f-6528-2-angielski arkusz ew, gimnazjum - olimpiada języka angielskiego i niemieckiego, ...
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//-->KOD UCZNIAKONKURS JĘZYKA ANGIELSKIEGODLA UCZNIÓW GIMNAZJÓWIII ETAP WOJEWÓDZKI16 lutego 2013WaŜne informacje:1. Masz 120 minut na rozwiązanie wszystkich zadań.2. Pisz długopisem lub piórem, nie uŜywaj ołówka ani korektora. JeŜeli się pomylisz,przekreśl błąd i napisz ponownie.3. Pisz czytelnie i zamieszczaj odpowiedzi w miejscu na to przeznaczonym. Pamiętaj, Ŝezapisy w brudnopisie nie podlegają ocenie.śyczymy powodzenia!Maksymalna liczba punktówUzyskana liczba punktówPodpis osoby sprawdzającej50100%%Konkurs języka angielskiego. Etap wojewódzkiZadanie 1.(7 pkt)Usłyszysz dwukrotnie wypowiedź. Zaznacz znakiem X, które zdania (1.1.-1.5.) są zgodnez treścią nagrania (T – True), a które nie (F – False). Następnie z podanych odpowiedzi(1.6.-1.7.) wybierz właściwą, zgodną z treścią nagrania. Zakreśl literę A, B albo C.T1.1.1.2.In the past the majority of families passed girls names from generation togeneration.People with popular names lead more successful lives than those with originalones.F1.3.Difficulty in name pronunciation does matter in a political career.1.4.Nowadays, many parents regard names like Thomas and Jane as imaginative.1.5.Surprisingly, students with names beginning with the letters C or D are oftengraded with As.1.6.‘Implicit egotism’ stands for:A.a controversial study about some students’ school achievements.B.gravitating towards objects bearing similarities to people’s own names.C.an unconscious attachment to psychological research.1.7.The text:A.proves that an old Roman proverb is still true nowadays.B.considers the impact that names may exert on people’s lives.C.informs us about the origin of the names of some professions.2Konkurs języka angielskiego. Etap wojewódzkiZadanie 2.(3 pkt)Przeczytaj poniŜszy tekst. Do kaŜdej luki (2.1.–2.3) dopasuj właściwe zdanie (A–D).Wpisz odpowiednią literę obok numeru kaŜdej luki. Jedno zdanie zostało podanedodatkowo i nie pasuje do Ŝadnej luki.AT WHAT AGE WILL YOU STOP USING FACEBOOK?Adults are typically grateful that social media didn't exist when they were teenagers - thattheir Facebook photos and status messages date to their college years at the earliest, not theirfirst years of high school or middle school.2.1. _____I'd sooner incapacitate him with fingertraps, the unexpectedly hazardous technology of my youth.What I'd never pondered, until a friend questioned me about it last weekend, is when I'll stopusing Facebook.2.2. _____Right now, I'm a light user who mostly exploits the platform toshare links to my articles. Some people in my "stream" do the same. We all follow the crowd.As I reflect on the way most of my friends from high school and college have used Facebookin the past and how they use it today, I'd say that their activity is more often than not tied tolife changes.People want to share their developments. And their friends and acquaintances don't want tomiss out on happy news, or gossip, or vicarious presence at an event, or even mini-scandal orunexpected tragedy. So they keep coming back to Facebook, many times a day, to disseminatenews and to receive it, and to decide whether their own life is proceeding at an acceptablepace.2.3. _____When the career is established, the marriage is either stable or long over, thekids are grown, and seeing friends means dinner and a streamed movie rather than late nightsdrinking with camera phones out? Does Facebook then start to feel depressing? The futurewill tell…what-age-will-you-stop-using-facebook/267426/A.B.C.D.Would you retroactively give your 13-year-old self the power to put anything he or shewanted on the Web?But what happens when the speed of "newsworthy" change slows down?Is there a permanent tension between keeping older users and attracting younger users?Assuming it endures as a company, will there be an age at which most people abandonit?3Konkurs języka angielskiego. Etap wojewódzkiZadanie 3.(2 pkt)Przeczytaj poniŜszy tekst. Z podanych opcji odpowiedzi A, B, C lub D wybierz właściwą,zgodną z treścią tekstu.HEROES AND CELEBRITIESBack in the twentieth century there was a British punk rock song that repeated over and overagain the claim that there were "no more heroes anymore". Calmer critics and socialcommentators have agreed that the age of the hero is over. In the past people had heroes. Theywere the most prominent figures in the public consciousness - people who had achieved greatthings, people who had done great deeds - proud, noble leaders and bold pioneers.The myth of the hero, though, could not survive when public life came to be dominated by themass media. Having killed the hero, we have replaced him with a distinctively modern publicfigure: the celebrity. To become a celebrity what matters is not so much the greatness of whatyou have done but the exposure you are given in the media. The mass media is not entirelyresponsible for the death of the hero. A democratic culture also undermines the idea thatcertain individuals carry a divine spark and are therefore in a category superior to that of therest of us. No one deserves to be worshipped and there is revulsion at the idea of bending theknee and kissing the hand of another individual.As one commentator put it: the celebrity is a person who is known for being well-known. Anyexposure in the media helps to increase someone's status as a celebrity. Celebrities offerexclusive stories to increase their exposure, the media promote them to increase their ratings,and we collude by paying so much attention to the glossy features, the exclusive interviews,and the various scandals and intrigues. They ought not to object to invasions of their privatelives because this just keeps their names on everyone's lips, which is all that really matters.For many people, the heroes of the past were an inspiration, they broadened our horizons bygiving us an example of a course of action that could be considered noble. Celebrities, on theother hand, with the string of stories about their hardships and their lucky breaks, their affairsand their break-ups, prove to be nothing out of the ordinary. Reading about their lives doesnot inspire us or fill us with purpose. If it isn't just an idle diversion - a way of killing time - itmay well help us to resign ourselves to our own sense of purposelessness. It may be fun, butperhaps something that helped to raise the tone of public life has been lost.3.1.In the past:A.only salient personages could become heroesB.people didn’t want to worship heroes.C.celebrities avoided mass media.D.heroes didn’t influence people’s way of thinking.3.2.According to the text:A.people nowadays love celebrities because they lead unusual lives.B.mass media are alone to blame for the demise of heroes.C.celebrities have no reason to resent the intrusion into their private lives.D.investigating celebrities’ lives provides inspiration for our way of living.4Konkurs języka angielskiego. Etap wojewódzkiZadanie 4.(2 pkt)Przeczytaj poniŜszy tekst. W zdaniach 4.1 i 4.2 z podanych opcji odpowiedzi A, B, C lubD wybierz właściwą, zgodną z treścią tekstu.ROYAL COUPLE REUNITED... BUT ONLY AS AN OIL PAINTINGFor years it was assumed that one of the oil paintings hanging at Lambeth Palace - the officialresidence of the Archbishop of Canterbury - was of Catherine Parr, Henry VIII's sixth wife.The 'exciting discovery' about the picture was made when experts from the National PortraitGallery went to Lambeth Palace to study a portrait of an earlier archbishop. The researchers,who were working on a project called Making Art in Tudor Britain, noticed the painting onthe wall of a private sitting room, where it had hung since at least the 19th century butprobably longer, under the assumption it depicted Catherine Parr.Their attention was drawn to the fact that, first, the portrait was in a frame that pre-dated therotund monarch's sixth wife; second, her clothes were from an earlier period, and third, well,the woman also bore a startling resemblance to Henry's first wife, Catherine of Aragon. Testssoon showed that they were right, and now the National Portrait Gallery has hung the portraitof the devoutly Catholic queen, rather mischievously, side by side with a portrait of Henry,whose desperation to divorce her was the catalyst for England's schism with the CatholicChurch.National Portrait Gallery curator Charlotte Bolland said: 'It was immediately apparent that itwas in a very early frame, something which was a relatively rare survival from the early 16thcentury.' They realised that the woman's earlier costume and her facial features stronglysuggested the portrait was of Catherine of Aragon, rather than Catherine Parr, who was bornin 1512, three years after the first Catherine had married Henry.The Archbishop of Canterbury allowed the gallery to borrow the oil on panel portrait forfurther research, which revealed that the features of the woman's face had been altered, andthat she was wearing a veil, which the first Catherine would have done. The evidence provedconclusively that the portrait was of Catherine of Aragon, who became Henry's first wife afterhis older brother Arthur, whom she had married in 1501, died.Ms Bolland said that discovering the original Tudor finish on a painting like this was 'anextremely rare find'. She said the portrait had been compared with the gallery's portrait of theking from the same period and both were very similar. She said: 'Whilst not suggesting theworks originally formed a pair, the costume dates them to the same period and the works areof the same scale. 'It is likely that both are examples of the type of portraits of the king andqueen that would have been produced in multiple versions, some of which would have beenpaired in this way.' The portrait is now hung next to the similar oil on panel of Henry VIII inthe National Portrait Gallery. The artists of both portraits remain unknown.actually-Henry-VIIIs-wife-Catherine-Aragon-says-National-Portrait-Gallery.html4.1.Catherine of Aragon:A.supported the schism with the Catholic Church.B.is likely to have worn a veil.C.was a widow when Catherine Parr was born.D.married Henry VIII in 1501.5
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