Вопрос №12-18

Раздел 2. Чтение

Прочитайте текст и выполните задания 12-18. В каждом задании выберите цифру 1, 2, 3 или 4, впишите её в соответствующее поле внизу страницы.

Russky Dom

The Science Museum in Vancouver has had many different names over the years. Its present form however dates back to the 1986 World Fair (Expo 86). That year the theme for the World Fair was “Transport” and a special, modernistic exhibition space and dome was built as the centre piece. Called a geodesic dome; its style was influenced by the great American architect — Richard Buckminster Fuller. After the Fair closed, the people of Vancouver (private individuals, businesses, government offices) began a massive fund raising project to save the Dome and make it home to the city’s science museum. Two years later, $19 million dollars had been raised and the first stages of construction completed. In the first 12 weeks alone 310,000 visitors came to visit what was then called “Science World”.

Since that time the museum’s name changed a few times. The aluminium company, Alcan Inc, acted as sponsor so that one of the buildings would be named after them. Then Telus, the Canadian telecommunications giant donated $9 million dollars and the venue became “The Telus World of Science”: However, the new name proved almost universally unpopular among the people of Vancouver.

But during the 2010 Vancouver Winter Olympics, the museum was once again transformed and for a short while became — the Russky Dom! This involved two weeks of spectacular events in February 2010. Every day the people of Vancouver and international visitors to the Winter Games were treated to Russian folk songs, dancers and music sessions. Russian athletes came in to meet the public and sign autographs. There were quizzes and comedy shows and an opportunity for the world to get a taste of what they might expect when the Winter Games come to Sochi in 2014. The centre piece was a huge electronic clock counting down the days, hours, minutes and seconds until the start of the Sochi games.

Today the museum is still very much in business attracting huge numbers of visitors. A $35 million dollar development program was recently announced. There are thousands of brilliant exhibits that teach children and adults all about the world. Many are “hands-on” so that people can perform simple experiments themselves. There is a fabulous and entertaining educational program. You can even go to the link for a taster!

If you plan to visit the museum there are a few exhibits you simply must not miss — “Our World” in particular. It is about sustainable electricity. There are kinetic wheels, wind tunnels and solar panels. You are even given the chance to generate electricity using your own hands. The largest and brightest gallery in the museum is called “Eureka”. Here you can explore and learn about water, air, light, sound and motion.

You can go in to “Contraption Corner”, check out an “inventor box” and construct one of several whirling, buzzing and spinning gadgets. You also get to try and find solutions to practical (and in some cases not so practical) problems — such as how to lift a hippopotamus!

But the wrangle over the name continues. Some people insist it is called “Telus World of Science” and others say it is called “Science World”. But there are more than a few citizens of Vancouver who still remember a great party in February 2010. For them — the name Russky Dom is the one they prefer to use!

12. The “Science World” originally was
1) transport exhibition.
2) a part of the World Fair.
3) a geodesic sight.
4) Richard Buckminster Fuller’s home.

13 The Museum changed its name due to the
1) development of telecommunications.
2) will of people of Vancouver.
3) popularity of local companies.
4) wish of the main sponsor.

14 Which of the following is NOT TRUE about the Russky Dom?
1) Russian musicians performed there.
2) Athletes met the public there.
3) The clock there showed the time remaining till the Sochi Olympiad.
4) It was decided there to set the next 2014 Olympics in Sochi.

15 “Hands-on” in paragraph 4 refers to
1) experiments.
2) visitors.
3) exhibits.
4) educational programs.

16 The text particularly recommends to
1) generate electricity with one’s hands.
2) visit electricity exhibits.
3) enjoy a walk in a “Eureka” gallery.
4) pay attention to solar panels.

17 In the “Contraption Corner” one can
1) try oneself as an inventor.
2) solve any practical problem.
3) see all familiar gadgets.
4) try to lift a hippo.

18 Which of the following officially won the name competition?
1) Telus World of Science.
2) Russky Dom.
3) Science World.
4) None.

Вопрос №12-18

Раздел 2. Чтение

Прочитайте текст и выполните задания 12-18. В каждом задании выберите цифру 1, 2, 3 или 4, впишите её в соответствующее поле внизу страницы.

Вопрос №12-18

Раздел 2. Чтение

Прочитайте текст и выполните задания 12-18. В каждом задании выберите цифру 1, 2, 3 или 4, впишите её в соответствующее поле внизу страницы.

How It Was

     Every school holiday we worked on the farms. Often it was pea picking but we also harvested runner beans, potatoes, black currents and strawberries — each in their season. Sometimes we travelled quite a distance to work. The incredible thing, looking back on it, was that our parents never seemed to worry about us. Sure enough there were occasional tales of terrible accidents or of children being attacked or kidnapped — but no one thought about such things then.
     We would disappear early, on our bikes, and not return until dark. Just the thought of letting my own kids do the same today gives me kittens. But back then, that’s how it was. All the harvesting was paid for by the bag or the box. The faster you worked, the more you earned. In one 5 week season I earned about £400. That was seriously good money in the 1970s — probably the same as my Dad earned. And we knew how to spend. We were always treating ourselves to something. But usually the aim was to pay for a holiday before school started again. Of course we often had family holidays when we were younger. But we kids also took our own holidays. Usually it was camping but my focus was beach holidays. Wales was my favourite locations. Again I still can’t imagine how our parents were brave enough to let us go. I can only assume they were not worried: That and the fact that as children they had their own adventures. Both my parents were small children during the war and were evacuated from London to be safe from Hitler’s bombs. They went in the clothes they were wearing plus a small suitcase — sent to unknown (in advance) villages and to the care of strangers. My teenage beach holidays probably seemed a stroll in the park to them and they took our safety for granted.
     Nowadays there seems to be a climate of fear around my generation, concerning the safety of our children. Has the world really changed so much? May be it’s just that the media makes us think more about the horrible things that do happen?
      Mind you — there was one close shave when I was a kid. It was on one of our Welsh camping holidays. We would have been 15 at the time. I fell asleep on a floating lilo and got swept out to sea. I was only asleep for second and at first was not worried. I began to swim steadily pushing the lilo back to the beach — but after 10 minutes, to my horror, I was no closer to shore. In a panic I jettisoned the lilo so I could swim properly and then swam with all my strength. After another 10 minutes still I made no progress. Then completely irrationally I started worrying about sharks. I knew that there are no dangerous sharks there but just the thought paralyzed me. I told myself not to panic. The sea was really calm and I knew that the tide had to change at some point. I also knew my friends on the beach would call the coastguard. The shore seemed miles away, exhaustion was kicking in and I realized also that I was cold. Shark fins began to circle in my imagination. I was in despair. You hear about accidents and drowning at sea but never imagine that it’s going to be you.
     My rescue was sharp and sudden. Hands on my wrists and ankles and I was swung into the boat. I was absolutely fine when I got back to shore. I am ashamed to say I lied about my age to prevent my parents finding out about it all.
12.The parents didn’t seem to worry about the narrator and his/her friends as
1) the farm was not far from where the children lived.
2) farm work was part of a regular school summer camp.
3) there were no obvious cases of child abuse in the region.
4) some parents worked on the same farm.
13.The expression “gives me kittens” in the second paragraph means
1) amuses me.
2) captivates me.
3) fascinates me.
4) scares me.
14.The payment for the farm work the children got depended on
1) the number of hours spent on the farm.
2) the type of seasonal harvest.
3) the speed at which they moved.
4) the amount of harvested berries or vegetables.
15.The children earned money mainly to
1) afford tasty treats for themselves and friends.
2) provide for their independent holidays.
3) help the family budget.
buy camping equipment.
16.The narrator thought his parents’ evacuation
1) was like a stroll in the park.
2) helped them to deal with strangers.
3) helped them to be calm about safety issues.
4) was a source of serious stress.
17.The narrator thinks his generation is probably more fearful because
1) the media deliberately highlights awful stories.
2) they didn’t experience the war.
3) there are more unstable people around.
4) their childhood was too safe and trouble free.
18.The narrator has additional problems during his accident in the sea because
1) he wasn’t a good swimmer.
2) the thought of sharks terrified him.
3) the tide was so strong.
4) there was no coast guard around.

Вопрос №12-18

Раздел 2. Чтение

Прочитайте текст и выполните задания 12-18. В каждом задании выберите цифру 1, 2, 3 или 4, впишите её в соответствующее поле внизу страницы.

Arkhip

     Arkhip Kuinji was born in 1842 in Mariupol on the Azov Sea. His family originally came from Greece as refugees during the reign of Catherine II. His father made a living making and repairing shoes but tragically both he and Arkhip’s mother died when the boy was just six years old.
Incredible though may seem to us — this meant that Arkhip had to start work for pay. He had no opportunity whatsoever to receive any formal education. Instead he divided his time between labouring, farm work and being an assistant at the corn merchant’s shop. But this unfortunate child had a special talent: He could paint and draw exceptionally well.
     Aged 18 he moved to the Port of Taganrog in 1860; at more or less the same time that Anton Chekov was born — in the very same town! For five years he worked in a studio retouching photographs. He even tried, unsuccessfully to open his own photography studio. This was at more or less the same time a Mendeleev gave the world his periodic table! But eventually Arkhip headed north to the city of St. Petersburg hoping, no doubt, to do something with his natural artistic ability.
     Once there, he evidently was allowed to attend classes at the St. Petersburg Academy of Arts and he also benefited from some training in the workshop of the famous marine painter Ivan Aivazovsky. For the next few years he studied, painted and exhibited whenever he could. In 1873, he travelled around Europe and thoroughly studied the works of great masters. On his return, however, he began to develop his own unique style.
     In his early landscape paintings he often sought to capture seasonal moods. But after 1874 he became increasingly interested in painting “light”. He obtained striking effects by using vivid colours, chiaroscuro contrasts and simple but cleverly conceived designs. He began to make spectacular paintings that greatly moved contemporary viewers.
     Possibly his most famous painting, “Ukrainian Night” (1876), opened a new romantic stage in his work. He achieved such astonishing results, that people, who saw the picture for the first time at an exhibition, tried to check its back, to see if there was any special source of light. Exhibited at the Paris World Fair in 1878, “Ukrainian Night” won praise from the most eminentm French critics.
     Through years of experimentation, Arkhip developed his own highly original techniques, which he applied increasingly to the treatment of subjects such as snow-covered mountains and moonlight. It is sad for us today that some of his experiments with paint led to problems of deterioration and many of his luminous canvases soon darkened.
     In 1894, he accepted an invitation to become a professor of the Academy. He was very fond of teaching and his students admired him. Unfortunately his career of a professor did not last long (he was dismissed for supporting students in their protests against authorities) but he continued to teach his students privately. Later he presented the Academy with a big sum of money, the interest from which was to be used for awards to young painters. In 1909, the year before he died at the age of 68, he founded The Kuinji Society, an independent association of painters, to which he left all his pictures and property.

     Starting from such a disadvanteged vackground, few have achieved as much or giveb so much pleasure to so many people as young Arkhip Mariupol.

12.Which of the following is TRUE about Arkhip Kuinji's family?

1) They came from Greece to make money.

2) They served at the court of Catherine II.

3) Arkhip's parents died when was very young.

4) They made a living selling shoes.

13.We learn from text about Arkhip's stay in Taganroh that he

1) met Anton Chekhov there.

2) could have met Mendeleev there.

3) opened his first art studio there.

4) tried ti work as a photographer.

14.When Kuinji got to St. Petersburg he

1) visited all art exhibitions.

2) began to attend classes in the Academy of Arts.

3) got interested in marine painting.

4) tried to work as a phorographer

15.After 1874 Kuinji

1) began to make pictures showing light.

2) started to paint only in light colours.

3) invented a new paint.

4) used technical effects to impress the viewers.

16.We learn about Kuinji's "Ukranian Night" that

1) a famous art critic claimed it started a new stage in painting.

2) it won a special award at the Paris Word Fair.

3) there was a hidden source of light behind it.

4) it became one of his most famous paintings.

17.Some of Kuinji's experiments were not success becouse

1) hard as he tried, he failed to capture the moonlight.

2) his style was too complicated to visualise.

3) a few of his paintings lost their original colour.

4) he used canvases of poor quality.

18.His professor's career was not a success because

1) of political reasons.

2) the authorities were against his fund meant to support students.

3) his students complained that he gave private lessons.

4) he wanted to be an independent artist.

Вопрос №12-18

Раздел 2. Чтение

Прочитайте текст и выполните задания 12-18. В каждом задании выберите цифру 1, 2, 3 или 4, впишите её в соответствующее поле внизу страницы.

   A lesson with the Master

Joseph Knecht must have been twelve or thirteen years old at the time. For quite a while he had been a scholarship pupil in the Latin school of Berolfingen. His teachers at the school, and especially his music teacher, had already recommended him two or three times to the highest Board for admission into the elite schools... His music teacher, from whom he was learning violin and the lute, told him that the Music Master would shortly be coming to Berolfingen to inspect music instruction at the school. Therefore Joseph must practice like a good boy and not embarrass his teacher.

“What would you like to play?” — the Master asked. The boy could not say a word. Hesitantly, he picked up his exercise book and held it out to the Master. “No,” the Master said, “I want you to play from memory and not an exercise, something easy that you know by heart.” Knecht was confused and unable to answer. The Master did not insist. With one finger, he struck the first notes of a melody, and looked questioningly at the boy. Joseph nodded and at once played the melody with pleasure.

Once more, the Master said. Knecht repeated the melody, and the old man now played a second voice to go with it. Once more. Knecht played, and the Master played the second part, and a third part also. Once more. And the Master played three voices along with the melody... The boy and the old man ceased to think of anything else; they surrendered themselves to the lovely, congenial lines and figurations they formed as their parts crisscrossed. Caught in the network their music was creating, they swayed gently along with it, obeying an unseen conductor...

“Do you happen to know what a fugue is?” — the Master now asked. Knecht looked dubious. “Very well,” the Master said, “then Г11 show you. You’ll grasp it quicker if we make a fugue ourselves. Now the first thing you need in a fugue is a theme, and we don t have to look far for the theme. We’ll take it from our song”. He played a brief phrase, a fragment of the song’s melody. He played the theme once more, and this time he went to the first entrance and then to the second entrance. He changed the interval, then the third entrance repeated the first one again an octave higher, as did the fourth with the second. The exposition concluded with a cadence in the key of the dominant.

The boy looked at the player’s clever white fingers... His ear drank in the fugue; it seemed to him that he was hearing music for the first time in his life. Behind the music being created in his presence he sensed the world of Mind, the joy-giving harmony of law and freedom, of service and rule. He surrendered himself, and vowed to serve that world. In those few minutes he saw himself and his life, saw the whole cosmos guided, ordered, and interpreted by the spirit of music...

He had experienced his vocation, which may surely be spoken of as a sacrament. The ideal world had suddenly taken on visible lineaments for him. Its gates had opened invitingly... And through this venerable messenger — the Music Master — an admonition and a call had come from that world even to him, the insignificant Latin school pupil.

12.School that Joseph Knecht studied at was

1) a specialized school for poor kids.

2) an elite church music school.

3) a private school with grant-maintenance.

4) a secondary state school.

13.Joseph Knecht was

1) particularly good at playing violin and lute.

2) an average student with a social scholarship.

3) a bright music student, mainly keen on arts.

4) academically advanced in all the subjects.

14.Joseph could not do what the Master first asked him to do as he was

1) not able to play music from memory.

2) not articulate enough to answer the question.

3) too self-conscious, uncertain in his technical skills.

4) too nervous.

15.The Master started playing the melody with the boy because he wanted to

1) check the boy’s ability for improvisation.

2) warm the boy up and reduce his tension.

3) show him the correct way to play it.

4) demonstrate his technical superiority.

16.Explaining to Knecht what a fugue was, the Master

1) spontaneously created the needed piece on a well-known simple melody.

2) created a fugue, inviting the boy to participate in the improvisation.

3) improvised a fugue on the melody of the exercise they have just played.

4) played a well known fugue of Bach, based on the melody of the song.

17.The world of Mind that Joseph suddenly discovered for himself and vowed to serve was the world

1) where music alone reigned supreme.

2) of sacred service and self - sacrifice.

3) based on the interdependence of regularities and freedoms.

4) created by improvisation and free will of a Master.

18.The short lesson with the Master helped the boy to

1) understand his strong points and weaknesses.

2) widen his academic horizons.

3) mature and get ready for a real life.

4) choose a profession.

Вопрос 12

Вопрос 13

Вопрос 15