Test 1

PAPER 1 READING (1 hour 15 minutes)

Part 1
You are going to read three extracts which are all concerned in some way with
providing a service.
For questions 1-6, choose the answer (A, B, C or D) which you think its !est according
to the text. "ark your answers on the separate answer sheet.
Fish who work for a livin
#leaner wrasses are small marine ish that eed on the parasites living on the !odies o
larger ish. $ach cleaner owns a %station& on a ree where clientele come to get their
mouths and teeth cleaned. #lient ish come in two varieties' residents and roamers.
(esidents !elong to species with small territories) they have no choice !ut to go to their
local cleaner. (oamers, on the other hand, either hold large territories or travel widely,
which means that they have several cleaning stations to choose rom. *he cleaner
wrasses sometimes %cheat&. *his occurs when the ish takes a !ite out o its client,
eeding on healthy mucus. *his makes the client +olt and swim away.
(oamers are more likely to change stations i a cleaner has ignored them or too long or
cheated them. #leaners seem to know this' i a roamer and a resident arrive at the same
time, the cleaner almost always services the roamer irst. (esidents can !e kept waiting.
*he only category o ish that cleaners never cheat are predators, who possess a radical
counterstrategy, which is to swallow the cleaner. ,ith predators, cleaner ish wisely
adopt an unconditionally cooperative strategy.

1 ,hich o the ollowing statements a!out the cleaner wrasses is true-
A *hey regard %roamer& ish as important clients.
B *hey take great care not to hurt any o their clients.
C *hey are too rightened to eed rom the mouths o certain clients.
D *hey are in a strong position as they can move to ind clients elsewhere.

! *he writer uses !usiness terms in the text to
A illustrate how ish negotiate rewards.
B show how !igger ish can dominate smaller ones.
C exempliy cooperation in the animal world.
D descri!e the way ish take over a rival&s territory.
Level C1
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E"tra#t fro$ a novel
%he Gior&ano paintin
.I was up in town yesterday,& / tell *ony easily, turning !ack rom my long
study o the sky outside the window as i /&d simply !een wondering whether
the matter was worth mentioning, %and someone / was talking to thinks he
knows someone who might possi!ly !e interested.&
*ony rowns. %0ot a dealer-& he queries suspiciously.
%0o, no 1 a collector. 2aid to !e keen on seventeenth1century art. $specially
the paintings o 3iordano. Very keen.&
%"oney all right-& *ony asks.
%"oney, as / understand it, is ar rom !eing a pro!lem..
2o, it&s all happening. *he words are coming. 4nd it&s not at all a !ad start, it
seems to me. /&m impressed with mysel. /&ve given him a good spoonul o
+am to sweeten the tiny pill that&s arriving next.
%2omething o a mystery man, though, / gather,& / say solemnly. %5eeps a low
proile. ,on&t show his ace in pu!lic.&
*ony looks at me thoughtully. 4nd sees right through me. 4ll my !oldness
vanishes at once. /&ve !een caught cheating my neigh!ours6 / eel the panic
rise.
%You mean he wouldn&t want to come down here to look at it-&
%/ don&t know,& / lounder hopelessly. %7erhaps 8 possi!ly...&
%*ake it up to town,& he says decisively. %3et your chum to show it to him.&
/&m too occupied in !reathing again to !e a!le to reply. 9e misconstrues my
silence.
%:it o a !ore or you,& he says.
' ,hen he (rins )p the su!+ect o the 3iordano painting, the narrator wants to give
*ony the impression o !eing
A cautious.
B resigned.
C mysterious.
D casual.
* ,hat is the narrator reerring to when he uses the expression %tiny pill& in line 1;-
A his shortage o precise details a!out the collector
B his lack o certainty a!out the value o the painting
C his concerns a!out the collector&s interest in the painting
D his dou!ts a!out the collector&s a!ility to pay or the painting
Level C1
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%he invention of (ankin
*he invention o !anking preceded that o coinage. :anking originated
something like <,=== years ago in 4ncient "esopotamia, in present1day /raq,
where the royal palaces and temples provided secure places or the saekeeping
o grain and other commodities. (eceipts came to !e used or transers not only
to the original depositors !ut also to third parties. $ventually private houses in
"esopotamia also got involved in these !anking operations, and laws regulating
them were included in the code o 9ammura!i, the legal code developed not long
aterwards.
/n 4ncient $gypt too, the centrali>ation o harvests in state warehouses led to the
development o a system o !anking. ,ritten orders or the withdrawal o
separate lots o grain !y owners whose crops had !een deposited there or saety
and convenience, or which had !een compulsorily deposited to the credit o the
king, soon !ecame used as a more general method o payment o de!ts to other
people, including tax gatherers, priests and traders. $ven ater the introduction o
coinage, these $gyptian grain !anks served to reduce the need or precious
metals, which tended to !e reserved or oreign purchases, particularly in
connection with military activities.
+ /n !oth "esopotamia and $gypt the !anking systems
A were initially limited to transactions involving depositors.
B were created to provide income or the king.
C required a large sta to administer them.
D grew out o the provision o storage acilities or ood.
6 ,hat does the writer suggest a!out !anking-
A /t can take place without the existence o coins.
B /t is likely to !egin when people are in de!t.
C /t normally requires precious metals.
D /t was started to provide the state with an income.
Level C1
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Part !
You are going to read a maga>ine article a!out hippos. 2ix paragraphs have !een
removed rom the article. #hoose rom the paragraphs A-G the one which its each gap
(,-1!). *here is one extra paragraph which you do not need to use. "ark your answers
on the separate answer sheet.
-hen the hippos roar, start pa&&lin.
Richard Jackson and his wife spent their honeymoon going
down the Zambezi river in a canoe.
%*hey say this is a good test o a relationship,&
said *im as he handed me the paddle. / wasn&t
sure that such a tough challenge was what was
needed on a honeymoon, !ut it was too late to
go !ack. "y wie, @eigh, and / were standing
with our guide, *im #ame, on the !anks o the
Aam!e>i near the Aam!iaB :otswana !order.
*his was to !e the highlight o our honeymoon'
a saari downriver, ending at the point where
Cavid @ivingstone irst saw the Dictoria Falls.
1/
Ene morning, *im decided to count the
num!er o hippos we saw, in an attempt to
gauge the population /n this part o the river.
"ost o the wildlie keeps a cautious distance,
and we were assured that, sae in our canoe,
any potential threats would !e more scared o
us than we were o them 1 !ut we had !een
warned to give these river giants a wide !erth.
*hey&d normally stay in mid1stream, watching
us with some suspicion, and greeting our
departure with a cacophony o grunts.
, 11
0either o us had any canoeing experience.
*entatively we set o downstream, paddling
with more enthusiasm than expertise. 2oon we
heard the irst distant rum!lings o what seemed
like thunder. %/s that Dictoria Falls-& we inquired
naFvely. %0o,& said *im dismissively. %*hat&s our
irst rapid.& $asy, we thought. ,rong6
*im yelled %7addle6& and over the next 1==
metres an Elympic runner would have
struggled to keep up with us. *he hippo
gave up the chase, and although *im said
he was +ust a youngster showing o, our
opinion was that he had honeymooners on
the menu. *hat would certainly !e the way
we told the story !y the time we got home.
0 1!
*he canoe plotted a cra>ed path as we careered
rom side to side, our !est eorts seeming only
to add to our plight. *his was the irst o many
rapids, all relatively minor, all en+oya!ly
challenging or tourists like us.
4t some times o the year, you can even
en+oy a natural ac!zzi in one o the rock
pools !eside the alls. *he travel !rochures
say it&s the world&s most exclusive picnic
spot. /t&s certainly the ideal place to wind
down ater a near miss with a hippo.
1
*he overnight stops would mean mooring at a
deserted island in the middle o the river, where
*im&s willing support team would !e waiting,
having erected a camp and got the water warm
or our !ucket showers. 4s the ice slowly melted
in the drinks, restaurant1quality ood would
appear rom a cooker using hot coals. *hen
people would !egin to relax, and the day&s
stories would take on epic proportions.
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A @uckily we could make our
mistakes in privacy as, apart rom
*im and another couple, or two
days we were alone. Eur only
other company was the array o
!ird and animal lie. *he paddling
was airly gentle, and when we got
tired, *im would lead us to the
shore and open a cool1!ox
containing a picnic lunch.
E :ut num!er 15= had other ideas. 4s
we hugged the !ank he dropped under
the water. ,e expected him to re1
surace in the same spot, as the others
had done. /nstead, there was a sudden
roar and he emerged lunging towards
the canoe.
B / that was the scariest moment, the
most romantic was undou!tedly
our inal night&s campsite.
@ivingstone /sland is perched
literally on top o Dictoria Falls.
*he saari company we were with
have exclusive access to it' it&s +ust
you, a sheer drop o a ew hundred
metres and the continual roar as
millions o litres o water pour
over the edge.
F Ever the next hour or so the noise
grew to terriying dimensions. :y the
time we edged around the !end to
conront it, we were convinced we
would !e aced with mountains o
white water. /nstead, despite all the
sound and ury, the Aam!e>i seemed
only slightly ruled !y a line o small
rocks.
C *here was plenty o passing traic
to o!serve on land as well 1
giraes, hippos, elephants and
warthogs, while eagles soared
overhead. ,e even spotted two
rare white rhinos. ,e paddled
closer to get a !etter look.
G ,hen we&d all heard enough, we slept
under canvas, right next to the river
!ank. Fortunately, we picked a time o
year largely ree o mosquitoes, so our
nets and various lotions remained
unused. *he sounds o unseen animals
were our nightly lulla!y.
D ,e had a our1metre aluminium
canoe to ourselves. /t was a small
crat or such a mighty river, !ut
quite !ig enough to house the odd
domestic dispute. #ouples had, it
seemed, ended similar trips arguing
rather than paddling. :ut it wasn&t
+ust newly1weds at risk. *im
assured us that a group o
comedians rom 0orth 4merica
had ailed to see the unny side too.
Level C1
5
Part '
You are going to read a newspaper article a!out a novelist. For questions 1'-11, choose
the answer (A, B, C or D) which you think its !est according to the text. "ark your
answers on the separate answer sheet.
%he opera-lover t)rne& #ri$e novelist
"hro!gh her series of crime novels# $onna Leon has been solving m!rders in Venice
with great panache 1 mostly to the so!ndtrack of grand opera.
Conna @eon irst launched hersel as a
crime writer in 1GG1 with $eath at La %enice#
which saw a conductor poisoned in mid1
perormance at the Denice opera house. %/t was an
idea that kind o grew,& she says. %/ had a riend at
the opera house. Ene day we were !ackstage,
complaining a!out the tyrannical conductor 1 and
we thought it would !e a laugh to make him the
victim in a crime novel, which / duly went o and
wrote. :ut that&s all it was meant to !e. / was
lucky to !e !orn without am!ition, and / had none
or this !ook. *hen / sent it o to a competition,
and six months later they wrote !ack to say /&d
won. / got a contract, and suddenly / had a
purpose in lie, a mission.&
*o hear her talk, you&d think that until
$eath at La %enice she&d !een living in o!scurity.
0ot so. 2he was a well1known academic teaching
$nglish literature at universities in the H24 and
$urope. :ut she ound that she wasn&t really cut
out or university lie, and inally decided to walk
out on it. %/&m a ormer academic,& she says now
through slightly gritted teeth. 4nd it&s interesting
that her literary reputation has !een made through
a medium so remote rom the one she used to
teach.
%You&d !e surprised how many academics
do read murder mystery though,& she adds. %/t
makes no intellectual demands, and it&s what you
want ater a day o literary de!ate.& *hat said, "s
@eon is !ig !usiness. 2he sells in !ulk, her !ooks
are translated into nineteen languages and she&s a
household name /n 3erman1speaking countries.
%4ll o which is gratiying or me personally, and /
don&t mean to ru!!ish my own work, !ut murder
mystery is a crat, not an art. 2ome people go to
crime conventions and deliver learned papers on
the way 4gatha #hristie presents her characters,
!ut they&re out o their minds. / stay away rom
such events.&
@eon also stays away rom most o the
other expected haunts o crime writers, like
courtrooms and police stations 1 %/&ve only known
two policemen, neither o them well,& 1 which
accounts or the a!sence o technical legal detail
in the !ooks. ,hat&s more, the ew points o
police procedure that appear are usually invented 1
as, she admits, they&re !ound to !e when you set a
murder series in a place where murders never
happen. %Denice is small, compact, protected !y
its geography 1 there&s really not much crime.&
#learly the key thing a!out her murder stories
isn&t credi!ility. 7redicta!ility comes closer to the
mark' setting a series in a ixed location that the
reader inds attractive, with a constant cast o
characters.
4nd that&s what Conna @eon does. 9er
unique selling point is Denice which, as the
reviewers always say, comes through with such
vitality and orceulness in @eon&s writing that you
can smell it. *here&s a set cast o characters, led !y
a middle1aged detective, #ommissario :runetti,
and his wie (a disillusioned academic). *hen
there are her standard +okes 1 oten to do with
ood. /ndeed, @eon lingers so ecstatically over the
details o lunch, the pursuit o +ustice requently
gets diverted. *he eating is a literary device 1 part
o the pattern o each novel, into which she slots
the plot. %*hat&s how you hook your readers, who
like a kind o certainty. 4nd the most attractive
certainty o crime iction is that it gives them what
real lie doesn&t. *he !ad guy gets it in the end.&
/ndeed, when the conversation switches to
Conna @eon&s other lie, && Complesso 'arocco#
the opera company she helps run, she talks a!out
!aroque opera as though it were murder1mystery'
uelled !y %power, +ealousy and rage, despair,
menace& which are her own words or the sleeve
notes o a new #C o 9andel arias !y the
company, packaged under the title "he (bandoned
)orceress. Cesigned to tour rare works in concert
ormat, && Complesso was set up in ;==1 in
colla!oration with another H2 exile in /taly, the
musicologist 4lan #urtis. %/t started as a one1o.
*here was a rare 9andel opera, (rminio# that 4lan
thought should !e perormed, and it !ecame an
o!session or him until eventually / said, %Co you
want to talk a!out this or do you want to do it-& 2o
we did it. / rang a riend who runs a 2wiss opera
estival. ,e oered him a production. *hen had
eight months to get it together.&
2omehow it came together, and &&
Complesso is now an ongoing venture. #urtis does
the hands1on artistic and administrative work.
@eon lends her name which %opens doors in all
those 3erman1speaking places& and, crucially,
underwrites the costs. /n addition, her pu!lishing
commitments take her all over $urope 1 where she
keeps a lookout or potential singers, and
sometimes even eatures in the productions
hersel' not singing (%/ don&t&) !ut reading the odd
snatch rom her !ooks.
Level C1
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1' ,hat is suggested a!out the novel $eath at La %enice in the irst
paragraph-
A Conna !ased the plot on a real1lie event she had witnessed.
B Conna didn&t envisage the work ever !eing taken very seriously.
C Conna had to !e persuaded that it was good enough to win a pri>e.
D Conna em!arked upon it as a way o !ringing a!out a change in her lie.
1* *he second paragraph paints a picture o Conna as someone who
A has little respect or her ellow academics.
B regrets having given up her +o! in a university.
C was unsuited to !eing a university teacher.
D ailed to make a success o her academic career.

1+ From Conna&s comments in the third paragraph, we understand that
A she eels crime iction should !e considered alongside other types o
literature.
B she is pleased with the level o recognition that her own novels have
received.
C she regards her own novels as inerior to those o 4gatha #hristie.
D she inds the popularity o crime novels amongst academics very
satisying.
16 Conna is descri!ed as an untypical crime writer !ecause
A she is a!le to imagine crimes !eing committed !y unlikely characters.
B she is unconcerned whether or not her stories appear realistic.
C she has little interest in the ways criminals think and operate.
D she manages to come up with imaginative new ideas or her plots.

1, Conna&s greatest strength as a crime writer is seen as
A her avoidance o a ixed approach.
B her in+ection o humour into her stories.
C the clear moral message she puts across.
D the strong evocation o place she achieves.
10 ,hen Conna helped set up && Complesso 'arocco#
A she didn&t expect it to !e a long1term pro+ect.
B she saw it as more interesting than her writing work.
C she had a undamental disagreement with her main colla!orator.
D she was attracted !y the challenge o the irst deadline.
11 /n what way is Conna important to && Complesso 'arocco*
A 2he provides essential inancial support.
B 2he oversees its day1to1day organisation.
C 2he helps as a translator.
D 2he organises the recruitment o perormers.
Part *
You are going to read an article a!out the human mind. For questions !/-'* choose rom
Level C1
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the sections 2A-E34 *he sections may !e chosen more than once.
"ark your answers on the separate answer sheet4
-hi#h se#tion $entions the followin5
things that you will not need i you adopt a certain mental technique !/
using an image o a amiliar place to help you remem!er things !1
!eing a!le to think a!out !oth particular points and general points !!
things that you may not have a clear mental picture o !'
something which appears to !e disorganised !*
annoyance at your ina!ility to remem!er things !+
!earing in mind what you want to achieve in the uture !6
an example o an industry in which people use pictures eectively !,
an everyday example o ailure to keep inormation in the mind !0
the impact a certain mental technique can have on people listening to what
you say !1
an assertion that certain things can !e kept in your mind more easily than
others '/
inormation that it is essential to recall in certain situations '1
!eing a!le to consider things rom various points o view '!
things that come into your mind in an illogical sequence ''
remem!ering written work !y imagining it in context '*
Level C1
K
Pi#t)re this 444 with 6o)r $in&7s e6e
"rying to !nderstand and cope with life# we impose o!r own frameworks on it and
represent information in different symbolic forms in o!r mind writes Jonathan +ancock.
A
*hink o the mental maps you use to ind your way
around the places you live and work. ,hich way up
do you picture towns and cities you know well-
,hich details are highlighted, which ones !lurred-
Lust as the map o @ondon used !y passengers on
the Hnderground is dierent rom the one used !y
drivers a!ove ground, so your mental ramework
diers rom that o other people. ,e also use
rameworks to organise more a!stract inormation.
"any people say that they can visualise the
position o key passages in !ooks or documents.
"ention a point made !y the author, and they can
recall and respond to it !y picturing it in relation to
other key points within the larger ramework they
see in their mind&s eye. En a chaotic1looking desk,
it is oten possi!le to see a mental picture o where
the key pieces o paper are and ind a particular
document in seconds.
B
,e all have our own natural strategies or structuring
inormation, or altering and re1arranging it in our
mind&s eye. You can take control o your thinking
!y increasing your control o the mental
rameworks you create. 2ince 4ncient (oman
times, a speciic raming technique has !een used
to improve memory and !oost clarity o thought.
*he concept is simple' you design an empty
ramework, !ased on the shape o a !uilding you
know well, and get used to moving around its
rooms and hallways in your mind. ,henever you
have inormation to remem!er, you place it in this
%virtual storehouse&. ,hatever it is you are learning
1 words, num!ers, names, +o!s, ideas 1 you invent
pictorial clues to represent each one. *he mind
preers images to a!stract ideas, and can retain vast
num!ers o visual clues. Lust as advertisers !ring
concepts to lie with key images, you highlight the
important points in a !atch o inormation and
assign each o them an illustration.
C
"emory and place are closely linked. 9ave you
ever walked upstairs, orgotten what you went or,
!ut remem!ered when you returned to where you
were standing when you irst had the thought-
,hen you are trying to learn new inormation, it
makes sense to use the mind&s natural tendencies.
/n your mind, you return to the imaginary rooms in
your %virtual storehouse&, and rediscover the images
you let there. #icero, perhaps the greatest orator in
history, is reputed to have used this technique to
recall complex legal arguments, addressing the
(oman 2enate rom memory or days on end. You
can use it to remem!er all the employees in your
new workplace, the +o!s you have to do in a day,
month or year, su!+ect headings or a complex
piece o work, or the acts you need to have at your
ingertips under pressurised circumstances.
D
*he system o com!ining images and ideas works
so well !ecause it involves %glo!al thinking&,
!ringing together the two %sides& o your !rain. *he
let side governs logic, words, num!ers, patterns
and structured thought 1 the rameworks you !uild 1
and the right side works on random thoughts,
pictures, daydreams 1 the memora!le imagery you
ill them with. *he earless, imaginative creativity
o the child com!ines with the patterning,
prioritising, structured thinking o the adult. *he
memory is activated with colours and eelings, as
you create weird, unny, exciting, surreal scenes)
and the inormation is kept under control !y the
organised rameworks you design. /magination is
the key. You enter a new dimension, dealing with
inormation in a orm that suits the way the mind
works. /n this accessi!le orm, huge amounts o
data can !e carried around with you. You never
again have to search around or an address !ook,
diary or telephone num!er on a scrap o paper. Your
memory !ecomes a key part o your success, rather
than the thing you curse as the cause o your
ailure.
E
:ringing inormation into the ield o your
imagination helps you to explore it in greater depth
and rom dierent angles. 2toring it in the
rameworks o your mind allows you to pick out
key details !ut also to see the !ig picture. You can
use your trained memory to organise your lie' to
see the day1to1day acts and igures, names, times
and dates, !ut also to keep in touch with your long1
term goals. :y understanding the way your mind
works, you can make yoursel memora!le to others.
3ive your thoughts a shape and structure that can
!e grasped and others will remem!er what you
have to say. You can take your imaginative grasp o
the world to a new level and, !y making the most
o mental rames, you can put the inormation you
need at your disposal more readily.
Level C1
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PAPER ! -RI%ING (1 hour ?= minutes)
Part 1
You $)st answer this question. ,rite your answer in 10/-!!/ words in an appropriate
style.
1 You are studying at a college in #anada. (ecently you and some other students
attended a two1day #areers #onerence. 4s the college paid or you, the
#ollege 7rincipal has asked you to write a report a!out the conerence. You
and the other students have discussed the conerence and you have made notes
on their views.
(ead the conerence programme together with your notes !elow. *hen, using
the inormation appropriately, write a report or the 7rincipal explaining how
useul the conerence was and making recommendations or next year.
CAREER8 C9NFERENCE
Dancouver 9all
Friday 1 2unday, Gam1Ipm
$xhi!ition 1 over 1== dierent +o!s
*alks on wide range o careers
$xperts availa!le to give advice
Notes on students views:
1 exhibition great
1 some talks good
1 not enough people to answer questions
1 better for science students than e.g. language or history students
0ow write your report or the #ollege 7rincipal, as outlined a!ove. You should use
your own words as ar as possi!le.
Part !
#hoose one o the ollowing writing tasks. Your answer should ollow exactly the
instructions given. ,rite approximately !!/-!6/ words.
Level C1
1=
! You have seen the ollowing announcement in an international maga>ine.

FA8:I9N AND C:ANGING ;IFE8%<;E8
Co you think that ashion relects changes in how people live- ,e would like to
know how ashion in clothes has changed since your grandparents were young,
and what this reveals a!out changes in society in your country.
*he most interesting articles will !e pu!lished in the next issue o our maga>ine.
,rite your arti#le4
' 4n $nglish1speaking riend is writing a !ook on *D programmes in dierent
countries. Your riend has asked you or a contri!ution a!out the most popular
*D programme in your country. Your contri!ution should'
M !riely descri!e the most popular *D programme
M explain why the programme is so popular
M explain whether or not you think it deserves its popularity.
,rite your #ontri()tion to the !ook.
* You see this notice in the local li!rary o the town where you are studying
$nglish.
*he &nternational $evelopment (gency has given our town a grant to !e spent
on improving transport and housing acilities.
*he 7lanning Cirector invites you to send a proposal outlining any pro!lems
with existing transport an& housing acilities and explaining how they can !e
improved. 4 decision can then !e made a!out how the money should !e spent.
,rite your proposal4
+ 4nswer one o the ollowing two questions !ased on one o the titles !elow.

2a3 5ingsley 4mis' L!cky Jim
4s part o your course, your teacher has asked you or suggestions or a story to
study in class. You decide to write a!out L!cky Jim. /n your report, !riely
outline the plot and say why 6o) think L!cky Jim would !e interesting or other
students.
,rite your report4
2(3 Lohn 3risham' "he ,elican 'rief
4s part o your course you have chosen to write an essay with the ollowing
title.
%,ho is the most corrupt character in "he ,elican 'rief* 3ive reasons or
your views.&
,rite your essa64
Level C1
11
PAPER ' =8E 9F ENG;I8: (1 hour)
Part 1
For questions 1-1!, read the text !elow and decide which answer (A, B, C or D)
!est its each gap. *here is an example at the !eginning (=).
"ark your answers on the separate answer sheet.
$xample'
/ A instruction B inormation C opinion D advice
/ A B C D
Girls an& te#hnolo6
/ you want your daughter to succeed, !uy her a toy construction set. *hat
is the (=) rom :ritain&s 213 8.. emale engineers and scientists. "arie1
0oelle :arton, who heads an $ngineering #ouncil campaign to encourage
girls into science and engineering, maintains that some o :ritain&s most
successul women have had their careers 2!3 ..... !y the toys they played
with as children. $ven girls who end 2'3 ..... nowhere near a microchip or
microscope could !eneit rom a !etter 2*3 ..... o science and technology.
%/t&s a 2+3 ..... o giving them experience and conidence with technology so
that when they are 263 ..... with a situation requiring some technical know1
how, they eel they can handle it and don&t +ust 2,3 ..... deeat immediately,&
says "rs :arton. %/ !elieve that lots o girls eel unsure o themselves when
it comes 203 ..... technology and thereore they might !e losing out on +o!s
!ecause they are reluctant even to apply or them.&

(esearch recently carried 213 ..... suggests that scientiic and constructional
toys should !e 21/3 ..... to girls rom an early age, otherwise the result is
%socialisation& into stereotypically emale 2113 8.. , which may explain
why relatively ew girls study science and engineering at university in
:ritain. Enly 1<N o those who have gone or engineering 21!3 8.. at
university this year are women, although this igure does represent an
improvement on the JN recorded some years ago.
1 A oremost B uppermost C predominant D surpassing
; A styled B shaped C !uilt D modelled
Level C1
1;
? A in B !y C on D up
< A hold B grasp C insight D realisation
5 A matter B situation C state D cause
I A approached B encountered C presented D oered
J A admit B allow C receive D permit

K A or B to C rom D with
G A o B through C orward D out

1= A accessi!le B easi!le C reacha!le D o!taina!le
11 A characters B parts C states D roles

1; A options B alternatives C selections D preerences
Level C1
1?
Part !
For questions 1'-!,, read the text !elow and think o the word which !est its each
gap. Hse only one word in each gap. *here is an example at the !eginning 2/3.
,rite your answers IN CAPI%A; ;E%%ER8 on the separate answer sheet4

E"a$ple> / , / * 9
-eather in Antar#ti#a
*he most extreme weather conditions experienced in 4ntarctica are associated
2/3 ..... !li>>ards. *hese are simply strong winds with alling snow 21'3 ....., more
commonly, snow that is picked up and pushed along the ground !y the wind.
:li>>ards may last or days at 21*3 ..... time, and in some cases it can !e almost
impossi!le or people to see. /t is not unusual 21+3 ..... o!+ects only a!out a metre or
2163 ..... away to !ecome unrecognisa!le. 2cientists doing research in the area 21,3 .....
then conined to their tents or caravans. ,e think o !li>>ards 2103 ..... extremely
cold, while in act temperatures in the 4ntarctic are usually higher than normal
2113 ..... a !li>>ard. "a+or !li>>ards o several days in length occur more requently
in some locations than in others. 2!/3 ..... may !e eight or ten such !li>>ards in any
particular place 2!13 ..... an annual !asis. *hey oten cause considera!le damage, so
that any scientiic !uildings or equipment constructed in this region must !e
specially made to give as 2!!3 ..... protection as possi!le.
/ the weather is ine, visi!ility in 4ntarctica is usually excellent !ecause o the clear
air and the a!sence o dust and smoke. 2!'3 ..... this means is that people oten
greatly underestimate the distance o o!+ects and eatures o the landscape. 4lso,
very large eatures 2!*3 ..... as mountains may appear to !e a!ove the hori>on, or
even upside 2!+3 ..... *hese %mirages&, 2!63 ..... are +ust tricks played !y the eyes in
certain conditions, have led to explorers in the 4ntarctic making many errors 2!,3
8.. +udgment.
Level C1
1<
Part '
For questions !0-',, read the text !elow. Hse the word given in capitals at the end
o some o the lines to orm a word that its in the gap in the same line. *here is an
example at the !eginning 2/3.
,rite your answers IN CAPI%A; ;E%%ER8 on the separate answer sheet4
E"a$ple>
Fre)& an& Drea$s
2igmund Freud is regarded as the 2/3 ..... o psychoanalysis. 9is
work has !een 2!03 ..... in many areas !ut he is perhaps !est
known or having drawn our 2!13 ..... to dreams, which he
!elieved were clues to inner conlicts. *he act that a dream is
2'/3 ..... a disguised expression o what is happening /n the
unconscious mind means that it is diicult or the dreamer to
understand its 2'13 ..... Freud !elieved that the sleeping mind
resorted to a whole range o unconscious wishes in orms which
would prevent the dreamer rom having any 2'!3 ..... o their true
nature. /n Freud&s Diew, interpreting the meaning o the dream
required a psychoanalyst with an expert 2''3 ..... o how dreams
disguise desires. *he psychoanalyst&s lack o personal 2'*3 ..... in
the dream would ena!le him to see the dream o!+ectively.
F9=ND
INF;=ENCE
A%%END
E88EN%IA;
8IGNIF<
A-ARE
?N9-
IN@9;@E
4ccording to Freud, dreams use a 2'+3 ..... sym!olic language
quite dierent rom that o waking lie, !ut the act is there is no
hard 2'63 8.. or !elieving that dreams really do relect our
unconscious wishes. 0evertheless, Freud 2',3 8.. made a ma+or
contri!ution to twentieth1century thought and many useul
insights into psychological processes have !een gained through
his work.
A<8%ER<
E@IDEN%
D9=B%
Level C1
15
/ F E H 0 C $ (
Part *

For questions '0-*!, think o one word only which can !e used appropriately in all
three sentences. 9ere is an example 2/34
E"a$ple>
/ *he committee decided to.....................the money equally !etween the two
charities.
/ can&t !elieve that Lohn and "aggie have decided to..................... up ater ;=
years o marriage.

*o serve a watermelon you need to.....................it down the centre with a sharp
knie.
E"a$ple>
,rite onl6 the missing word IN CAPI%A; ;E%%ER8 on the separate answer
sheet4
'0 2ally&s ront tooth is very................1 /&m sure it&ll come out soon.
Lane has lost so much weight that all her clothes are too .....................
*he horse got.....................rom the sta!le and started trotting towards the
road.
'1 *he thie..................... the watch into his pocket when he thought no one was
looking. 2everal visitors to the castle almost..................... on the newly
polished loor.
*he speaker..................... a ew reerences to the local oot!all team into his
speech, which the audience appreciated greatly.
*/ #hris arrived very early or his light in order to !e at the .....................o the
queue when the check1in desk opened.
"y sister&s got a really good.....................or igures, !ut /&m hopeless at
maths.
3eorge has +ust !een promoted to..................... o department so he&ll !e even
more !usy rom now on.
*1 *he restaurant..................out o ish quite early on in the evening.
*he !oat..................... into a storm as it neared the French coast.
"rs :enson..................... the company single1handed ater her hus!and&s
death.
*! *his is the exact..................... where the amous scene rom the ilm was shot.
,hen they elt the irst..................... o rain, they gathered the picnic together
and rushed inside.
*he high..................... o my trip around /ndia was deinitely the trip to
/ 2 7 @ / *
#alcutta.
Part +
For questions *'-+/, complete the second sentence so that it has a similar meaning
to the irst sentence, using the word given. Do not #hane the wor& iven. You
must use !etween three and si" words, including the word given. 9ere is an
example 2/34
E"a$ple>
/ Femanda reused to wear her sister&s old dress.
N9%
Fernanda said that.............................................................. her sister&s old dress.

*he gap can !e illed with the words %she would not wear&, so you write'

E"a$ple>
,rite the missing words IN CAPI%A; ;E%%ER8 on the separate answer
sheet4

*' "auro says he preers to do his homework on his own.
RA%:ER
"auro says that............................................................do his homework with
other people.
** #lara...........................................said that she had not seen the missing letter.
:A@ING
#lara..................................................................................... the missing letter.
*+ /t took @ayla ive minutes to ind her car keys.
8PEN%
@ayla...................................................................................... or her car keys.
/ 29$ ,EH@C 0E* ,$4(
,aper - .se of /nglish
*6 4 short meeting o the cast will take place ater today&s rehearsal.
B<
*oday&s rehearsal............................................................a short meeting o
the cast.
*, /&ll !e happy to show you round the sights o my city when you come to visit me.
%A?E
/t will !e a ...............................................................sightseeing tour o my
city when you come to visit me.
*0 (ousseau painted a!ulous pictures o the rainorest although he had never
travelled outside $urope.
8PI%E
(ousseau painted a!ulous pictures o the rainorest
88888888888888888888 travelled outside $urope.
*1 /t is thought that one in every ive people cannot control how much they
spend.
=NAB;E
Ene in every ive people is thought .................................................................
their spending under control.
+/ "y passport needs renewing !ecause /&m going a!road this summer.
GE%
/ need .....................................................................!ecause /&m going a!road
this summer.
"est 1
PAPER * ;I8%ENING (approximately 40 minutes)
Part 1
You will hear three dierent extracts. For questions 1B6, choose the answer (A, B or
C) which its !est according to what you hear. *here are two questions or each
extract.
You hear part o an interview with a woman who works in retail management.

1 9ow does the woman eel now a!out her irst +o! in retailing-
A pleased !y the way she handled the sta
B conident that it gave her a good start
C relaxed a!out the mistakes she made
! ,hat is the woman advised to do next-
A relect on her skills
B volunteer or extra work
C discuss her situation with her !oss
You overhear a woman telling a riend a story a!out a swan.

' ,hat pro!lem did the woman have with the swan-
A 2he misunderstood its intentions.
B 2he underestimated the speed o its approach.
C 2he ailed to realise the consequences o distur!ing it.
* ,hat is the man&s reaction to the story-
A 9e eels he would have handled the situation !etter.
B 9e is unconvinced !y the woman&s version o events.
C 9e ails to see quite how serious the pro!lem was.
Extract One
Extract Two
,aper 0 Listening
You hear part o an interview with :ruce @oader, a successul !usinessman who is
talking a!out his early lie.
+ ,hy did :ruce decide to give up the idea o studying art-
A 9e ailed to gain a place at art college.
B 9e !ecame tired o doing representational art.
C 9e was persuaded that he could not realise his am!ition.
6 ,hat was his ather&s reaction to :ruce&s decision-
A 9e was anxious to discuss alternative employment options.
B 9e was angry that a good opportunity had !een wasted.
C 9e was dismissive o the advantages o higher education.
Extract Three
*est 1
Part !
You will hear an explorer called (ichard @ivingstone talking a!out a trip he made in the
rainorest o 2outh 4merica. For questions ,-1* complete the sentences.
A %rip in the Rainforest
(ichard and "atthew a!andoned their !oat
!ecause they couldn&t get past a
*hey decided to walk through the +ungle
as ar as the m marked on the map.
(ichard says that during the walk,
they were always !oth
*he irst sign o human activity that they ound was a
/n a deserted camp, they ound some
soup made rom unusual
(ichard says that !y the time they had reached the camp,
they were lacking in
(ichard says that ater the meal,
they !egan to eel a a!out what they.d done
:eore leaving the camp,
they let the sum o to thank their host.
8
and 9
10
and 11
12
7
13
14

,aper 0 Listening
Part '
You will hear part o an interview with the astronaut #harles Cuke, who is talking
a!out his trip to the moon. For questions 1+ - !/, choose the answer (A, B, C or
D) which its !est according to what you hear.
1+ 9ow did #harles eel a!out space travel as a !oy-
A 9e thought it was unlikely to happen.
B 9e regarded it as more than science iction.
C 9e was ascinated !y the idea o it.
D 9e showed no particular interest in it.
16 ,hat did #harles consider to !e the hardest part o the training-
A eeling trapped in the heavy spacesuit
B endlessly practising the lunar surace landing
C constantly !eing araid o making a mistake
D !eing una!le to move his arms and hands
1, ,hat was #harles&s reaction when he irst ound out he was going to the moon-
A 9e realised he had to !e cautious.
B 9e elt proud to !e given the opportunity.
C 9e tried to control his excitement.
D 9e relected on his chances o survival.
10 9ow did the crew eel when they had landed on the moon-
A *hey elt as i they were coming home.
B *hey realised they had achieved something special.
C *hey were araid o what they might ind on the surace.
D *hey were worried a!out how they would take o again.
11 ,hat eature o the moon made the greatest impact on #harles-
A the !rightness o the sun
B the vastness o the sky
C the loneliness o the place
D the a!sence o any stars
!/ ,hat does #harles eel was the most memora!le part o his mission-
A nearly alling into a crater
B walking on the moon&s surace
C seeing things never seen !eore
D holding a piece o the moon
Part *
You will hear ive short extracts in which people are talking a!out an occasion when they came into contact with a well1known
cele!rity.
%A8? 9NE
For questions !1-!+, choose rom the list A-: what each speaker
says a!out coming into contact with a cele!rity.
%A8? %-9
For questions !6-'/, choose rom the list A-: the opinion each
speaker gives a!out the cele!rity.
-hile 6o) listen 6o) $)st #o$plete (oth tasks
A / ailed to recognise the person.
B / realised / had orgotten something
C / insisted on something.
D / was upset !y personal criticism.
E / had !een given incorrect
inormation.
F / was pleasantly surprised.
G / reused a request.
: / was amused !y something.
A 9eB2he !ecame more agitated than
necessary.
B 9eB2he en+oyed causing trou!le.
C 9eB2he appeared totally at ease.
D 9eB2he expected too much privacy.
E 9eB2he seemed insincere.
F 9eB2he wasn&t a!le to cope with
ame.
G 9eB2he talked down to me.
: 9eB2he eventually accepted the
regulations.
2peaker 5 30
4
2peaker < 29
2peaker ? 28
2peaker 1 26
2peaker ; 27
2peaker 5 25
4
2peaker < 24
2peaker ? 23
2peaker 1 21
2peaker ; 22
,aper 1 )peaking
PAPER + 8PEA?ING (15 minutes)
*here are two examiners. Ene (the /nterlocutor) conducts the test, providing you with
the necessary materials and explaining what you have to do. *he other examiner (the
assessor) is introduced to you, !ut then takes no urther part in the /nteraction.
Part 1 (? minutes)
*he interlocutor irst asks you and your partner a ew questions. *he interlocutor asks
candidates or some inormation a!out themselves, then widens the scope o the
questions !y asking a!out, e.g. candidates& leisure activities, studies, travel and daily
lie. #andidates are expected to respond to the interlocutor&s questions, and listen to
what their partner has to say.
Part ! (a one 1 minute %long turn& or each candidate, plus ?= 1 second response
rom the second candidate)
You are each given the opportunity to talk or a!out a minute, and to comment !riely
ater your partner has spoken.
*he interlocutor gives you a set o pictures and asks you to talk a!out them or
a!out one minute. /t is /mportant to listen careully to the interlocutor&s instructions.
*he interlocutor then asks your partner a question a!out your pictures and your
partner responds !riely.
You are then given another set o pictures to look at. Your partner talks a!out
these pictures or a!out one minute. *his time the interlocutor asks you a question
a!out your partner&s pictures and you respond !riely.
Part ' (approximately < minutes)
/n this part o the test you and your partner are asked to talk together. *he interlocutor
places a new set o pictures on the ta!le !etween you. *his stimulus provides the !asis
or a discussion. *he interlocutor explains what you have to do.
Part * (approximately < minutes)
*he interlocutor asks some urther questions, which leads to a more general
discussion o what you have talked a!out in 7art ?. You may comment on your
partner&s answers i you wish.