Reading Practice Test 2 [C1]

Part 1

- 8 questions -

For questions 1 – 8, read the text below and decide which answer (A, B, C or D) best fits each gap. There is an example at the beginning (0).

Mark your answers on the separate answer sheet.

Example:

0 A. straight      B. common     C. everyday     D. conventional

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Studying black bears

After years studying North America’s black bears in the (0) …….. way, wildlife biologist Luke Robertson felt no closer to understanding the creatures. He realised that he had to (1)........... their trust. Abandoning scientific detachment, he took the daring step of forming relationships with the animals, bringing them food to gain their acceptance.
The (2) …….. this has given him into their behaviour has allowed him to dispel certain myths about bears. (3) …….. to popular belief, he contends that bears do not (4) …….. as much for fruit as previously supposed. He also (5) …….. claims that they are ferocious. He says that people should not be (6) by behaviour such as swatting paws on the ground, as this is a defensive, rather than an aggressive, act.
However, Robertson is no sentimentalist. After devoting years of his life to the bears, he is under no (7) …….. about their feelings for him. It is clear that their interest in him does not (8).......... beyond the food he brings.

1.

2.

3.

4.

5.

6.

7.

8.

Part 2

- 8 questions -

For questions 9 – 16, read the text below and think of the word which best fits each gap. Use only one word in each gap. There is an example at the beginning (0).

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Managing change

Part 3

-8 questions-

For questions 17-24, read the text below. Use the word given in capitals at the end of some lines to form a word that fits in the gap in the same line. There is an example at the beginning.

Example:

(0) UNUSUAL

Part 4

- 6 questions -

For questions 25 – 30, complete the second sentence so that it has a similar meaning to the first sentence, using the word given. Do not change the word given. You must use between three and six words, including the word given. Here is an example (0).

Write only the missing words IN CAPITAL LETTERS on the separate answer sheet.

Example:

0 James would only speak to the head of department alone.

ON

James .......(o) INSISTED ON SPEAKING........to the head of department alone.

25.

26.

27.

28.

29.

30.

(32) What action does Rebecca take with her daughter?

(33) What is Rebecca's attitude to the letter lying on the table?

(34) When David first leaves the sitting room, Rebecca is............

(35) Rebecca is worried when her husband brings in the drinks because..............

(36) The curtain referred to in Katy's bedroom...............

Part 6

- 4 questions -

You are going to read extracts from articles in which four academics discuss the contribution the arts
(music, painting, literature, etc.) make to society. For questions 37 – 40, choose from the academics
A – D. The academics may be chosen more than once.

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The Contribution of the Arts to Society

A       Lana Esslett

The arts matter because they link society to its past, a people to its inherited store of ideas, images and words; yet the arts challenge those links in order to find ways of exploring new paths and ventures. I remain sceptical of claims that humanity’s love of the arts somehow reflects some inherent inclination, fundamental to the human race. However, exposure to and study of the arts does strengthen the individual and fosters independence in the face of the pressures of the mass, the characterless, the undifferentiated. And just as the sciences support the technology sector, the arts stimulate the growth of a creative sector in the economy. Yet, true as this is, it seems to me to miss the point. The value of the arts is not to be defined as if they were just another economic lever to be pulled. The arts can fail every measurable objective set by economists, yet retain their intrinsic value to humanity.

B       Seth North

Without a doubt, the arts are at the very centre of society and innate in every human being. My personal, though admittedly controversial, belief is that the benefits to both individuals and society of studying science and technology, in preference to arts subjects, are vastly overrated. It must be said, however, that despite the claims frequently made for the civilising power of the arts, to my mind the obvious question arises: Why are people who are undeniably intolerant and selfish still capable of enjoying poetry or appreciating good music? For me, a more convincing argument in favour of the arts concerns their economic value. Needless to say, discovering how much the arts contribute to society in this way involves gathering a vast amount of data and then evaluating how much this affects the economy as a whole, which is by no means straightforward.

C       Heather Charlton

It goes without saying that end-products of artistic endeavour can be seen as commodities which can be traded and exported, and so add to the wealth of individuals and societies. While this is undeniably a substantial argument in favour of the arts, we should not lose sight of those equally fundamental contributions they make which cannot be easily translated into measurable social and economic value. Anthropologists have never found a society without the arts in one form or another. They have concluded, and I have no reason not to concur, that humanity has a natural aesthetic sense which is biologically determined. It is by the exercise of this sense that we create works of art which symbolise social meanings and over time pass on values which help to give the community its sense of identity, and which contribute enormously to its self-respect.

D       Mike Konecki

Studies have long linked involvement in the arts to increased complexity of thinking and greater self-esteem. Nobody today, and rightly so in my view, would challenge the huge importance of maths and science as core disciplines. Nevertheless, sole emphasis on these in preference to the arts fails to promote the integrated left/right-brain thinking in students that the future increasingly demands, and on which a healthy economy now undoubtedly relies. More significantly, I believe that in an age of dull uniformity, the arts enable each person to express his or her uniqueness. Yet while these benefits are enormous, we participate in the arts because of an instinctive human need for inspiration, delight, joy. The arts are an enlightening and humanising force, encouraging us to come together with people whose beliefs and lives may be different from our own. They encourage us to listen and to celebrate what connects us, instead of retreating behind what drives us apart.

Part 7

-6 questions-

You are going to read an extract from a book on networking and public speaking skills. Six paragraphs have been removed from the extract. Choose from the paragraphs A – G the one which fits each gap (41 – 46). There is one extra paragraph which you do not need to use.

Paragraphs

A. The one thing I try to avoid is approaching two people who are in discussion. If you see two people talking together, they may be building a rapport and interruption may break that. Alternatively, they may be discussing business.

B. The easiest way to approach a group is to catch the eye of one of the participants and smile. Usually they should invite you to join them at the appropriate juncture.

C. The other advantage of this is that your companion, in introducing you, may well talk about how you've helped them, how great you are at what you do or praise you in another way that you would not have been able to do. This will awaken a greater interest in you from the new contact than may otherwise have been possible.

D. You can often find these people around a bar or buffet table (they've probably read the advice above!) or by the walls. Nervous people on their own seldom stand in the middle of a room unless they are milling around trying to pluck up the courage to approach someone. Often they will be admiring the art on the walls or the flora in the room, which gives you a nice topic with which to start a conversation.

E. When you do approach them, take care not to dive in aggressively but be empathetic to their nervous state. Ask them if they mind if you join them before introducing yourself, rather than running up asking "So, what do you do then?"

F. If you see a group of people talking, approach the group, but don't butt in. Remember, as Susan Roane says in How to Work a Room, "There is a difference between including yourself in other people's conversations and intruding on them."

G. If their body language is 'closed', and they are facing each other, you should avoid interrupting them. If they are more 'open' and they are standing at an angle that leaves room for another party in the conversation, you are likely to be more welcome.

Questions

Part 8

- 10 questions -

You are going to read an article by a psychologist about laughter. For questions 47 – 56, choose from the sections (A – D). The sections may be chosen more than once.

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Why do people laugh?

Psychologist Robert Provine writes about why and when we laugh.

A

In 1962, what began as an isolated fit of laughter in a group of schoolgirls in Tanzania rapidly rose to epidemic proportions. Contagious laughter spread from one individual to the next and between communities. Fluctuating in intensity, the laughter epidemic lasted for around two and a half years and during this time at least 14 schools were closed and about 1,000 people afflicted. Laughter epidemics, big and small, are universal. Laughter yoga, an innovation of Madan Kataria of Mumbai, taps into contagious laughter for his Laughter Yoga clubs. Members gather in public places to engage in laughter exercises to energise the body and improve health. Kataria realised that only laughter is needed to stimulate laughter – no jokes are necessary. When we hear laughter, we become beasts of the herd, mindlessly laughing in turn, producing a behavioural chain reaction that sweeps through our group.

B

Laughter is a rich source of information about complex social relationships, if you know where to look. Learning to ‘read’ laughter is particularly valuable because laughter is involuntary and hard to fake, providing uncensored, honest accounts of what people really think about each other. It is a decidedly social signal. The social context of laughter was established by 72 student volunteers in my classes, who recorded their own laughter, its time of occurrence and social circumstance in small notebooks (laugh logbooks) during a one-week period. The sociality of laughter was striking. My logbook keepers laughed about 30 times more when they were around others than when they were alone – laughter almost disappeared among solitary subjects.

C

Further clues about the social context of laughter came from the surreptitious observation of 1,200 instances of conversational laughter among anonymous people in public places. My colleagues and I noted the gender of the speaker and audience (listener), whether the speaker or the audience laughed, and what was said immediately before laughter occurred. Contrary to expectation, most conversational laughter was not a response to jokes or humorous stories. Fewer than 20% of pre-laugh comments were remotely jokelike or humorous. Most laughter followed banal remarks such as ‘Are you sure?’ and ‘It was nice meeting you too.’ Mutual playfulness, in-group feeling and positive emotional tone – not comedy – mark the social settings of most naturally occurring laughter. Another counterintuitive discovery was that the average speaker laughs about 46% more often than the audience. This contrasts with the scenario in stand-up comedy – a type of comedy performance in which a non-laughing speaker presents jokes to a laughing audience. Comedy performance in general proves an inadequate model for everyday conversational laughter. Analyses that focus only on audience behaviour (a common approach) are obviously limited because they neglect the social nature of the laughing relationship.

D

Amazingly, we somehow navigate society, laughing at just the right times, while not consciously knowing what we are doing. In our sample of 1,200 laughter episodes, the speaker and the audience seldom interrupted the phrase structure of speech with a ha-ha. Thus, a speaker may say ‘You are wearing that? Ha-ha,’ but rarely ‘You are wearing… ha-ha… that?’ The occurrence of laughter during pauses, at the end of phrases, and before and after statements and questions suggests that a neurologically based process governs the placement of laughter. Speech is dominant over laughter because it has priority access to the single vocalisation channel, and laughter does not violate the integrity of phrase structure. Laughter in speech is similar to punctuation in written communication. If punctuation of speech by laughter seems unlikely, consider that breathing and coughing also punctuate speech. Better yet, why not test my theory of punctuation by examining the placement of laughter in conversation around you, focusing on the placement of ha-ha laughs. It's a good thing that these competing actions are neurologically orchestrated. How complicated would our lives be if we had to plan when to breathe, talk and laugh.