نمونه سوالات آزمون cpe

[melika]

سلام
در اين تاپيك نمونه سوالات آزمونcpe + پاسخ آنها قرار مي گيرد .
اميدوارم مفيد واقع شه
​

 

[melika]

Reading 1
I Will Not Explode
Everyone knows what happens if you give a full bottle of coke a vigorous (1)_______ and then unscrew the top. So the children of Benchill primary school in Manchester dived for (2)_______ when visitor Kim Wade flexed her muscles. Wade, head of Manchester Schools Behaviour and Support Service, (3)_______ the temptation to open the bottle and let the fizz drench the pupils. She had (4)_______ her point; the frothing of the drink was a metaphor for the build-up and explosion of temper.
Benchill's children were having a session on anger management. There is no (5)_______ that they are any more angry than children at other schools in the city, and the lesson was part of a scheme intended to help children identify and (6)_______ with the rages that life in the classroom and playground can provoke​

 

[melika]

Reading 2

Fashion
Fashion may be said to encompass any of four forms. First, there is a conscious manipulation of dress that (1)_______ for effect, a 'fashion statement' or 'fad'. Second, fashion may designate innovations in dress that are more (2)_______ than simple fads. Some of these changes occur abruptly, whether due to economic fluctuations, or even the sudden (3)_______ of certain materials; other innovations may develop more deliberately. Third is the phenomenon (4)_______ styles in a particular area of dress change swiftly and repeatedly, with the new ones replacing the old in (5)_______ succession. Finally, fashion may refer specifically to the use of such adornments as cosmetics, fragrance and jewellery, whose primary purpose is to enhance a wearer's (6)_______ features​

 

[melika]

Reading 3
Faces
Despite our complex language skills, the face is still our primary means of communication. It is (1)_______ because our faces are so complex in appearance, that we can easily (2)_______ a friend in a crowd or attempt to check the trustworthiness of a stranger. (3)_______, our ability to recognise faces quickly, in all sorts of circumstances, is arguably our most important and remarkable visual skill. Thanks to its very elastic skin, animated by a complex musculature capable of an enormous range of (4)_______ movements, the human face can quickly display a whole (5)_______ of contrasting emotions. As a result of evolution, we can read faces, making judgements about them (6)_______ on our experience, without effort and without anything being said​

 

[melika]

Reading 4
Reflections
In November last year, I led a music weekend in Cambridge, organised by the students of a national music society. It was a very memorable event but the problem, I find, with trying to do valuable work with and for young people, is that somehow the 'production values' go down. Meaning that I find myself fighting for this work to be taken just as seriously as a concert in a famous venue, or recorded for posterity. Music, it seems, is largely in the domain of the professionals, the virtuosi and the famous. When revered conductors lined up to (quite rightly) criticise successive British governments on their dismantling of the teaching of musical instruments in schools, their main complaint was a lack of potential players for orchestras. But the problem is more deep-seated. Without music at the core of your life at an early age, you won't even want to be a member of an audience at an orchestral concert, let alone be up on stage.
Two of the best films of recent years are surely Toy Story and Toy Story 2. I didn't hear anyone arguing that the reason their production values were so high - the scripts so witty, the jokes so good and twists and turns of the narrative so touching - was that 'we'll encourage a whole generation of cinema-goers to be film-makers'. No, in the film world there is generally no difference in budget or technology between children's or adult films - the aim is to produce a sure-fire winner and an appetite for film-going​

 

[melika]

Reading 5
CD Reviews - Bryan Ferry: re-released on CD 'Another Time, Another Place'
When Bryan Ferry recorded his solo album, Another Time, Another Place, in 1974, he was an apparently unstoppable, inexhaustibly creative force. His band, Roxy Music, was barely two years old. During a brief and meteoric ascent, the band had released three albums and, under Ferry's close artistic guidance, refashioned the rock 'n roll experience as a weirdly costumed trip around some futurist archive. Somewhere between global engagements with Roxy Music, Ferry had found time to launch a solo career seemingly dedicated to honouring the songs he grew up listening to.
Nowadays, albums of old hits (cover versions) are a standard career ploy, but back in 1973 such retrospective dalliance was simply not the done thing amongst rock musicians. Neither was posing for your sleeve photo in full evening dress, like a posh matinée idol from the 1940s. But loosening the iron grip of conformist rock behaviour was precisely Ferry's point, and he had more than enough musical wit and wisdom to back up these outlandish postures.
On Another Time, Another Place, Ferry persisted with his revolutionary notion that songs from the pre-rock era could sit side by side with those of rock giants such as the Rolling Stones. The principal agent in this imperious dissolution of time and genre was Ferry's inimitable vocal style, which assumed complete mastery over anything it got near, banishing the ghosts of the originals. In pop terms, postmodernism started here​

 

[melika]

Reading 6
Extract from a novel
I'm late to work and when I get there Dick is already leaning against the door reading a book. He's thirty-one years old, with long, greasy black hair; he's wearing a Sonic Youth T-shirt, a black leather jacket that is trying manfully to suggest that it has seen better days - even though he only bought it a year ago - and a Walkman with a pair of ludicrously large headphones. The book is a paperback biography of a 1970s songwriter. The carrier bag by his feet - which really has seen better days - advertises a violently fashionable independent record label in the USA; he went to a great deal of trouble to get hold of it, and he gets very nervous when we go anywhere near it. He uses it to carry tapes around.
'Good morning Richard.'
'Oh hi. Hi, Rob.'
'Good weekend?'
I unlock the shop as he scrabbles around for his stuff.
'All right, yeah, OK. I found the first Liquorice Comfits album in Camden. It was never released here. Japanese import only.'
'Great.' I don't know what he's talking about.
'I'll tape it for you.'
'Thanks.'
'Cos you liked their second one, you said. Pop, Girls, Etc. The one with the actress on the cover. You didn't see the cover though. You just had the tape I did for you.'
I'm sure he did tape a Liquorice Comfits album for me, and I'm sure I said I liked it too. My flat is full of tapes Dick has made me, most of which I've never played.
'How about your weekend anyway​

 

[melika]

Reading 7
Music and the Mind
Making music appears to be one of the fundamental activities of mankind; as characteristically human as drawing and painting. The survival of Paleolithic cave-paintings bears witness to the antiquity of this form of art; and some of these paintings depict people dancing. Flutes made of bone found in these caves suggest that they danced to some form of music. But, because music itself only survives when the invention of a system of notation has made a written record possible, or else when a living member of a culture recreates the sounds and rhythm which have been handed down to him by his forbears, we have no information about prehistoric music. We are therefore accustomed to regarding drawing and painting as integral parts of the life of early man, but less inclined to think of music in the same way.
When biologists consider complex human activities such as the arts, they tend to assume that their compelling qualities are derivations of basic drives. If any given activity can be seen to aid survival or facilitate adaptation to the environment, or to be derived from behaviour which does so, it 'makes sense' in biological terms. But what use is music? Music can certainly be regarded as a form of communication; but what it communicates is not obvious. Music is not usually representational; it does not sharpen our perception of the external world or generally imitate it. Nor is music propositional; it does not put forward theories about the world or convey information​

 

[melika]

Reading 8

I have noticed that after I publish a book people inevitably ask: 'Is there going to be a film?' They ask this question in tones of great excitement, with a slight widening of the eyes. I am left with a suspicion that most people think that a film is far more wondrous than a novel; that a novel is, perhaps, just a hopeful step in the celluloid direction, and that if there is no film, then the author has partially failed. It is as if 'the film' confers a mysterious super-legitimacy upon the writer's work.
Objectively speaking, a film's relationship to a novel is as a charcoal sketch to an oil painting, and no writer I know would actually agree that 'the film' is the ultimate aspiration. Certainly, any literary novelist who deliberately tried to write something tailor-made to film-makers would fail to produce a good book, because the fact is that books are only filmic by accident.
It is, in any case, a long journey from page to screen, because the first stage involves 'selling the option', whereby, in return for a modest sum, and for a limited time, the producer retains the right to be the first to have a bash at making the film, should he get round to it. It is theoretically possible to go for decades having the option renewed, with no film being made at any time at all. This is money for jam, of course, but the sums are not big enough to be truly conducive to contentment. My first novel had the option renewed several times, and then finally it was dropped. This is, alas, a common fate, and many a novelist remembers those little bursts of hope with a wry smile.
In the case of my second novel, however, the book eventually made it over the real hurdle, which is the 'exercising of the option'. This is the point where a more substantial fistful of cash changes hands, but regrettably even this is not enough to meet the expectations of loved ones and acquaintances, who strangely assume that you are imminently to be stinking rich for ever. More importantly, here begins the battle that takes place in the author's psyche thereafter. The hard fact is, that it is no longer your own book. Although, unusually, I was asked if I would like to do the script myself, no doubt both producer and director were mightily relieved when I declined.
Novelists, you see, rarely make good scriptwriters, and in any case I couldn't have taken the job on without being a hypocrite - I had even told off my best friend for wasting her literary energy by turning her novels into scripts when she should have been writing more novels. She has had the experience of doing numerous drafts, and then finding that her scripts are still not used. I wasn't going to put up with that, because I have the natural arrogance of most literary writers, which she unaccountably lacks.
As far as I am concerned, once I have written something, then that is the way it must be; it is perfect and no one is going to make me change it. Scriptwriters have to be humble creatures who will change things, and even knowingly make them worse, a thousand times and a thousand times again, promptly, and upon demand. I would rather be boiled in oil.
It is, as I say, no longer your own book. The director has the right to make any changes that he fancies, and so your carefully crafted (non-autobiographical) novel about family life in London can end up being set in Los Angeles, involving a car chase, a roof-top shoot-out and abduction by aliens. This, from the writer's point of view, is the real horror of film.
When my book was eventually filmed, I did get to visit the set, however. I cannot count the number of people I met there who
a propos possible changes to the story, repeated to me in a serious tone that, 'Of course, film is a completely different medium'. This mantra is solemnly repeated so that film-makers are self-absolved from any irritation that may be set up by altering the characters or the story. I think that it is a cliché that is really either untrue or too vague to be meaningful. There could not be anything simpler than extracting the salient points of the main narrative, and making a faithful film, which is what all readers and writers would actually prefer.
My theory is that film-makers are hell-bent on a bit of territorial marking, and each time one can only hope that they have sufficient genius to do it with flair. There are, after all, a few films that really are better than the book, and it would genuinely cause me no distress were people to say this of the one based on my own efforts​

 

[melika]

English in use
The Map Thief
For a couple of years, Gilbert Bland was a unique figure in the privileged world of antique map dealing. He made a 100% profit on every map he sold, (1)_______ because he was a clever businessman, but because he was a thief. In the mid-1990s, Bland crept around libraries in the USA, armed (2)_______ a sharp razor and a baggy shirt and sliced out those ancient maps which took (3)_______ fancy. Some were worth tens of thousands of dollars, and he (4)_______ on to sell them through both mail-order catalogues and his shop in Florida.
(5)_______ Bland's historical knowledge of maps was patchy at best, his knowledge of (6)_______ exact location in the rare book stacks was second to (7)_______. When he heard that early maps of, (8)_______, Seattle were becoming popular, he would know precisely (9)_______ to start slicing.
His crimes only came (10)_______ light when a researcher in a Baltimore library noticed that a man appeared to be tearing a page from a 200-year-old book (11)_______ if it were a newspaper. At (12)_______, it was assumed that this was an isolated case, and the library and the police were happy to (13)_______ Bland off with a warning. (14)_______ later did they (15)_______ across his notebooks, which contained elaborate details of all his thefts​

 

[melika]

English in use 2
Science Fact and Science Fiction
When writers attempt to anticipate the future, they often only succeed in providing an interpretation of the present. This (1)_______ be seen in the fantasies produced by science fiction writers in the middle of the twentieth century. Almost nothing has turned (2)_______ the way that these writers expected. Although they (3)_______ manage to predict intelligent robots, they completely (4)_______ to anticipate the development in communications technology that would make them possible. This (5)_______ that science fiction written before 1980 now seems absurdly dated, and what strikes you most (6)_______ the curious absence of personal computers, e-mail and the Internet. Science fiction writers, it seems, were remarkably (7)_______ on the uptake when (8)_______ came to grasping the extent to (9)_______ the nature of communication would change.
Instead, their focus was (10)_______ much on rocket technology and space travel. For they (11)_______ not to know that the lunar landings, so exciting at the time, would actually lead nowhere. There are no human colonies on the Moon, (12)_______alone on Mars and the idea that people might eventually populate the cosmos seems even (13)_______ within the realms of possibility now than it did then, despite half a century of bewilderingly rapid technological progress. What's (14)_______, scientists have even begun to ridicule the notion, fundamental to much science fiction, that one day we just (15)_______ encounter intelligent aliens​

 

[melika]

English in use 3
Frankenstein's Real Creator
In these days of genetic engineering, it is not unusual to hear the name Frankenstein invoked by those who fear the consequences when humans seek to create a being in their own (1)_______.
Often overlooked, however, is the fact that the tale originated, not as a folk legend, still less as a wildly original film script, but as a literary (2)_______. Even today, to read the chilling story of an inventor and the uncontrollable monster he created is at once both a thought-provoking and an (3)_______ experience. What's more, the (4)_______ popularity of the novel, and its modern-day relevance are all the more remarkable when we remember it was written almost 200 years ago, by an 18-year-old woman called Mary Shelley. Over the decades, (5)_______ films have attempted to capture the full horror of her story, but none have come close to equalling the power of Mary Shelley's frightening prose. Amongst (6)_______ and commentators, Frankensteinhas long been (7)_______ as a powerful piece of gothic fiction, representing as it does an (8)_______ fusion of contemporary philosophy, literary skill and (9)_______ vision. It is only recently, however, with increased media attention devoted to the philosophical issues her novel raises, that there has been a more general (10)_______ of interest in Mary herself​

 

[melika]

English in use 4
Meditation
People are often put off meditation by what they see as its many mystical associations. Yet meditation is a (1)_______ technique which merely involves sitting and resting the mind. In addition to its (2)_______, meditation offers powerful help in the battle against stress. Hundreds of studies have shown that meditation, when (3)_______ in a principled way, can reduce hypertension which is related to stress in the body. Research has proved that certain types of meditation can (4)_______ decrease key stress symptoms such as anxiety and (5)_______. In fact, those who practise meditation with any (6)_______ see their doctors less and spend, on average, seventy per cent fewer days in hospital. They are said to have more stamina, a happier (7)_______ and even enjoy better relationships.
When you learn to meditate, your teacher will give you a personal 'mantra' or word which you use every time you practise the technique and which is (8)_______ chosen according to your needs. Initial classes are taught individually but (9)_______ classes usually consist of a group of students and take place over a period of about four days. The aim is to learn how to slip into a deeper state of (10)_______ for twenty minutes a day. The rewards speak for themselves​