playgrounds and figures. I often print sections of the photos onto paper and then play with the image... so they’re never just copied. I always take them a few steps further... changing the colours, the horizon line and the composition. But I use my own drawn imagery more and more. I’m finding now that photography can slightly inhibit the imaginative side of creating a picture.


1. Harry decided to train as an illustrator because he A knew he could get work in that field. B knew other painters were better than he was. C felt a painter’s lifestyle would be too uncertain. D felt he was more suited to illustration than painting.

2. How did Harry first get involved in designing CD covers? A He made contact with a rock group. B He was approached by a company representative. C A lecturer put him in touch with the company concerned. D A designer put his illustrations in a music magazine. 3. Harry feels that when he started designing CD covers, A he charged too little for his work. B he allowed the company to dictate the fees. C he had unrealistic expectations about the fees. D he set out to charge less than his rivals. 4. Harry feels the record company gives him a lot of artistic freedom because he A knows the style of work they want. B changes his drawings to suit their taste. C gets inspiration from the band’s music. D produces work at an unusually fast pace. 5. What does Harry say about the photographs he uses? A He discards a lot of them. B He travels a long way to find them. C He relies on them less than he used to. D He is finding them harder to select than he used to.

Part Two
Listen to part of a radio interview. I: Owen, some say your successful career as a film director was born out of turmoil. Would you agree with that? O: If you call no studio support and working against all the odds turmoil, I’d have to agree with you there! I: But your career breakthrough goes back to the early 1990s, doesn’t it? That’s when you were being acclaimed as (and I quote here) ‘a highly creative, gifted and technically perfect director’. O: It was the overwhelming success of Task Force that did it. Looking back, it’s hard to see how we managed to get the film made in such precarious


I: O:

I: O:

I: O:

I: O:

I: O:

circumstances. We experienced every kind of problem imaginable. Before that, I’d been struggling for some time within the industry – getting nowhere fast. So how did you find the will to make the film? My ideas had been getting, well, a frosty reception with the big studios, so I moved to Australia and began shooting there, on a budget of $8 million. I suppose I’d started to think that I just couldn’t fit into the studio system, and the idea of going it alone became more appealing. Our budget was tight, by Hollywood standards, so every day was a challenge because there was no back up. You might not be aware that the movie business is mostly frustration – most people don’t realise that. You have to get used to more setbacks than successes. But I was able to say, ‘This is my baby’, and that in itself is motivating. So when you arrived in Australia, did you have any inkling of the success that Task Force would become? No, it hadn’t even crossed my mind. But we were trying hard to do something different. One thing about doing war films is that you don’t often get the intensity of feeling that would really be found on the front line of a battlefield – you know, desperation, irritation, a feeling of anger. War films are normally quite sanitised, and I didn’t want that. So, we hired an expert on outback survival and took the cast deep into the bush for six weeks. It was tough – which was the whole point, you know – but I can confirm just how tough it was because I joined them for most of it. Anyway, it gave the characters a lot more grit and realism. So it worked, and other directors have since taken up the technique. Reality’s now a big selling point. Well, I don’t think it had ever been done before, so I guess it was a turning point, in that sense. And it’s always nice to know that colleagues in the industry, on either side of the camera, see your work as something special and have been influenced by it. That’s very gratifying. But most films that are hailed as turning points aren’t. I don’t see film, or any other artistic medium for that matter, as working in that way. A true breakthrough is very rare. The point is that any filmmaker tries to go one better... so what we get is a step-by-step development and an emergence of new ideas and techniques. Anyone working in film is part of that tradition, and it’s no secret that I’ve borrowed liberally from other people’s work – that’s part of what we do. And do your films make you reflect more on the world and what goes on in it? Reflecting on the world, I suppose, yes. But I try not to dwell on current affairs – more on the, er, bigger picture. Overall, I have a lot of faith in people’s ability to make the world a better place. And as for my personal life, things are settled and fine. I have a son who’s nine, and twin daughters, so things are good. And can you keep making films with the same intensity, or has age mellowed your concerns and your approach? Good question. It was hard to make a film like Task Force – there’s nothing wrong with turmoil – but you’ve got to keep looking for something new and move on, you know.


6. Owen says that the film which made him successful A was finished long before the 1990s. B was rejected by the industry when it first came out. C overran its original budget. D was made in very difficult conditions. 7. What motivated Owen to make the film in Australia? A a desire to be accepted into the Hollywood system B a feeling that his next movie would be a winner C a determination to do what he wanted to do D a fear that this might be his last chance to prove himself 8. According to Owen, what made his film Task Force unusual? A Genuine soldiers were brought in as actors. B The cast were put through rigorous training. C Filming took months longer than anticipated. D Owen based the characters on fellow soldiers. 9. What does Owen feel about all films? A They are part of an evolutionary process. B They are significant landmarks. C They are rarely regarded as highly as they should be. D They are regarded with envy be fellow directors. 10. What does Owen say about the future? A World events will always dictate how we perceive ourselves. B Turmoil will continue unless we make a stand. C People should not try to reproduce what he has created on film. D We can be optimistic about the human race.

Read the instructions carefully: 1. Write at least 150 words. 2. Make sure that you complete all parts of the task. 3. Your paper will be judged on range and accuracy of grammar and vocabulary, as well as on coherence and task achievement. If your paper is completely off-topic, it will not be scored. 4. You may make an outline if you wish, but your outline will not count toward your score. You will not be graded on the appearance of your paper, but your handwriting must be readable. You may change or correct your writing, but you should not copy the whole composition over. 5. You now have 45 minutes to complete the following writing task:


You had a party last week. One of your neighbours attended and behaved badly. Write a letter to a friend in which you explain what happened and what your problems are now, as a result of the incident. Discuss possible solutions with your friend and ask his/her advice.

In the oral part of the exam (10 minutes), the candidate 1. answers questions related to his/her personal life and interests 2. describes a picture (provided by the examiners) 3. answers questions related to the picture he/she has described There are three examiners. One examiner (the Interlocutor) conducts the interview, providing the candidate with verbal and visual prompts that are designed to elicit a wide range of grammatical structures and vocabulary. The other two examiners assess the candidate’s performance, focusing on the range and accuracy of grammar and vocabulary, as well as on pronunciation, fluency and coherence (apart from being introduced to the candidate, the Assessors do not take part in the interview).


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