Tieng anh 11 HDC

For questions 1-5, you will hear the historian, George Davies, talking about society and the theatre in England in the time of William Shakespeare.. READING 60 points Part 1: 15 points –

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A LISTENING: (40 pts)

Part 1: You will hear part of an interview with StanLevin, a dance critic, about a modern ballet production involving animals For questions 1- 5, choose the answer A, B, C or D which fits best according to what you hear (10 pts) 2 pts/correct answer.

Part 2 For questions 1-5, you will hear the historian, George Davies, talking about society and the theatre in England in the time of William Shakespeare Decide whether the following statements are true (T) or false (F) (10 pts) 2 pts/correct answer.

Part 3 You hear a radio interview in which the presenter, Terry Davis, is talking to Dr Elizabeth Jones, an expert on climate Listen to the interview and complete the notes below

Write NO MORE THAN THREE WORDS and/or A NUMBER (20 pts)

2 pts/correct answer.

1 long-term average

2 recreate past climates

3 heavily populated areas

4 sun’s intensity

5 greenhouse gas

6 large climate shifts

7 hurricanes

8 twice as much

9 200 years

10 major climate disruptions

B LEXICO-GRAMMAR (60 points)

Part 1: Choose the word or phrase (A, B, C or D) which best completes each sentence (20 pts) 1pts/correct answer.

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1 D

2 C

3 C

4 B

5 A

6 D

7 D

8. C

9. C

10 B

11 C

12 C

13 C

14 B

15 A

16 A

17 D

18 A

19 A

20 D

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Part 2: Identify 10 errors in the following passage and correct them, (0) has been done as an example ( 20pts)

(2pt / each correct answer) one identified error: 1pt, one right corrected error: 1pt

Part 3 Complete each of the following sentences with a suitable preposition or particle (10 pts)

1 pts/correct answer.

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1 to

2 apart

3 off

4 through

5 at

6 About

7 Over

8 by

9 at

10 on

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Part 4 Complete the following sentences with the words given in the brackets You have to change the form of the word (10 pts) 1 pts/correct answer

1 dissociate

2 murderous

3 irritability

4 disciplinarian

5 outlook

6 predetermined

7 maladjusted

8. 8 expressionless

9. 9 headstrong

10 outrageous

C READING (60 points)

Part 1: (15 points – 1 point/correct answer)

Part 2: For questions 1-10, read the text below and think of the word which best fits each space Use

only one word in each space There is an example at the beginning (0) (15 pts) 1.5 pts/correct answer

Part 3: Read the following passage and answer the questions that follow (15pts) 1.5 pts/correct answer

Part 4 Read the following passage and do the tasks that follow (15 pts) 1.5 pts/correct answer

6 command 7 humour 8 Chief linguistic element 9 shop-talk 10 demean

D WRITING (40 pts)

Part 1: 1pts/correct answer

A/ Finish each of the following sentences in such a way that it is as similar as possible in meaning to the sentence printed before it (2 pts.)

1 The sheer expense/ cost was what put me off the idea

2 I’d rather have had the last laugh, though

B/ For each of the sentence below, write a new sentence as similar as possible in meaning to the original sentence but using the word given This word must not be altered in any way (3pts.)

3 I bought it on the spur of the moment

4 You put your foot in it / in your mouth when you asked him where his wife was

5 I don't like him because he has a big mouth

Part 2: (10 points)

1 Completion: 1 pts

2 Content: 3 pts

- Cover the main information in the chart yet not go into too many details

- Make general remarks and effective comparisons

3 Organisation: 2 pts

- The ideas are well organized

- The description is sensibly divided into paragraphs

4 Language: 3 pts

- Use a wide range of vocabulary and structure

- Good grammar

5 Punctuation and spelling: 1 pt

Part 3: (25 points)

1 Completion: (3 pt.)

2 Content: (8 pts)

Provide relevant and convincing ideas about the topic, supported by specific example and/or reasonable justification

3 Organisation: (8 pts)

- Ideas are well organized and presented with unity, cohesion and coherence

4 Language: (6 pts)

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- Demonstrate of a wide range of vocabulary and structures.

- Good use of grammatical structures

- Present the ideas with clarity

5 Punctuations and spelling (1 pts)

TOTAL: 200 points

LISTENING TRANSCRIPT

Part 1:

Interviewer: Stan, you are known as being something of a conservative as far as dance is concerned, so I was

intrigued when you told me you wanted to discuss Alain Platel’s ballet Wolf on tonight’s programme Wolf

generated a furore in certain circles when it was first performed, didn’t it?

Stan: Yes, it’s attracted its fair share of criticism, but it’s also been welcomed as one of the most fascinating

modern dance productions in recent years

Interviewer: Some of our viewers may not have seen the ballet and they may be wondering why all the fuss,

so could I ask you to describe briefly what Wolf is about.

Stan: Well, basically, it’s about homeless people living in a disused life And it features some startling

innovations, including the use of dogs as characters

Interviewer: How do the dogs come into it?

Stan: Well, as I understand it, the pack of dogs represents this return to a primitive state At least, that’s the

idea Platel is trying to convey

Interviewer: What do you think of the idea of using animals on stage in this way? Can it be justified?

Stan: Well, more and more choreographers these days are moving beyond the traditional limits of dance, and I

don’t disapprove of this in principle Many are turning to technology, for instance, using computers to plan the actual choreography

Interviewer: Sometimes even using projections of dancers alongside the real ones…

Stan: Exactly I find all this very interesting – take the work of Annette Sanderson in New York, for instance –

but I think it’s now going beyond the genre of dance and turning into something else Whereas I think Platel is coming from the other direction, it you like, working more with improvisation and basic ensemble techniques

Interviewer: How do audiences respond to Wolf?

Stan: By and large, quite enthusiastically I think some people are surprised at how well it all works The dogs

generally keep very close to one of the characters Apparently, the dancer works intensively with them during rehearsal, and the dogs have learned to imitate his movements That fascinates audiences Of course,

sometimes the dogs distract attention from an important piece of dancing, but I don’t feel this is a real

problem

Interviewer: Do the dogs do anything special during the performance?

Stan: No Their main function is to add atmosphere It’s not like a circus, with the dogs performing tricks! At

the same time, you realize they have been trained and are, in a sense, putting on a show simply by remaining

on stage with the human performers During the performance I saw, a member of the audience in the front row tried to call the dogs over to him, which made them look away from the dancers towards the audience It spoiled the mood – though of course, this wasn’t the dog’s fault

Interviewer: So the dogs fulfill a kind of symbolic function in the story?

Stan: Yes and no They are attached to one of the characters, a tramp, and we are meant to understand that

they have become a pack I must say this works rather well: you really do get the impression that the dogs and the tramp have bonded to form a sort of community But for me, the most striking aspect of the production was the lurking possibility of aggression, largely as a consequence of the presence of the animals

Interviewer: Well, Stan, I must say it all sounds fascinating Thank you for coming along tonight and sharing

your insights with us

Stan: My pleasure

PART 2

Interviewer: We welcome today professor George Davies from the University of

Wales Professor Davies is an expert on society in sixteenth-century England, the time of Queen Elizabeth the First and, of course, Shakespeare So how would you categorize society at that time,

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Professor: Well, it was certainly a society undergoing dramatic changes in which

there was an explosion of interest in the language, even though the printed word hadn't become universally available We don't quite know exactly how many people could read and write but literacy would not have extended to all levels of society Some historians call it an illiterate society, but that seems rather pejorative No, the best way of putting it,

in my view, is to refer to it as a pre-literate society, like most societies that have ever been on planet In fact our society, in which we tend to expect everybody to be literate, is the one which is out of step

Interviewer: So how did this pre-literacy affect ability to communicate at that time?

Professor: What it meant was that the prime form of communication was direct

speech, face to face, which means communication involving the body, the stance, the distance between people It also meant that people were much more finely tuned to the spoken word, they could take in more of it, they could listen in a more acute way It's therefore quite natural that the art form which corresponds to that particular situation should be drama

Interviewer: One thing that has always puzzled me is where did the actors in the

sixteenth century learn their craft? Were there any drama schools then?

Professor: Well, Shakespeare's actors, the boys and the older men in his company,

didn't actually have any acting training before they joined his company You see, in Shakespeare's day you learned your school work by repeating it out loud all day long The arts of oratory and rhetoric were part of your normal education and they were also the means by which you learned So they had wonderful voice training, which enabled them

to develop an individual style

Interviewer: I've always thought of the Elizabethan society as one that revelled in its

voice, that at its heart delighted in giving voice to words Would that be correct?

Professor: I would certainly think that the atmosphere in the average theatre of

the time would surprise us today I believe it would sound and feel more like a present day football ground! In a modern theatre there's a sort of reverential hush as the darkness descends and we feel, you know, that we're in some sort of temple devoted to the worship of great art But then, the atmosphere would have been much noisier Remember Shakespeare and his contemporaries had theatres which were open to the sky, and so the noise of the city, the shout of the street sellers, the neighing of horses and so forth would add to and mix with the sounds

of the stage and indeed, in my view, would comment on them

Interviewer: So, in the same way, this was not a world for the shy or the softly

spoken?

Professor: Not at all People's voices in the sixteenth century, it seems to me,

wouldn't have been geared to the exchange of intimate revelations about the self This is a notion of speaking that is a twentieth-century concept, as is our notion that a play should give you the intimate,

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personal feelings of the author or of a character on the stage Then, art was largely about external issues, how a country should be governed, how one should deal with rebellion, questions of that order

Interviewer: Fascinating, Professor I'd like at this point to bring in another speaker

who is going to tell us about Elizabethan court life and how Shakespeare

PART 3

TD: Doctor Jones, how can we have confidence in projections of

climate a hundred years ahead when it’s hard enough to say what the weather will be like tomorrow?

EJ: Well, the point is that climate and weather are two different things Weather refers to temperatures, rain and wind on a given day at a particular place Climate reflects a long-term average, sometimes over a very large area Averages are easier to estimate than the

specific characteristics of weather For example, although it’s

notoriously difficult to predict if it will rain or the exact temperature of any particular day at a specific location, it is more predictable that on average, in a certain area, it will be colder in December than in July And scientists now have access to climate models which are

sophisticated enough to be able to recreate past climates, which adds

to our confidence that projections of future climates are accurate.

TD: OK, but we’ve had times in the past when we’ve had rapid

warming without disasters, so why can’t we cope with future warming?

EJ: Yes the Earth experienced rapid warming at the end of the last glacial period, but for the last 10,000 years our climate has been pretty stable During this period, the world's population has grown tremendously Now, many heavily populated areas, such as urban centres in low-lying coastal zones, are much more vulnerable to climate shifts.

TD: Even if the Earth is warming, can we be sure how much of the warming

is caused by humans?

Couldn’t it just be the increased intensity of the sun?

EJ: Well yes, the sun's intensity does vary In the late 1970s, sophisticated technology was developed that can directly measure the sun's intensity, and these measurements show that in the past 20 years the sun's variations have been very small Indirect measures of changes in the sun's intensity since the beginning of the industrial revolution show that the variations do not account for all the warming that occurred in the 20th century and that the majority of the warming was caused by an increase in human-made greenhouse gas emissions Most scientists now agree that most of the warming over the last 50 years is due to human activities, not natural causes.

TD: I read that there will be an average temperature increase of about one and a half to five and a half degrees over the next century.

EJ: That’s one of several projections It sounds small, but even small

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temperature changes can lead to large climate shifts For example, it has been calculated that the average temperature difference between the end

of the last ice age and today is very small, in fact only about five degrees The impacts associated with the deceptively small change in temperature can be seen everywhere Glaciers are melting, spring is arriving earlier, mountain tops are losing their snow, hurricanes are occurring more often TD: I also read recently that the oceans absorb most of the extra carbon dioxide.

EJ: They absorb some, but since the Industrial Revolution, the burning of fossil fuels like coal and oil has put about twice as much carbon dioxide into the atmosphere than is naturally removed by oceans and forests Today, carbon dioxide levels are 30% higher than pre-industrial levels, probably at the highest level in the past 20 million years Carbon dioxide created by burning fossil fuels like oil and coal can stay in the atmosphere for as long as 200 years So even if we stopped producing it today, it would take centuries for amounts of carbon dioxide to come down to what

it was in pre-industrial times We need to act now.

TD: So, how much do we need to reduce emissions by to avoid disaster? EJ: There are various predictions and different definitions of disaster One of the latest studies

projects that if carbon dioxide concentrations are capped at 450 parts per million, major climate disruptions may be avoided, although some damage may be unavoidable But measures need to be taken now We can’t afford

to delay, we risk grave consequences for human society.

TD: Well, thank you very much for coming in this afternoon It was very interesting and I’m sure it’s given listeners a lot of food for thought.

THE END

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