Вы услышите 6 высказываний. Установите соответствие между высказываниями каждого говорящего A–F и утверждениями, данными в списке 1–7. Используйте каждое утверждение, обозначенное соответствующей цифрой, только один раз. В задании есть одно лишнее утверждение. Вы услышите запись дважды. Занесите свои ответы в таблицу.

1. Work affects family holidays.

2. There is no need to go far to make memories.

3. Sometimes I’d like to change places with my clients

4. New places can be hard to find.

5. Negative side effects of an exciting job.

6.Nobody has ever taught me how to travel.

7. This world is too exciting to stay home

Вы услышите диалог. Определите, какие из приведённых утверждений А–G соответствуют содержанию текста (1 – True), какие не соответствуют (2 – False) и о чём в тексте не сказано, то есть на основании текста нельзя дать ни положительного, ни отрицательного ответа (3 – Not stated). Занесите номер выбранного Вами варианта ответа в таблицу. Вы услышите запись дважды.

A. Anna is looking forward to the family holiday.

B. Ben has watched all Disney cartoons.

C. Anna thinks that only parents with children go to the cinema to see cartoons.

D. Ben and his friends watch cartoons at Ben’s house.

E. Anna thinks that some cartoons are like feature films.

F. Anna thinks that Ben wouldn’t like going to Florida after all.

G. Ben would like to meet Mickey Mouse

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

3

Mary cycled to the South Pole because she wanted to …

1) test a special bicycle

2) prove her own ideas

3) become the first woman to do it

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

4

Mary cycled across Lake Baikal to

1) prepare for her big expedition

2) get to know other cyclists.

3) see the beautiful scenery.

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

5

Mary’s bike design was based on a model …

1) used by other cyclists

2) from her training expeditions.

3) of a regular mountain bike

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

6

Which of the following helped Mary to beat her competitors?

1) an earlier start

2) better weather conditions

3) a shorter route

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

7

Mary’s South Pole expedition turned out to be

1) very expensive

2) rather cheap.

3) quite profitable

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

8

When alone in the fields of snow, Mary

1) was scared for her life.

2) tried to imagine mountains.

3) enjoyed the empty scenery

Вы услышите интервью. В задании запишите в поле ответа цифру 1, 2 или 3, соответствующую выбранному Вами варианту ответа. Вы услышите запись дважды.

9

During her journey, Mary ate and slept in …

1) a bag

2) the snow.

3) a movable shelter

Установите соответствие заголовков 1–8 абзацам текста А–G. Занесите свои ответы в таблицу. Используйте каждую цифру только один раз. В задании одна тема лишняя.

How to Reduce Your Carbon Footprint

A. Day of the Dead is a Mexican holiday celebrated throughout Mexico, in particular the Central and South regions, and by people of Mexican ancestry living in other places, especially the United States. The multi-day holiday focuses on gatherings of family and friends to pray for and remember friends and family members who have died, and help support their spiritual journey.

B. Scholars trace the origins of the modern Mexican holiday to indigenous observances dating back hundreds of years and to an Aztec festival dedicated to the goddess Mictecacihuatl. The holiday has spread throughout the world, being absorbed within other deep traditions for honoring the dead. It has become a national symbol and as such is taught in the nation's schools. Many families celebrate a traditional "All Saints' Day" associated with the Catholic Church.

C. Originally, the Day of the Dead as such was not celebrated in northern Mexico as they held the traditional 'All Saints' Day' in the same way as other Christians in the world. In the early 21st century in northern Mexico, Día de Muertos is observed because the Mexican government made it a national holiday based on educational policies from the 1960s.

D. People go to cemeteries to be with the souls of the departed and build private altars containing the favorite foods and beverages, as well as photos and memorabilia, of the departed. The intent is to encourage visits by the souls, so the souls will hear the prayers and the comments of the living directed to them. Celebrations can take a humorous tone, as celebrants remember funny events and anecdotes about the departed.

E. Some families build altars or small shrines in their homes, these sometimes feature a Christian cross, statues or pictures of the Blessed Virgin Mary, pictures of deceased relatives and other people, scores of candles, and an ofrenda. Traditionally, families spend some time around the altar, praying and telling anecdotes about the deceased. In some locations, celebrants wear shells on their clothing, so when they dance, the noise will wake up the dead; some will also dress up as the deceased.

F. A common symbol of the holiday is the skull (in Spanish calavera), which celebrants represent in masks, and foods such as sugar or chocolate skulls, which are inscribed with the name of the recipient on the forehead. Sugar skulls can be given as gifts to both the living and the dead. Other holiday foods include pan de muerto, a sweet egg bread made in various shapes from plain rounds to skulls and rabbits, often decorated with white frosting to look like twisted bones.

G. Some people believe possessing Day of the Dead items can bring good luck. Many people get tattoos or have dolls of the dead to carry with them. They also clean their houses and prepare the favorite dishes of their deceased loved ones to place upon their altar or ofrenda, so that their relatives send them luck from the world of dead.

Прочитайте текст и заполните пропуски A–F частями предложений 1–7. Одна из частей в списке 1–7 лишняя. Занесите цифры, обозначающие соответствующие части предложений, в таблицу.

Do you have trouble locating your computer screen amid the jungle of old coffee mugs and scattered papers? Or is your workspace a minimalist’s dream? Every office worker has a particular type of desk they keep, and a number of studies suggest that A________________, from the idea that disorderly environments produce creativity — to the idea that B________________________.

Deliberately or not, C_______________, says Sam Gosling, professor of psychology at the University of Texas at Austin, and author of the book Snoop: What Your Stuff Says About you.

“One of the reasons physical spaces, including one’s office desks, can be so revealing is D_____________________,” he says.

Lily Bernheimer, an environmental psychology consultant and director at UK-based Space Works Consulting developed five personality desk types for UK co-working company Headspace Group, E_______________________. A research fellow at the University of Surrey in the UK,

Bernheimer came up with an evidence-based breakdown F__________________________and ‘big five’ personality traits: extroversion; agreeableness; conscientiousness; neuroticism and openness to experience.

1. too much clutter can interfere with focus.
2. we’re constantly making statements about ourselves through our personal presentation
3. drawing on the work of Gosling and other personality and environmental psychologists.
4. that combined insights from personality research, environmental psychology
5. how you keep your workspace might affect how you work
6. if that can influence the way we live our lives
7. that they’re essentially the crystallisation of a lot of behaviour over time

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

  12

What does “lash” mean?

1) Hit

2) Waste

3) Swim

4) Damage

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

13

Why was Emma Johnston surprised after the storm?

1) She didn’t expect so much damage

2) She didn’t know about the dangers of storm

3) She didn’t know the storm happened

4) She didn’t expect the storm to hit

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

14

What do the myths of flood prove?

1) People were always interested in what lived in the sea

2) People loved the sea very much

3) People were afraid of the sea

4) People wanted to conquer the sea

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

15

What is NOT an example of “hard engineering”?

1) Dams

2) Canals

3) Sea walls

4) Channels

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

16

What is “blue engineering”?

1) Eco-friendly way to work with the sea

2) New discoveries of the sea depths

3) Way of engineering connecting the sky and the sea

4) Singapore way of protecting the city

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

17

Why is “blue engineering” a blunt necessity?

1) It can help to build the sea walls to protect Jakarta

2) It can help China build a proper coastline

3) It can protect people from the sea’s dangers

4) It can protect nutritious ecosystems

Прочитайте текст и выполните заданиt. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

In June 2016, a violent storm lashed the Sydney coastline, hammering it with waves up to eight metres high that sent water surging up to 50 metres inland. As a marine ecologist at the University of New South Wales, Emma Johnston knew the storms were coming and knew what potential they had. But even then, the damage they inflicted on her very own neighbourhood shocked her: a hole blasted in the wall of the local surf club, a backyard pool toppled over a beach cliff, and huge chunks washed out of the much-loved northern beaches coastline.

The incident starkly illustrates both our love for the ocean and why we fear it so much. “We love the sea, we swim into it, live near it, build beside it, 70% of the world’s mega-cities are built on coast, and we even fantasise about living under the sea,” she says. But we’re also terrified of it. Almost every culture has a flood myth of some kind, and our entertainment plays on this with films such as the Poseidon Adventure, Waterworld and Titanic. For much of our history, our response to this fear has been to try to control the marine environment and manage its impact on us. We resort to ‘hard engineering’ – dams, sea walls, dredged channels – in an effort to tame the wildness of the ocean. But Johnston argues these endeavours are ultimately doomed to fail. “The sea has a habit of taking back its own.”

Instead, Johnston is advocating for ‘blue engineering’ – the marine version of the ‘green engineering’ movement on land that has seen nations like Singapore reclaiming the walls and roofs of the concrete jungle with plant life.

Blue engineering isn’t just some hippie ideal; it’s a blunt necessity. We are encroaching further and further into the marine environment – 60% of China’s mainland coastline is built upon, Indonesia has plans for an enormous sea wall to protect Jakarta, and our oceans are dotted with thousands of oil rigs and offshore wind turbines with ever more being planned and built.

But this new land-grab risks doing irreparable harm to marine environments and ecosystems. These are the ecosystems that nourish the fish and marine species that constitute 16% of global animal protein intake, that are home to underwater forests as essential to the marine world as the Amazon is to the terrestrial biosphere, and which make our coastlines such wondrous and attractive places to spend time in. Blue engineering is a perfect way to preserve these ecosystems.

“We’re loving the sea to death,” Johnston says. “We’re not been thinking about design of structures with respect to ecology.”

“Every time I dive I realise how little we know about how marine environments work,” Johnston says. But with a new mindset of retreat, restoration and blue engineering, she feels there is cause for hope. “I am looking forward to the beginning of new era of construction in marine environments.”

18

What is the article’s tone?

1) Pessimistic

2) Worried

3) Neutral

4) Hopeful

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

Thomas Ormerod’s team of security officers faced a seemingly impossible task. At airports across Europe, they __________ to interview passengers on their history and travel plans.

ASK  

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

Ormerod had planted a handful of people__________ at security with a false history and a made-up future.

ARRIVE

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

____________ the liar should have been about as easy as finding a needle in a haystack.

IDENTIFY

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

So, what did they do? One option would be to focus on body language or eye movements, right? It would have been a bad idea. Study after study has found that attempts – even by trained police officers – to read lies from body language and facial expressions are more often little_____________ than chance.

GOOD

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

According to one study, just 50 out of 20,000 people managed to make a correct judgement with more than 80% accuracy. ______________ people might as well just flip a coin.

MANY

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

Ormerod’s team tried something different – and managed to identify the fake passengers in the vast majority of cases without __________ guessing.

TWO

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

It’s sometimes said that the eyes are windows into the soul, revealing deep emotions that we might otherwise want to hide. Although modern science precludes the____________ of the soul, it does suggest that there is a kernel of truth in the old saying.

EXIST 

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

It turns out the eyes not only reflect what is happening in the brain but may also influence how we remember things and make ______________.

GROW

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

Our eyes are constantly moving, and while some of those movements are under conscious control, many of them occur__________________.

DECIDE

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

When we read, for instance, we make a series of very quick eye ______________ called saccades that fixate rapidly on one word after another.

MOVE 

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

When we enter a room, we make larger sweeping saccades as we gaze around. Then there are the small, involuntary eye actions we do as we walk, to compensate for our head and ____________ our view of the world.

STABLE

Прочитайте приведенный ниже текст. Образуйте от слова, напечатанного заглавными буквами после текста, однокоренное слово так, чтобы оно грамматически и лексически соответствовало содержанию текста. Запишите маленькими буквами полученное слово в поле для ответа.

So, this would provide much richer information, and raises the chance of unwittingly sharing our thoughts with others from ________to very likely

POSSIBLE

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

32

1) everything 2) something 3) anything 4) all

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

33

1) set 2) played 3) covered 4) watched

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

34

1) off 2) out 3) away 4) down

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

35

1) another 2) others 3) other 4) any

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

36

1) head 2) lungs 3) heart 4) teeth

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

37

1) off 2) on 3) of 4) from

Прочитайте текст с пропусками, обозначенными номерами. Эти номера соответствуют заданиям 32-38, в которых представлены возможные варианты ответов. Запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

You might have thought that after seven novels and eight films, JK Rowling had said 32______________ she had to say about witchcraft and wizardry, but now it seems that Harry Potter’s schooldays were just the beginning. Rowling’s first film as screenwriter is 33___________ in the same hocus-pocus universe as Harry’s adventures, but it shifts the action thousands of miles and dozens of years away from Hogwarts – all the way to New York in 1926. And Rowling and her colleagues – especially the film’s director, David Yates, and its production designer, Stuart Craig – romp through this unfamiliar setting with all the glee of schoolchildren who have just been let 34____________for the summer holidays. Free at last of all those black robes and shadowy gothic corridors, they dazzle us with gleaming skyscrapers and glittering flapper fashions, mythical monsters and 35________ dimensions.

As exhilarating as all the new sights and sounds are, though, it’s soon apparent that Rowling is enjoying the relocation a little too much. A major flaw of the later Harry Potter films was that they crammed in so many characters and incidents from the ever-longer novels that they were baffling to anyone who didn’t know the books by 36____________. What’s slightly disappointing about Fantastic

Beasts and Where to Find Them is that, even though it isn’t adapted 37_____________ a novel, it has a 38________________ problem. Rowling’s superabundant imagination won’t let the story build up momentum: she keeps shoving minor characters and irrelevant details in its path.

38

1) equal 2) similar 3) same 4) even

You have received a letter from your English-speaking pen-friend Nicole who writes:

Yesterday I went to the cinema but I could barely hear what it was about because of a person sitting next to me: he was making so much noise eating popcorn and talking on the phone. What do you usually do in such situations? What are the rules of behaviour at the cinema? Do you always stick to them?

By the way, I was chosen to act in a movie...

Write a letter to Nicole.

In your letter

• answer her questions,
• ask 3 questions about the film she is going to be in

Write 100—140 words.

Remember the rules of letter writing.

You have 20 minutes to do this task.

Comment on the following statement:

1. School classmates make the best friends

2. It’s easier to make friends than to keep them.

What is your opinion?

Write 200–250 words.

Use the following plan:

− make an introduction (state the problem)

− express your personal opinion and give 2–3 reasons for your opinion

− express an opposing opinion and give 1–2 reasons for this opposing opinion

− explain why you don’t agree with the opposing opinion

− make a conclusion restating your position

Прочитайте приведенные ниже текст. Преобразуйте, если необходимо, слово, напечатанное заглавными буквами после текста, так, чтобы оно грамматически соответствовало содержанию текста. Впишите маленькими буквами полученное слово в поле для ответа.

The lost art of losing

And his team had to guess who they__________. In fact, just one in 1000 of the people they interviewed would be deceiving them.

BE