Język angielski 2023 — poziom dwujęzyczny — część 2

Własny materiał MJAA-D0-100-2305 — zadanie 4

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 4. (0–8)
Read two texts about photography. Do tasks 4.1.–4.8.

Text 1
CAN PHOTOGRAPHY BE A THREAT TO NATURE?

Nature photography is a wonderful way to share the beauty of the natural world with others
who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the
genre is that it raises awareness about and generates empathy for endangered flora and
fauna. But too much love can be a bad thing if landscapes are trampled and wildlife is
frightened – and all because of the compulsion that many people feel to leave their footprint
on the world.
The use of photography as a conservation tool dates back as far as photography itself.
William Henry Jackson’s photos from his travels to survey the American West convinced the
United States Congress to create Yellowstone National Park in 1872. This, in turn, sparked
a movement to set aside a number of particularly scenic places as national parks. Ansel
Adams carried the torch forward a century later by opening the eyes of millions to the
splendour of many western landscapes. More recently, wildlife photographers have got up
close and personal with wild animals so that the rest of us can appreciate their beauty while
staying out of harm’s way.
But some say there is a dark side to all this exposure of the wild and the natural.
In a provocative essay, the activist Bill McKibben argues that the world has enough wildlife
photography and that continuing to invade the lives of animal subjects, given the vast
superfluity of images already available, is counterproductive in terms of preserving
biodiversity. He also decries the distorted view of the world that wildlife photographers
portray. “How can whooping cranes be endangered when you’ve seen a thousand images of
them – ten times more images than there are actually whooping cranes left in the wild?” he
asks.
Most wildlife photographers, myself included, take issue with McKibben’s view, feeling that it
is not the number of photographs that matters the most, but rather the fact that wildlife
photographers fail to reflect the natural diversity, and instead draw people’s attention to
selected “celebrity” species.
And in today’s world, when the average holidaymaker with a digital camera is able to capture
their own version of that iconic photo they have seen so many times in magazines, it might
be folly to hope people won’t love a spot or a species to death. In the U.S., some national
parks have begun to limit the number of visitors at specific photo-friendly spots to make sure
that trails don’t get inadvertently widened and native vegetation trampled. Take, for example,
the sad plight of the highly elusive nocturnal primates called lorises which live in southern
India. The local people cut down trees and use bright lights and scare tactics to capture the
animals and enable well-heeled visiting photographers to take the perfect photos of the cute
wide-eyed creature. Animals are brought into the village where they are held in captivity for
days. Once the shoot is completed, they are usually released far from capture sites and
away from their natural habitat, which means that not all of them manage to make it home.

Strona 6 z 20 MJAA-D0-100

What the nature photographers of the world, amateurs and pros alike, agree on is that they
want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to
“get the ideal shot” is all that’s needed to keep nature photography from becoming a scourge
on the environment.
Adapted from: www.scientificamerican.com

For questions 4.1.–4.4., choose the answer that best matches the text and circle
the appropriate letter (A, B, C or D).

4.1. In the second paragraph, the author claims that wildlife photography
A. allowed many scenic places to be protected from the excessive number of tourists.
B. raised awareness that tourists are a threat to animal habitats.
C. contributed to spreading the legend of the American West.
D. gave birth to the idea of protecting places of natural beauty.

4.2. Bill McKibben criticizes wildlife photography on the grounds that
A. photographers underestimate the scientific importance of some species.
B. it ignores biodiversity while presenting solely the “celebrity” species.
C. an overabundance of photographs might give a misleading impression.
D. it disregards restrictions imposed on access to wildlife sanctuaries.

4.3. The example of lorises is used in the text to show that
A. national parks’ infrastructure is often inadequate for photographers.
B. taking photos in human-created settings can pose a threat to animals’ well-being.
C. wealthy amateurs may force professionals out of business.
D. wildlife habitats can be effectively protected from being invaded by humans.

4.4. What is the central claim put forward by the author of the article?
A. The welfare of wildlife should be of primary concern to photographers.
B. Professional photographers should strive for excellence in their art form.
C. Amateur photographers should focus on species which are on the brink of extinction.
D. Wildlife photographers shouldn’t resolve their disputes in public.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 7 z 20

Text 2
A PROFESSIONAL PHOTOGRAPHER

“Your work sounds interesting,” Francesca looked across the table at Robert Kincaid.
“It is. I like it a lot,” he said. “I like the road, and I like making pictures.”
She noticed he’d said “making” pictures. “You make pictures, not take them?” she asked.
“Yes. At least that’s how I think of it. That’s the difference between Sunday snapshooters and
someone who does it for a living. When I’m finished with that bridge we saw today, it won’t
look quite like you expect. I’ll have made it into something of my own, by my choice of lens,
or camera angle, or general composition, and most likely by some combination of all of
those.
National Geographic which I’m currently working for has its own style and demands, but I
don’t always conform to the editors’ tastes; in fact, quite often I don’t. And that bothers them,
even though they still decide what goes in and what gets left out. I guess they know their
readership, but I wish they’d take a few more chances now and then.
That’s the problem with earning a living through an art form. You’re always dealing with
markets, which are designed to suit average tastes. That’s where the numbers are. That’s
the reality, I guess. But, as I said, it can become pretty confining. They let me keep the shots
they don’t use, so at least I have my own private files of stuff that I like. And, once in a while
I get the chance to write an article for another magazine on a place I’ve been to, and add
some pictures which are too daring for the standards of National Geographic.
One day, I’m going to write an essay called “The Virtues of Amateurism” for all of those
people who wish they earned their living in the arts. The market kills more artistic passion
than anything else does. Readers want safety, and the magazines and manufacturers
provide them with what they want: they give them homogeneity, give them the familiar and
comfortable, and they don’t challenge readers in any way. Profit and subscriptions and the
rest of that stuff dominate art. Whenever I hear the words ‘market’ or ‘consumers’, I get this
grotesque image in my mind of a fat little man in baggy Bermuda shorts, a Hawaiian shirt,
and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars.”
Adapted from The Bridges Of Madison County by Robert James Waller

Strona 8 z 20 MJAA-D0-100

Based on the text, complete sentences 4.5.–4.8.

4.5. When referring to his work, Robert Kincaid deliberately uses the phrase “making

pictures” to draw attention to ______________________________________________.

4.6. Robert Kincaid thinks that the editors of National Geographic are __________________

____________________________________ in their choice of pictures to be published.

4.7. Some of Kincaid’s photos which do not make it into National Geographic end up

illustrating _____________________________________________________________.

4.8. The image of the fat little man with cash in his hands serves Robert Kincaid to exemplify

_____________________________________________________________________.

MJAA-D0-100 Strona 9 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 4

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 4. (0–8)
Read two texts about photography. Do tasks 4.1.–4.8.

Text 1
CAN PHOTOGRAPHY BE A THREAT TO NATURE?

Nature photography is a wonderful way to share the beauty of the natural world with others
who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the
genre is that it raises awareness about and generates empathy for endangered flora and
fauna. But too much love can be a bad thing if landscapes are trampled and wildlife is
frightened – and all because of the compulsion that many people feel to leave their footprint
on the world.
The use of photography as a conservation tool dates back as far as photography itself.
William Henry Jackson’s photos from his travels to survey the American West convinced the
United States Congress to create Yellowstone National Park in 1872. This, in turn, sparked
a movement to set aside a number of particularly scenic places as national parks. Ansel
Adams carried the torch forward a century later by opening the eyes of millions to the
splendour of many western landscapes. More recently, wildlife photographers have got up
close and personal with wild animals so that the rest of us can appreciate their beauty while
staying out of harm’s way.
But some say there is a dark side to all this exposure of the wild and the natural.
In a provocative essay, the activist Bill McKibben argues that the world has enough wildlife
photography and that continuing to invade the lives of animal subjects, given the vast
superfluity of images already available, is counterproductive in terms of preserving
biodiversity. He also decries the distorted view of the world that wildlife photographers
portray. “How can whooping cranes be endangered when you’ve seen a thousand images of
them – ten times more images than there are actually whooping cranes left in the wild?” he
asks.
Most wildlife photographers, myself included, take issue with McKibben’s view, feeling that it
is not the number of photographs that matters the most, but rather the fact that wildlife
photographers fail to reflect the natural diversity, and instead draw people’s attention to
selected “celebrity” species.
And in today’s world, when the average holidaymaker with a digital camera is able to capture
their own version of that iconic photo they have seen so many times in magazines, it might
be folly to hope people won’t love a spot or a species to death. In the U.S., some national
parks have begun to limit the number of visitors at specific photo-friendly spots to make sure
that trails don’t get inadvertently widened and native vegetation trampled. Take, for example,
the sad plight of the highly elusive nocturnal primates called lorises which live in southern
India. The local people cut down trees and use bright lights and scare tactics to capture the
animals and enable well-heeled visiting photographers to take the perfect photos of the cute
wide-eyed creature. Animals are brought into the village where they are held in captivity for
days. Once the shoot is completed, they are usually released far from capture sites and
away from their natural habitat, which means that not all of them manage to make it home.

Strona 6 z 20 MJAA-D0-100

What the nature photographers of the world, amateurs and pros alike, agree on is that they
want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to
“get the ideal shot” is all that’s needed to keep nature photography from becoming a scourge
on the environment.
Adapted from: www.scientificamerican.com

For questions 4.1.–4.4., choose the answer that best matches the text and circle
the appropriate letter (A, B, C or D).

4.1. In the second paragraph, the author claims that wildlife photography
A. allowed many scenic places to be protected from the excessive number of tourists.
B. raised awareness that tourists are a threat to animal habitats.
C. contributed to spreading the legend of the American West.
D. gave birth to the idea of protecting places of natural beauty.

4.2. Bill McKibben criticizes wildlife photography on the grounds that
A. photographers underestimate the scientific importance of some species.
B. it ignores biodiversity while presenting solely the “celebrity” species.
C. an overabundance of photographs might give a misleading impression.
D. it disregards restrictions imposed on access to wildlife sanctuaries.

4.3. The example of lorises is used in the text to show that
A. national parks’ infrastructure is often inadequate for photographers.
B. taking photos in human-created settings can pose a threat to animals’ well-being.
C. wealthy amateurs may force professionals out of business.
D. wildlife habitats can be effectively protected from being invaded by humans.

4.4. What is the central claim put forward by the author of the article?
A. The welfare of wildlife should be of primary concern to photographers.
B. Professional photographers should strive for excellence in their art form.
C. Amateur photographers should focus on species which are on the brink of extinction.
D. Wildlife photographers shouldn’t resolve their disputes in public.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 7 z 20

Text 2
A PROFESSIONAL PHOTOGRAPHER

“Your work sounds interesting,” Francesca looked across the table at Robert Kincaid.
“It is. I like it a lot,” he said. “I like the road, and I like making pictures.”
She noticed he’d said “making” pictures. “You make pictures, not take them?” she asked.
“Yes. At least that’s how I think of it. That’s the difference between Sunday snapshooters and
someone who does it for a living. When I’m finished with that bridge we saw today, it won’t
look quite like you expect. I’ll have made it into something of my own, by my choice of lens,
or camera angle, or general composition, and most likely by some combination of all of
those.
National Geographic which I’m currently working for has its own style and demands, but I
don’t always conform to the editors’ tastes; in fact, quite often I don’t. And that bothers them,
even though they still decide what goes in and what gets left out. I guess they know their
readership, but I wish they’d take a few more chances now and then.
That’s the problem with earning a living through an art form. You’re always dealing with
markets, which are designed to suit average tastes. That’s where the numbers are. That’s
the reality, I guess. But, as I said, it can become pretty confining. They let me keep the shots
they don’t use, so at least I have my own private files of stuff that I like. And, once in a while
I get the chance to write an article for another magazine on a place I’ve been to, and add
some pictures which are too daring for the standards of National Geographic.
One day, I’m going to write an essay called “The Virtues of Amateurism” for all of those
people who wish they earned their living in the arts. The market kills more artistic passion
than anything else does. Readers want safety, and the magazines and manufacturers
provide them with what they want: they give them homogeneity, give them the familiar and
comfortable, and they don’t challenge readers in any way. Profit and subscriptions and the
rest of that stuff dominate art. Whenever I hear the words ‘market’ or ‘consumers’, I get this
grotesque image in my mind of a fat little man in baggy Bermuda shorts, a Hawaiian shirt,
and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars.”
Adapted from The Bridges Of Madison County by Robert James Waller

Strona 8 z 20 MJAA-D0-100

Based on the text, complete sentences 4.5.–4.8.

4.5. When referring to his work, Robert Kincaid deliberately uses the phrase “making

pictures” to draw attention to ______________________________________________.

4.6. Robert Kincaid thinks that the editors of National Geographic are __________________

____________________________________ in their choice of pictures to be published.

4.7. Some of Kincaid’s photos which do not make it into National Geographic end up

illustrating _____________________________________________________________.

4.8. The image of the fat little man with cash in his hands serves Robert Kincaid to exemplify

_____________________________________________________________________.

MJAA-D0-100 Strona 9 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 4

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 4. (0–8)
Read two texts about photography. Do tasks 4.1.–4.8.

Text 1
CAN PHOTOGRAPHY BE A THREAT TO NATURE?

Nature photography is a wonderful way to share the beauty of the natural world with others
who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the
genre is that it raises awareness about and generates empathy for endangered flora and
fauna. But too much love can be a bad thing if landscapes are trampled and wildlife is
frightened – and all because of the compulsion that many people feel to leave their footprint
on the world.
The use of photography as a conservation tool dates back as far as photography itself.
William Henry Jackson’s photos from his travels to survey the American West convinced the
United States Congress to create Yellowstone National Park in 1872. This, in turn, sparked
a movement to set aside a number of particularly scenic places as national parks. Ansel
Adams carried the torch forward a century later by opening the eyes of millions to the
splendour of many western landscapes. More recently, wildlife photographers have got up
close and personal with wild animals so that the rest of us can appreciate their beauty while
staying out of harm’s way.
But some say there is a dark side to all this exposure of the wild and the natural.
In a provocative essay, the activist Bill McKibben argues that the world has enough wildlife
photography and that continuing to invade the lives of animal subjects, given the vast
superfluity of images already available, is counterproductive in terms of preserving
biodiversity. He also decries the distorted view of the world that wildlife photographers
portray. “How can whooping cranes be endangered when you’ve seen a thousand images of
them – ten times more images than there are actually whooping cranes left in the wild?” he
asks.
Most wildlife photographers, myself included, take issue with McKibben’s view, feeling that it
is not the number of photographs that matters the most, but rather the fact that wildlife
photographers fail to reflect the natural diversity, and instead draw people’s attention to
selected “celebrity” species.
And in today’s world, when the average holidaymaker with a digital camera is able to capture
their own version of that iconic photo they have seen so many times in magazines, it might
be folly to hope people won’t love a spot or a species to death. In the U.S., some national
parks have begun to limit the number of visitors at specific photo-friendly spots to make sure
that trails don’t get inadvertently widened and native vegetation trampled. Take, for example,
the sad plight of the highly elusive nocturnal primates called lorises which live in southern
India. The local people cut down trees and use bright lights and scare tactics to capture the
animals and enable well-heeled visiting photographers to take the perfect photos of the cute
wide-eyed creature. Animals are brought into the village where they are held in captivity for
days. Once the shoot is completed, they are usually released far from capture sites and
away from their natural habitat, which means that not all of them manage to make it home.

Strona 6 z 20 MJAA-D0-100

What the nature photographers of the world, amateurs and pros alike, agree on is that they
want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to
“get the ideal shot” is all that’s needed to keep nature photography from becoming a scourge
on the environment.
Adapted from: www.scientificamerican.com

For questions 4.1.–4.4., choose the answer that best matches the text and circle
the appropriate letter (A, B, C or D).

4.1. In the second paragraph, the author claims that wildlife photography
A. allowed many scenic places to be protected from the excessive number of tourists.
B. raised awareness that tourists are a threat to animal habitats.
C. contributed to spreading the legend of the American West.
D. gave birth to the idea of protecting places of natural beauty.

4.2. Bill McKibben criticizes wildlife photography on the grounds that
A. photographers underestimate the scientific importance of some species.
B. it ignores biodiversity while presenting solely the “celebrity” species.
C. an overabundance of photographs might give a misleading impression.
D. it disregards restrictions imposed on access to wildlife sanctuaries.

4.3. The example of lorises is used in the text to show that
A. national parks’ infrastructure is often inadequate for photographers.
B. taking photos in human-created settings can pose a threat to animals’ well-being.
C. wealthy amateurs may force professionals out of business.
D. wildlife habitats can be effectively protected from being invaded by humans.

4.4. What is the central claim put forward by the author of the article?
A. The welfare of wildlife should be of primary concern to photographers.
B. Professional photographers should strive for excellence in their art form.
C. Amateur photographers should focus on species which are on the brink of extinction.
D. Wildlife photographers shouldn’t resolve their disputes in public.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 7 z 20

Text 2
A PROFESSIONAL PHOTOGRAPHER

“Your work sounds interesting,” Francesca looked across the table at Robert Kincaid.
“It is. I like it a lot,” he said. “I like the road, and I like making pictures.”
She noticed he’d said “making” pictures. “You make pictures, not take them?” she asked.
“Yes. At least that’s how I think of it. That’s the difference between Sunday snapshooters and
someone who does it for a living. When I’m finished with that bridge we saw today, it won’t
look quite like you expect. I’ll have made it into something of my own, by my choice of lens,
or camera angle, or general composition, and most likely by some combination of all of
those.
National Geographic which I’m currently working for has its own style and demands, but I
don’t always conform to the editors’ tastes; in fact, quite often I don’t. And that bothers them,
even though they still decide what goes in and what gets left out. I guess they know their
readership, but I wish they’d take a few more chances now and then.
That’s the problem with earning a living through an art form. You’re always dealing with
markets, which are designed to suit average tastes. That’s where the numbers are. That’s
the reality, I guess. But, as I said, it can become pretty confining. They let me keep the shots
they don’t use, so at least I have my own private files of stuff that I like. And, once in a while
I get the chance to write an article for another magazine on a place I’ve been to, and add
some pictures which are too daring for the standards of National Geographic.
One day, I’m going to write an essay called “The Virtues of Amateurism” for all of those
people who wish they earned their living in the arts. The market kills more artistic passion
than anything else does. Readers want safety, and the magazines and manufacturers
provide them with what they want: they give them homogeneity, give them the familiar and
comfortable, and they don’t challenge readers in any way. Profit and subscriptions and the
rest of that stuff dominate art. Whenever I hear the words ‘market’ or ‘consumers’, I get this
grotesque image in my mind of a fat little man in baggy Bermuda shorts, a Hawaiian shirt,
and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars.”
Adapted from The Bridges Of Madison County by Robert James Waller

Strona 8 z 20 MJAA-D0-100

Based on the text, complete sentences 4.5.–4.8.

4.5. When referring to his work, Robert Kincaid deliberately uses the phrase “making

pictures” to draw attention to ______________________________________________.

4.6. Robert Kincaid thinks that the editors of National Geographic are __________________

____________________________________ in their choice of pictures to be published.

4.7. Some of Kincaid’s photos which do not make it into National Geographic end up

illustrating _____________________________________________________________.

4.8. The image of the fat little man with cash in his hands serves Robert Kincaid to exemplify

_____________________________________________________________________.

MJAA-D0-100 Strona 9 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 4

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 4. (0–8)
Read two texts about photography. Do tasks 4.1.–4.8.

Text 1
CAN PHOTOGRAPHY BE A THREAT TO NATURE?

Nature photography is a wonderful way to share the beauty of the natural world with others
who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the
genre is that it raises awareness about and generates empathy for endangered flora and
fauna. But too much love can be a bad thing if landscapes are trampled and wildlife is
frightened – and all because of the compulsion that many people feel to leave their footprint
on the world.
The use of photography as a conservation tool dates back as far as photography itself.
William Henry Jackson’s photos from his travels to survey the American West convinced the
United States Congress to create Yellowstone National Park in 1872. This, in turn, sparked
a movement to set aside a number of particularly scenic places as national parks. Ansel
Adams carried the torch forward a century later by opening the eyes of millions to the
splendour of many western landscapes. More recently, wildlife photographers have got up
close and personal with wild animals so that the rest of us can appreciate their beauty while
staying out of harm’s way.
But some say there is a dark side to all this exposure of the wild and the natural.
In a provocative essay, the activist Bill McKibben argues that the world has enough wildlife
photography and that continuing to invade the lives of animal subjects, given the vast
superfluity of images already available, is counterproductive in terms of preserving
biodiversity. He also decries the distorted view of the world that wildlife photographers
portray. “How can whooping cranes be endangered when you’ve seen a thousand images of
them – ten times more images than there are actually whooping cranes left in the wild?” he
asks.
Most wildlife photographers, myself included, take issue with McKibben’s view, feeling that it
is not the number of photographs that matters the most, but rather the fact that wildlife
photographers fail to reflect the natural diversity, and instead draw people’s attention to
selected “celebrity” species.
And in today’s world, when the average holidaymaker with a digital camera is able to capture
their own version of that iconic photo they have seen so many times in magazines, it might
be folly to hope people won’t love a spot or a species to death. In the U.S., some national
parks have begun to limit the number of visitors at specific photo-friendly spots to make sure
that trails don’t get inadvertently widened and native vegetation trampled. Take, for example,
the sad plight of the highly elusive nocturnal primates called lorises which live in southern
India. The local people cut down trees and use bright lights and scare tactics to capture the
animals and enable well-heeled visiting photographers to take the perfect photos of the cute
wide-eyed creature. Animals are brought into the village where they are held in captivity for
days. Once the shoot is completed, they are usually released far from capture sites and
away from their natural habitat, which means that not all of them manage to make it home.

Strona 6 z 20 MJAA-D0-100

What the nature photographers of the world, amateurs and pros alike, agree on is that they
want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to
“get the ideal shot” is all that’s needed to keep nature photography from becoming a scourge
on the environment.
Adapted from: www.scientificamerican.com

For questions 4.1.–4.4., choose the answer that best matches the text and circle
the appropriate letter (A, B, C or D).

4.1. In the second paragraph, the author claims that wildlife photography
A. allowed many scenic places to be protected from the excessive number of tourists.
B. raised awareness that tourists are a threat to animal habitats.
C. contributed to spreading the legend of the American West.
D. gave birth to the idea of protecting places of natural beauty.

4.2. Bill McKibben criticizes wildlife photography on the grounds that
A. photographers underestimate the scientific importance of some species.
B. it ignores biodiversity while presenting solely the “celebrity” species.
C. an overabundance of photographs might give a misleading impression.
D. it disregards restrictions imposed on access to wildlife sanctuaries.

4.3. The example of lorises is used in the text to show that
A. national parks’ infrastructure is often inadequate for photographers.
B. taking photos in human-created settings can pose a threat to animals’ well-being.
C. wealthy amateurs may force professionals out of business.
D. wildlife habitats can be effectively protected from being invaded by humans.

4.4. What is the central claim put forward by the author of the article?
A. The welfare of wildlife should be of primary concern to photographers.
B. Professional photographers should strive for excellence in their art form.
C. Amateur photographers should focus on species which are on the brink of extinction.
D. Wildlife photographers shouldn’t resolve their disputes in public.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 7 z 20

Text 2
A PROFESSIONAL PHOTOGRAPHER

“Your work sounds interesting,” Francesca looked across the table at Robert Kincaid.
“It is. I like it a lot,” he said. “I like the road, and I like making pictures.”
She noticed he’d said “making” pictures. “You make pictures, not take them?” she asked.
“Yes. At least that’s how I think of it. That’s the difference between Sunday snapshooters and
someone who does it for a living. When I’m finished with that bridge we saw today, it won’t
look quite like you expect. I’ll have made it into something of my own, by my choice of lens,
or camera angle, or general composition, and most likely by some combination of all of
those.
National Geographic which I’m currently working for has its own style and demands, but I
don’t always conform to the editors’ tastes; in fact, quite often I don’t. And that bothers them,
even though they still decide what goes in and what gets left out. I guess they know their
readership, but I wish they’d take a few more chances now and then.
That’s the problem with earning a living through an art form. You’re always dealing with
markets, which are designed to suit average tastes. That’s where the numbers are. That’s
the reality, I guess. But, as I said, it can become pretty confining. They let me keep the shots
they don’t use, so at least I have my own private files of stuff that I like. And, once in a while
I get the chance to write an article for another magazine on a place I’ve been to, and add
some pictures which are too daring for the standards of National Geographic.
One day, I’m going to write an essay called “The Virtues of Amateurism” for all of those
people who wish they earned their living in the arts. The market kills more artistic passion
than anything else does. Readers want safety, and the magazines and manufacturers
provide them with what they want: they give them homogeneity, give them the familiar and
comfortable, and they don’t challenge readers in any way. Profit and subscriptions and the
rest of that stuff dominate art. Whenever I hear the words ‘market’ or ‘consumers’, I get this
grotesque image in my mind of a fat little man in baggy Bermuda shorts, a Hawaiian shirt,
and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars.”
Adapted from The Bridges Of Madison County by Robert James Waller

Strona 8 z 20 MJAA-D0-100

Based on the text, complete sentences 4.5.–4.8.

4.5. When referring to his work, Robert Kincaid deliberately uses the phrase “making

pictures” to draw attention to ______________________________________________.

4.6. Robert Kincaid thinks that the editors of National Geographic are __________________

____________________________________ in their choice of pictures to be published.

4.7. Some of Kincaid’s photos which do not make it into National Geographic end up

illustrating _____________________________________________________________.

4.8. The image of the fat little man with cash in his hands serves Robert Kincaid to exemplify

_____________________________________________________________________.

MJAA-D0-100 Strona 9 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 4

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 4. (0–8)
Read two texts about photography. Do tasks 4.1.–4.8.

Text 1
CAN PHOTOGRAPHY BE A THREAT TO NATURE?

Nature photography is a wonderful way to share the beauty of the natural world with others
who don’t have the opportunity to see a given subject first-hand. An obvious benefit of the
genre is that it raises awareness about and generates empathy for endangered flora and
fauna. But too much love can be a bad thing if landscapes are trampled and wildlife is
frightened – and all because of the compulsion that many people feel to leave their footprint
on the world.
The use of photography as a conservation tool dates back as far as photography itself.
William Henry Jackson’s photos from his travels to survey the American West convinced the
United States Congress to create Yellowstone National Park in 1872. This, in turn, sparked
a movement to set aside a number of particularly scenic places as national parks. Ansel
Adams carried the torch forward a century later by opening the eyes of millions to the
splendour of many western landscapes. More recently, wildlife photographers have got up
close and personal with wild animals so that the rest of us can appreciate their beauty while
staying out of harm’s way.
But some say there is a dark side to all this exposure of the wild and the natural.
In a provocative essay, the activist Bill McKibben argues that the world has enough wildlife
photography and that continuing to invade the lives of animal subjects, given the vast
superfluity of images already available, is counterproductive in terms of preserving
biodiversity. He also decries the distorted view of the world that wildlife photographers
portray. “How can whooping cranes be endangered when you’ve seen a thousand images of
them – ten times more images than there are actually whooping cranes left in the wild?” he
asks.
Most wildlife photographers, myself included, take issue with McKibben’s view, feeling that it
is not the number of photographs that matters the most, but rather the fact that wildlife
photographers fail to reflect the natural diversity, and instead draw people’s attention to
selected “celebrity” species.
And in today’s world, when the average holidaymaker with a digital camera is able to capture
their own version of that iconic photo they have seen so many times in magazines, it might
be folly to hope people won’t love a spot or a species to death. In the U.S., some national
parks have begun to limit the number of visitors at specific photo-friendly spots to make sure
that trails don’t get inadvertently widened and native vegetation trampled. Take, for example,
the sad plight of the highly elusive nocturnal primates called lorises which live in southern
India. The local people cut down trees and use bright lights and scare tactics to capture the
animals and enable well-heeled visiting photographers to take the perfect photos of the cute
wide-eyed creature. Animals are brought into the village where they are held in captivity for
days. Once the shoot is completed, they are usually released far from capture sites and
away from their natural habitat, which means that not all of them manage to make it home.

Strona 6 z 20 MJAA-D0-100

What the nature photographers of the world, amateurs and pros alike, agree on is that they
want their subject matter to live on. Being respectful of landscapes and wildlife in the quest to
“get the ideal shot” is all that’s needed to keep nature photography from becoming a scourge
on the environment.
Adapted from: www.scientificamerican.com

For questions 4.1.–4.4., choose the answer that best matches the text and circle
the appropriate letter (A, B, C or D).

4.1. In the second paragraph, the author claims that wildlife photography
A. allowed many scenic places to be protected from the excessive number of tourists.
B. raised awareness that tourists are a threat to animal habitats.
C. contributed to spreading the legend of the American West.
D. gave birth to the idea of protecting places of natural beauty.

4.2. Bill McKibben criticizes wildlife photography on the grounds that
A. photographers underestimate the scientific importance of some species.
B. it ignores biodiversity while presenting solely the “celebrity” species.
C. an overabundance of photographs might give a misleading impression.
D. it disregards restrictions imposed on access to wildlife sanctuaries.

4.3. The example of lorises is used in the text to show that
A. national parks’ infrastructure is often inadequate for photographers.
B. taking photos in human-created settings can pose a threat to animals’ well-being.
C. wealthy amateurs may force professionals out of business.
D. wildlife habitats can be effectively protected from being invaded by humans.

4.4. What is the central claim put forward by the author of the article?
A. The welfare of wildlife should be of primary concern to photographers.
B. Professional photographers should strive for excellence in their art form.
C. Amateur photographers should focus on species which are on the brink of extinction.
D. Wildlife photographers shouldn’t resolve their disputes in public.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 7 z 20

Text 2
A PROFESSIONAL PHOTOGRAPHER

“Your work sounds interesting,” Francesca looked across the table at Robert Kincaid.
“It is. I like it a lot,” he said. “I like the road, and I like making pictures.”
She noticed he’d said “making” pictures. “You make pictures, not take them?” she asked.
“Yes. At least that’s how I think of it. That’s the difference between Sunday snapshooters and
someone who does it for a living. When I’m finished with that bridge we saw today, it won’t
look quite like you expect. I’ll have made it into something of my own, by my choice of lens,
or camera angle, or general composition, and most likely by some combination of all of
those.
National Geographic which I’m currently working for has its own style and demands, but I
don’t always conform to the editors’ tastes; in fact, quite often I don’t. And that bothers them,
even though they still decide what goes in and what gets left out. I guess they know their
readership, but I wish they’d take a few more chances now and then.
That’s the problem with earning a living through an art form. You’re always dealing with
markets, which are designed to suit average tastes. That’s where the numbers are. That’s
the reality, I guess. But, as I said, it can become pretty confining. They let me keep the shots
they don’t use, so at least I have my own private files of stuff that I like. And, once in a while
I get the chance to write an article for another magazine on a place I’ve been to, and add
some pictures which are too daring for the standards of National Geographic.
One day, I’m going to write an essay called “The Virtues of Amateurism” for all of those
people who wish they earned their living in the arts. The market kills more artistic passion
than anything else does. Readers want safety, and the magazines and manufacturers
provide them with what they want: they give them homogeneity, give them the familiar and
comfortable, and they don’t challenge readers in any way. Profit and subscriptions and the
rest of that stuff dominate art. Whenever I hear the words ‘market’ or ‘consumers’, I get this
grotesque image in my mind of a fat little man in baggy Bermuda shorts, a Hawaiian shirt,
and a straw hat with beer-can openers dangling from it, clutching fistfuls of dollars.”
Adapted from The Bridges Of Madison County by Robert James Waller

Strona 8 z 20 MJAA-D0-100

Based on the text, complete sentences 4.5.–4.8.

4.5. When referring to his work, Robert Kincaid deliberately uses the phrase “making

pictures” to draw attention to ______________________________________________.

4.6. Robert Kincaid thinks that the editors of National Geographic are __________________

____________________________________ in their choice of pictures to be published.

4.7. Some of Kincaid’s photos which do not make it into National Geographic end up

illustrating _____________________________________________________________.

4.8. The image of the fat little man with cash in his hands serves Robert Kincaid to exemplify

_____________________________________________________________________.

MJAA-D0-100 Strona 9 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 5

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 5. (0–4)
Read the article. Four paragraphs have been removed from the text. Complete each
gap (5.1.–5.4.) with the paragraph which fits best and put the appropriate letter (A–E)
in each gap. There is one paragraph which you do not need to use.

HOW A CITY CAN SAVE ITS WILDLIFE

The wildlife and green spaces in our cities, towns, and other built-up areas matter because
as a nation we are increasingly being told that we are becoming disconnected from nature,
and this in turn is negatively affecting our health. Besides, who doesn’t get a good feeling
from hearing a little bird chirping away, spotting bright flowers in the park, or coming across
the signs of an otter while taking a walk along the river?
5.1. _____
London is a prime example of what is at stake in this battle between urban development and
nature. With its population of over 8.6 million, Britain’s capital has more than 13,000 recorded
species; according to the director of London Wildlife Trust, Mathew Frith, it is the most
species-diverse region in the UK. This is a reflection of the city’s millions of gardens and its
status as an international trading city, which has made it one of Britain’s main points of entry
for new species from elsewhere in the world.
5.2. ______
Furthermore, urban peregrine falcons are on the rise, greater spotted woodpeckers and jays
are increasingly found in inner London, and several species of deer are making their
presence known. The River Thames is now home to 125 species of fish after major
clean-ups since the 1950s. There have also been upswings in some other species, which are
either occupying new niches, or recovering from previous lows.
5.3. ______
One solution lies in an interesting proposal for Greater London to be designated as
a National Park City, an idea of Frith’s that is rapidly gaining support in the capital. This
would mean London becoming a new kind of urban national park. As a result, London would
be a semi-protected area with all of the public activities and conservation efforts that take
place in a traditional national park, but in an urban environment, which includes people’s
homes, workplaces and gardens.
5.4. _____
This is a massive shift in the approach to wildlife, which should involve all citizens.
The London Wildlife Trust proposal to designate London as a National Park City will help to
raise awareness among the population and cultivate more sensitive approaches to the way
that we design and manage the city, though it will not solve all the problems that affect nature
in London. “It needs to add value to the collective efforts to conserve London’s nature for
decades, and not merely duplicate these efforts,” says Mr Frith.
Adapted from: www.bbc.com

Strona 10 z 20 MJAA-D0-100

A. The intention is to encourage people to welcome wildlife, for example by using swift
bricks in new houses or making holes in fences for hedgehogs. People have to think of it
as a set of recommended practices that could naturally connect open spaces and
gardens. It’s a long-term vision that might be achieved through lots of small, individual
actions: digging up concrete paving, planting flowers or not chopping trees down.
B. As a result, ring-necked parakeets and some Himalayan plants have flourished and
become as familiar as our native hornbeam and heather in the city scenery. And many
don’t realise that the capital holds nationally important populations of many species: stag
beetles, greater yellow-rattle, black redstart, and wintering populations of gadwall and
shoveler.
C. He believes that changing a few policies is not enough to halt the loss and start the
recovery; nature needs to be at the centre of how our country is run, putting wildlife
habitats back into the landscape. He adds that bringing back nature benefits the whole
society and therefore needs to be a priority for the government.
D. Some of these trends reflect national patterns; others are down to changes in London
either through conservation action or climate change. The city’s open spaces are critically
important for the survival of most of its urban wildlife. It’s quite extraordinary that 47% of
London is covered by green space. Yet, we have to be cautious. London’s natural
environment needs constant monitoring and protection because pressure to use available
land for housing is greater than it’s ever been.
E. It’s important to note that, apart from the influence nature has on our well-being, urban
areas are among the most biologically diverse habitats in the country. With more people
living in cities than ever before, this diversity is increasingly coming under pressure from
property developers, businesses and home owners who often decide to pave over their
lawns, or cut down trees in their gardens.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 11 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 5

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 5. (0–4)
Read the article. Four paragraphs have been removed from the text. Complete each
gap (5.1.–5.4.) with the paragraph which fits best and put the appropriate letter (A–E)
in each gap. There is one paragraph which you do not need to use.

HOW A CITY CAN SAVE ITS WILDLIFE

The wildlife and green spaces in our cities, towns, and other built-up areas matter because
as a nation we are increasingly being told that we are becoming disconnected from nature,
and this in turn is negatively affecting our health. Besides, who doesn’t get a good feeling
from hearing a little bird chirping away, spotting bright flowers in the park, or coming across
the signs of an otter while taking a walk along the river?
5.1. _____
London is a prime example of what is at stake in this battle between urban development and
nature. With its population of over 8.6 million, Britain’s capital has more than 13,000 recorded
species; according to the director of London Wildlife Trust, Mathew Frith, it is the most
species-diverse region in the UK. This is a reflection of the city’s millions of gardens and its
status as an international trading city, which has made it one of Britain’s main points of entry
for new species from elsewhere in the world.
5.2. ______
Furthermore, urban peregrine falcons are on the rise, greater spotted woodpeckers and jays
are increasingly found in inner London, and several species of deer are making their
presence known. The River Thames is now home to 125 species of fish after major
clean-ups since the 1950s. There have also been upswings in some other species, which are
either occupying new niches, or recovering from previous lows.
5.3. ______
One solution lies in an interesting proposal for Greater London to be designated as
a National Park City, an idea of Frith’s that is rapidly gaining support in the capital. This
would mean London becoming a new kind of urban national park. As a result, London would
be a semi-protected area with all of the public activities and conservation efforts that take
place in a traditional national park, but in an urban environment, which includes people’s
homes, workplaces and gardens.
5.4. _____
This is a massive shift in the approach to wildlife, which should involve all citizens.
The London Wildlife Trust proposal to designate London as a National Park City will help to
raise awareness among the population and cultivate more sensitive approaches to the way
that we design and manage the city, though it will not solve all the problems that affect nature
in London. “It needs to add value to the collective efforts to conserve London’s nature for
decades, and not merely duplicate these efforts,” says Mr Frith.
Adapted from: www.bbc.com

Strona 10 z 20 MJAA-D0-100

A. The intention is to encourage people to welcome wildlife, for example by using swift
bricks in new houses or making holes in fences for hedgehogs. People have to think of it
as a set of recommended practices that could naturally connect open spaces and
gardens. It’s a long-term vision that might be achieved through lots of small, individual
actions: digging up concrete paving, planting flowers or not chopping trees down.
B. As a result, ring-necked parakeets and some Himalayan plants have flourished and
become as familiar as our native hornbeam and heather in the city scenery. And many
don’t realise that the capital holds nationally important populations of many species: stag
beetles, greater yellow-rattle, black redstart, and wintering populations of gadwall and
shoveler.
C. He believes that changing a few policies is not enough to halt the loss and start the
recovery; nature needs to be at the centre of how our country is run, putting wildlife
habitats back into the landscape. He adds that bringing back nature benefits the whole
society and therefore needs to be a priority for the government.
D. Some of these trends reflect national patterns; others are down to changes in London
either through conservation action or climate change. The city’s open spaces are critically
important for the survival of most of its urban wildlife. It’s quite extraordinary that 47% of
London is covered by green space. Yet, we have to be cautious. London’s natural
environment needs constant monitoring and protection because pressure to use available
land for housing is greater than it’s ever been.
E. It’s important to note that, apart from the influence nature has on our well-being, urban
areas are among the most biologically diverse habitats in the country. With more people
living in cities than ever before, this diversity is increasingly coming under pressure from
property developers, businesses and home owners who often decide to pave over their
lawns, or cut down trees in their gardens.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 11 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 5

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 5. (0–4)
Read the article. Four paragraphs have been removed from the text. Complete each
gap (5.1.–5.4.) with the paragraph which fits best and put the appropriate letter (A–E)
in each gap. There is one paragraph which you do not need to use.

HOW A CITY CAN SAVE ITS WILDLIFE

The wildlife and green spaces in our cities, towns, and other built-up areas matter because
as a nation we are increasingly being told that we are becoming disconnected from nature,
and this in turn is negatively affecting our health. Besides, who doesn’t get a good feeling
from hearing a little bird chirping away, spotting bright flowers in the park, or coming across
the signs of an otter while taking a walk along the river?
5.1. _____
London is a prime example of what is at stake in this battle between urban development and
nature. With its population of over 8.6 million, Britain’s capital has more than 13,000 recorded
species; according to the director of London Wildlife Trust, Mathew Frith, it is the most
species-diverse region in the UK. This is a reflection of the city’s millions of gardens and its
status as an international trading city, which has made it one of Britain’s main points of entry
for new species from elsewhere in the world.
5.2. ______
Furthermore, urban peregrine falcons are on the rise, greater spotted woodpeckers and jays
are increasingly found in inner London, and several species of deer are making their
presence known. The River Thames is now home to 125 species of fish after major
clean-ups since the 1950s. There have also been upswings in some other species, which are
either occupying new niches, or recovering from previous lows.
5.3. ______
One solution lies in an interesting proposal for Greater London to be designated as
a National Park City, an idea of Frith’s that is rapidly gaining support in the capital. This
would mean London becoming a new kind of urban national park. As a result, London would
be a semi-protected area with all of the public activities and conservation efforts that take
place in a traditional national park, but in an urban environment, which includes people’s
homes, workplaces and gardens.
5.4. _____
This is a massive shift in the approach to wildlife, which should involve all citizens.
The London Wildlife Trust proposal to designate London as a National Park City will help to
raise awareness among the population and cultivate more sensitive approaches to the way
that we design and manage the city, though it will not solve all the problems that affect nature
in London. “It needs to add value to the collective efforts to conserve London’s nature for
decades, and not merely duplicate these efforts,” says Mr Frith.
Adapted from: www.bbc.com

Strona 10 z 20 MJAA-D0-100

A. The intention is to encourage people to welcome wildlife, for example by using swift
bricks in new houses or making holes in fences for hedgehogs. People have to think of it
as a set of recommended practices that could naturally connect open spaces and
gardens. It’s a long-term vision that might be achieved through lots of small, individual
actions: digging up concrete paving, planting flowers or not chopping trees down.
B. As a result, ring-necked parakeets and some Himalayan plants have flourished and
become as familiar as our native hornbeam and heather in the city scenery. And many
don’t realise that the capital holds nationally important populations of many species: stag
beetles, greater yellow-rattle, black redstart, and wintering populations of gadwall and
shoveler.
C. He believes that changing a few policies is not enough to halt the loss and start the
recovery; nature needs to be at the centre of how our country is run, putting wildlife
habitats back into the landscape. He adds that bringing back nature benefits the whole
society and therefore needs to be a priority for the government.
D. Some of these trends reflect national patterns; others are down to changes in London
either through conservation action or climate change. The city’s open spaces are critically
important for the survival of most of its urban wildlife. It’s quite extraordinary that 47% of
London is covered by green space. Yet, we have to be cautious. London’s natural
environment needs constant monitoring and protection because pressure to use available
land for housing is greater than it’s ever been.
E. It’s important to note that, apart from the influence nature has on our well-being, urban
areas are among the most biologically diverse habitats in the country. With more people
living in cities than ever before, this diversity is increasingly coming under pressure from
property developers, businesses and home owners who often decide to pave over their
lawns, or cut down trees in their gardens.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 11 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 5

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 5. (0–4)
Read the article. Four paragraphs have been removed from the text. Complete each
gap (5.1.–5.4.) with the paragraph which fits best and put the appropriate letter (A–E)
in each gap. There is one paragraph which you do not need to use.

HOW A CITY CAN SAVE ITS WILDLIFE

The wildlife and green spaces in our cities, towns, and other built-up areas matter because
as a nation we are increasingly being told that we are becoming disconnected from nature,
and this in turn is negatively affecting our health. Besides, who doesn’t get a good feeling
from hearing a little bird chirping away, spotting bright flowers in the park, or coming across
the signs of an otter while taking a walk along the river?
5.1. _____
London is a prime example of what is at stake in this battle between urban development and
nature. With its population of over 8.6 million, Britain’s capital has more than 13,000 recorded
species; according to the director of London Wildlife Trust, Mathew Frith, it is the most
species-diverse region in the UK. This is a reflection of the city’s millions of gardens and its
status as an international trading city, which has made it one of Britain’s main points of entry
for new species from elsewhere in the world.
5.2. ______
Furthermore, urban peregrine falcons are on the rise, greater spotted woodpeckers and jays
are increasingly found in inner London, and several species of deer are making their
presence known. The River Thames is now home to 125 species of fish after major
clean-ups since the 1950s. There have also been upswings in some other species, which are
either occupying new niches, or recovering from previous lows.
5.3. ______
One solution lies in an interesting proposal for Greater London to be designated as
a National Park City, an idea of Frith’s that is rapidly gaining support in the capital. This
would mean London becoming a new kind of urban national park. As a result, London would
be a semi-protected area with all of the public activities and conservation efforts that take
place in a traditional national park, but in an urban environment, which includes people’s
homes, workplaces and gardens.
5.4. _____
This is a massive shift in the approach to wildlife, which should involve all citizens.
The London Wildlife Trust proposal to designate London as a National Park City will help to
raise awareness among the population and cultivate more sensitive approaches to the way
that we design and manage the city, though it will not solve all the problems that affect nature
in London. “It needs to add value to the collective efforts to conserve London’s nature for
decades, and not merely duplicate these efforts,” says Mr Frith.
Adapted from: www.bbc.com

Strona 10 z 20 MJAA-D0-100

A. The intention is to encourage people to welcome wildlife, for example by using swift
bricks in new houses or making holes in fences for hedgehogs. People have to think of it
as a set of recommended practices that could naturally connect open spaces and
gardens. It’s a long-term vision that might be achieved through lots of small, individual
actions: digging up concrete paving, planting flowers or not chopping trees down.
B. As a result, ring-necked parakeets and some Himalayan plants have flourished and
become as familiar as our native hornbeam and heather in the city scenery. And many
don’t realise that the capital holds nationally important populations of many species: stag
beetles, greater yellow-rattle, black redstart, and wintering populations of gadwall and
shoveler.
C. He believes that changing a few policies is not enough to halt the loss and start the
recovery; nature needs to be at the centre of how our country is run, putting wildlife
habitats back into the landscape. He adds that bringing back nature benefits the whole
society and therefore needs to be a priority for the government.
D. Some of these trends reflect national patterns; others are down to changes in London
either through conservation action or climate change. The city’s open spaces are critically
important for the survival of most of its urban wildlife. It’s quite extraordinary that 47% of
London is covered by green space. Yet, we have to be cautious. London’s natural
environment needs constant monitoring and protection because pressure to use available
land for housing is greater than it’s ever been.
E. It’s important to note that, apart from the influence nature has on our well-being, urban
areas are among the most biologically diverse habitats in the country. With more people
living in cities than ever before, this diversity is increasingly coming under pressure from
property developers, businesses and home owners who often decide to pave over their
lawns, or cut down trees in their gardens.

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 11 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 6

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 6. (0–4)
Read the text. For questions 6.1.–6.4., choose the appropriate paragraph and write the
corresponding letter (A–E) in the table. One paragraph does not match any of the
questions.

In which paragraph does the author

discuss a current change in the attitude towards wearing wigs in the
6.1.
courtroom?
mention the historical period when wigs became mandatory in English
6.2.
courtrooms?
point to the wearing of wigs as a sign of authority and impartiality in the
6.3.
courtroom?
refer to a publication which had a significant influence on the attire of English
6.4.
lawyers?

WHY ARE WIGS WORN IN ENGLISH COURTS?

A. The traditional courtroom dress of English judges and barristers (lawyers who represent
the defence or prosecution in higher courts of law) looks as if it came straight from the
Middle Ages. Actually it was much later. In 1625, an academic paper entitled
The Discourse on Robes and Apparel appeared in print. It paved the way for the
introduction of distinct regulations for the wearing of robes and wigs for different purposes
in the courtroom.

B. Both robes and wigs became emblematic of anonymity, visually emphasizing the
supremacy of the law and distancing the wearer from personal involvement. Distinctions
in the style of wig have significance. A judge’s wig differs from that of a barrister in that it
is more ornate, which reflects the judge’s higher status. Most wigs used in court are made
according to an age-old tradition of styling, sewing and gluing. Although wigs may have
fallen out of men’s fashion over the centuries, when they first made their appearance,
they were part and parcel of being a well-dressed professional.

C. But why did powdered wigs come into fashion in the first place? Why top one’s head with
an itchy, sweat-inducing mass of artificial curls? Professor Maria Hayward points out in
The King’s Clothing Choices that when it comes to trend-setters, no one had a greater
influence on the wearing of wigs than Louis XIV of France. During his reign, the Sun King
disguised his prematurely balding scalp by wearing a wig. In doing so, he started a trend
that was widely followed by the European upper and middle classes.

Strona 12 z 20 MJAA-D0-100

D. Although those who wished to remain in good social standing were quick to adopt the
practice of wearing wigs, English courtrooms were slower to act. Judicial portraits from
that time still show a natural, no-wig look. In the late Stuart Era, however, full, shoulder-
length wigs became part of the requisite attire for judges and barristers during a trial.
Over time, wigs fell out of fashion within society as a whole. By the early 19th century,
they were worn by only a few, namely bishops, coachmen, and those in the legal
profession.

E. In 2007, however, the desire to maintain formality and pay homage to legal history was
challenged. A case proposing changes to the traditional dress code was brought to court,
and was successful. The Lord Chief Justice, Baron Phillips, stated that wigs would no
longer be worn during civil or family cases. Wigs are still worn during criminal trials, but
some want the tradition to be fully abandoned. A growing number of lawyers are
comparing wigs and robes to the suits of armour worn in bygone days by knights, and
believe that the English courts should be more focused on important issues and not on
what officials are wearing.
Adapted from: https://people.howstuffworks.com

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 13 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 6

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 6. (0–4)
Read the text. For questions 6.1.–6.4., choose the appropriate paragraph and write the
corresponding letter (A–E) in the table. One paragraph does not match any of the
questions.

In which paragraph does the author

discuss a current change in the attitude towards wearing wigs in the
6.1.
courtroom?
mention the historical period when wigs became mandatory in English
6.2.
courtrooms?
point to the wearing of wigs as a sign of authority and impartiality in the
6.3.
courtroom?
refer to a publication which had a significant influence on the attire of English
6.4.
lawyers?

WHY ARE WIGS WORN IN ENGLISH COURTS?

A. The traditional courtroom dress of English judges and barristers (lawyers who represent
the defence or prosecution in higher courts of law) looks as if it came straight from the
Middle Ages. Actually it was much later. In 1625, an academic paper entitled
The Discourse on Robes and Apparel appeared in print. It paved the way for the
introduction of distinct regulations for the wearing of robes and wigs for different purposes
in the courtroom.

B. Both robes and wigs became emblematic of anonymity, visually emphasizing the
supremacy of the law and distancing the wearer from personal involvement. Distinctions
in the style of wig have significance. A judge’s wig differs from that of a barrister in that it
is more ornate, which reflects the judge’s higher status. Most wigs used in court are made
according to an age-old tradition of styling, sewing and gluing. Although wigs may have
fallen out of men’s fashion over the centuries, when they first made their appearance,
they were part and parcel of being a well-dressed professional.

C. But why did powdered wigs come into fashion in the first place? Why top one’s head with
an itchy, sweat-inducing mass of artificial curls? Professor Maria Hayward points out in
The King’s Clothing Choices that when it comes to trend-setters, no one had a greater
influence on the wearing of wigs than Louis XIV of France. During his reign, the Sun King
disguised his prematurely balding scalp by wearing a wig. In doing so, he started a trend
that was widely followed by the European upper and middle classes.

Strona 12 z 20 MJAA-D0-100

D. Although those who wished to remain in good social standing were quick to adopt the
practice of wearing wigs, English courtrooms were slower to act. Judicial portraits from
that time still show a natural, no-wig look. In the late Stuart Era, however, full, shoulder-
length wigs became part of the requisite attire for judges and barristers during a trial.
Over time, wigs fell out of fashion within society as a whole. By the early 19th century,
they were worn by only a few, namely bishops, coachmen, and those in the legal
profession.

E. In 2007, however, the desire to maintain formality and pay homage to legal history was
challenged. A case proposing changes to the traditional dress code was brought to court,
and was successful. The Lord Chief Justice, Baron Phillips, stated that wigs would no
longer be worn during civil or family cases. Wigs are still worn during criminal trials, but
some want the tradition to be fully abandoned. A growing number of lawyers are
comparing wigs and robes to the suits of armour worn in bygone days by knights, and
believe that the English courts should be more focused on important issues and not on
what officials are wearing.
Adapted from: https://people.howstuffworks.com

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 13 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 6

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 6. (0–4)
Read the text. For questions 6.1.–6.4., choose the appropriate paragraph and write the
corresponding letter (A–E) in the table. One paragraph does not match any of the
questions.

In which paragraph does the author

discuss a current change in the attitude towards wearing wigs in the
6.1.
courtroom?
mention the historical period when wigs became mandatory in English
6.2.
courtrooms?
point to the wearing of wigs as a sign of authority and impartiality in the
6.3.
courtroom?
refer to a publication which had a significant influence on the attire of English
6.4.
lawyers?

WHY ARE WIGS WORN IN ENGLISH COURTS?

A. The traditional courtroom dress of English judges and barristers (lawyers who represent
the defence or prosecution in higher courts of law) looks as if it came straight from the
Middle Ages. Actually it was much later. In 1625, an academic paper entitled
The Discourse on Robes and Apparel appeared in print. It paved the way for the
introduction of distinct regulations for the wearing of robes and wigs for different purposes
in the courtroom.

B. Both robes and wigs became emblematic of anonymity, visually emphasizing the
supremacy of the law and distancing the wearer from personal involvement. Distinctions
in the style of wig have significance. A judge’s wig differs from that of a barrister in that it
is more ornate, which reflects the judge’s higher status. Most wigs used in court are made
according to an age-old tradition of styling, sewing and gluing. Although wigs may have
fallen out of men’s fashion over the centuries, when they first made their appearance,
they were part and parcel of being a well-dressed professional.

C. But why did powdered wigs come into fashion in the first place? Why top one’s head with
an itchy, sweat-inducing mass of artificial curls? Professor Maria Hayward points out in
The King’s Clothing Choices that when it comes to trend-setters, no one had a greater
influence on the wearing of wigs than Louis XIV of France. During his reign, the Sun King
disguised his prematurely balding scalp by wearing a wig. In doing so, he started a trend
that was widely followed by the European upper and middle classes.

Strona 12 z 20 MJAA-D0-100

D. Although those who wished to remain in good social standing were quick to adopt the
practice of wearing wigs, English courtrooms were slower to act. Judicial portraits from
that time still show a natural, no-wig look. In the late Stuart Era, however, full, shoulder-
length wigs became part of the requisite attire for judges and barristers during a trial.
Over time, wigs fell out of fashion within society as a whole. By the early 19th century,
they were worn by only a few, namely bishops, coachmen, and those in the legal
profession.

E. In 2007, however, the desire to maintain formality and pay homage to legal history was
challenged. A case proposing changes to the traditional dress code was brought to court,
and was successful. The Lord Chief Justice, Baron Phillips, stated that wigs would no
longer be worn during civil or family cases. Wigs are still worn during criminal trials, but
some want the tradition to be fully abandoned. A growing number of lawyers are
comparing wigs and robes to the suits of armour worn in bygone days by knights, and
believe that the English courts should be more focused on important issues and not on
what officials are wearing.
Adapted from: https://people.howstuffworks.com

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 13 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 6

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 6. (0–4)
Read the text. For questions 6.1.–6.4., choose the appropriate paragraph and write the
corresponding letter (A–E) in the table. One paragraph does not match any of the
questions.

In which paragraph does the author

discuss a current change in the attitude towards wearing wigs in the
6.1.
courtroom?
mention the historical period when wigs became mandatory in English
6.2.
courtrooms?
point to the wearing of wigs as a sign of authority and impartiality in the
6.3.
courtroom?
refer to a publication which had a significant influence on the attire of English
6.4.
lawyers?

WHY ARE WIGS WORN IN ENGLISH COURTS?

A. The traditional courtroom dress of English judges and barristers (lawyers who represent
the defence or prosecution in higher courts of law) looks as if it came straight from the
Middle Ages. Actually it was much later. In 1625, an academic paper entitled
The Discourse on Robes and Apparel appeared in print. It paved the way for the
introduction of distinct regulations for the wearing of robes and wigs for different purposes
in the courtroom.

B. Both robes and wigs became emblematic of anonymity, visually emphasizing the
supremacy of the law and distancing the wearer from personal involvement. Distinctions
in the style of wig have significance. A judge’s wig differs from that of a barrister in that it
is more ornate, which reflects the judge’s higher status. Most wigs used in court are made
according to an age-old tradition of styling, sewing and gluing. Although wigs may have
fallen out of men’s fashion over the centuries, when they first made their appearance,
they were part and parcel of being a well-dressed professional.

C. But why did powdered wigs come into fashion in the first place? Why top one’s head with
an itchy, sweat-inducing mass of artificial curls? Professor Maria Hayward points out in
The King’s Clothing Choices that when it comes to trend-setters, no one had a greater
influence on the wearing of wigs than Louis XIV of France. During his reign, the Sun King
disguised his prematurely balding scalp by wearing a wig. In doing so, he started a trend
that was widely followed by the European upper and middle classes.

Strona 12 z 20 MJAA-D0-100

D. Although those who wished to remain in good social standing were quick to adopt the
practice of wearing wigs, English courtrooms were slower to act. Judicial portraits from
that time still show a natural, no-wig look. In the late Stuart Era, however, full, shoulder-
length wigs became part of the requisite attire for judges and barristers during a trial.
Over time, wigs fell out of fashion within society as a whole. By the early 19th century,
they were worn by only a few, namely bishops, coachmen, and those in the legal
profession.

E. In 2007, however, the desire to maintain formality and pay homage to legal history was
challenged. A case proposing changes to the traditional dress code was brought to court,
and was successful. The Lord Chief Justice, Baron Phillips, stated that wigs would no
longer be worn during civil or family cases. Wigs are still worn during criminal trials, but
some want the tradition to be fully abandoned. A growing number of lawyers are
comparing wigs and robes to the suits of armour worn in bygone days by knights, and
believe that the English courts should be more focused on important issues and not on
what officials are wearing.
Adapted from: https://people.howstuffworks.com

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

MJAA-D0-100 Strona 13 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 7

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 7. (0–5)
Read the text. For questions 7.1.–7.5., choose the word or phrase which fits best in
each gap. Circle the appropriate letter (A, B, C or D).

POWER-GENERATING TILES

Would you believe that while people were making their way to attend the Olympics in London
in 2012, they were also producing renewable energy? And as a result, they 7.1. _____ to
a breakthrough in renewable power.

Around one million or so visitors alighted at West Ham underground station to get to the
Games. Access to the Olympic Park was via a tiled walkway. Using a hybrid technology that
7.2. _____ kinetic energy into electricity, the walkway’s lights were powered by a uniquely
original source: footsteps. Laurence Kemball-Cook, 7.3. _____ behind the technology,
dreamt up the idea of turning footsteps into power when he worked at Loughborough
University.

The young inventor calls his creation “footfall harvesting”. How does it work? The tile surface
flexes about five millimetres 7.4. _____, thus creating kinetic energy that is then used to
produce an average of six watts per footstep. During the two weeks of the Games, the tiles
generated 20 kilowatt-hours or 72 million joules, which provided 7.5. _____ energy to keep
the walkway lights illuminated at full power through the night, and at half power during the
day, with plenty of back-up energy to spare. Kemball-Cook sees renewable energy
technology as a potential alternative to solar, which is difficult to use indoors or in built-up
urban areas.
Adapted from: www.theguardian.com

7.1. 7.2. 7.3.
A. would rather contribute A. applies A. the heads
B. had better contribute B. converts B. the minds
C. may have contributed C. generates C. the wits
D. used to be contributed D. discloses D. the brains

7.4. 7.5.
A. when stepped on A. unnecessary
B. to being stepped on B. extended
C. having stepped on C. foremost
D. while stepping on D. sufficient

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

Strona 14 z 20 MJAA-D0-100

Własny materiał MJAA-D0-100-2305 — zadanie 7

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 7. (0–5)
Read the text. For questions 7.1.–7.5., choose the word or phrase which fits best in
each gap. Circle the appropriate letter (A, B, C or D).

POWER-GENERATING TILES

Would you believe that while people were making their way to attend the Olympics in London
in 2012, they were also producing renewable energy? And as a result, they 7.1. _____ to
a breakthrough in renewable power.

Around one million or so visitors alighted at West Ham underground station to get to the
Games. Access to the Olympic Park was via a tiled walkway. Using a hybrid technology that
7.2. _____ kinetic energy into electricity, the walkway’s lights were powered by a uniquely
original source: footsteps. Laurence Kemball-Cook, 7.3. _____ behind the technology,
dreamt up the idea of turning footsteps into power when he worked at Loughborough
University.

The young inventor calls his creation “footfall harvesting”. How does it work? The tile surface
flexes about five millimetres 7.4. _____, thus creating kinetic energy that is then used to
produce an average of six watts per footstep. During the two weeks of the Games, the tiles
generated 20 kilowatt-hours or 72 million joules, which provided 7.5. _____ energy to keep
the walkway lights illuminated at full power through the night, and at half power during the
day, with plenty of back-up energy to spare. Kemball-Cook sees renewable energy
technology as a potential alternative to solar, which is difficult to use indoors or in built-up
urban areas.
Adapted from: www.theguardian.com

7.1. 7.2. 7.3.
A. would rather contribute A. applies A. the heads
B. had better contribute B. converts B. the minds
C. may have contributed C. generates C. the wits
D. used to be contributed D. discloses D. the brains

7.4. 7.5.
A. when stepped on A. unnecessary
B. to being stepped on B. extended
C. having stepped on C. foremost
D. while stepping on D. sufficient

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

Strona 14 z 20 MJAA-D0-100

Własny materiał MJAA-D0-100-2305 — zadanie 7

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 7. (0–5)
Read the text. For questions 7.1.–7.5., choose the word or phrase which fits best in
each gap. Circle the appropriate letter (A, B, C or D).

POWER-GENERATING TILES

Would you believe that while people were making their way to attend the Olympics in London
in 2012, they were also producing renewable energy? And as a result, they 7.1. _____ to
a breakthrough in renewable power.

Around one million or so visitors alighted at West Ham underground station to get to the
Games. Access to the Olympic Park was via a tiled walkway. Using a hybrid technology that
7.2. _____ kinetic energy into electricity, the walkway’s lights were powered by a uniquely
original source: footsteps. Laurence Kemball-Cook, 7.3. _____ behind the technology,
dreamt up the idea of turning footsteps into power when he worked at Loughborough
University.

The young inventor calls his creation “footfall harvesting”. How does it work? The tile surface
flexes about five millimetres 7.4. _____, thus creating kinetic energy that is then used to
produce an average of six watts per footstep. During the two weeks of the Games, the tiles
generated 20 kilowatt-hours or 72 million joules, which provided 7.5. _____ energy to keep
the walkway lights illuminated at full power through the night, and at half power during the
day, with plenty of back-up energy to spare. Kemball-Cook sees renewable energy
technology as a potential alternative to solar, which is difficult to use indoors or in built-up
urban areas.
Adapted from: www.theguardian.com

7.1. 7.2. 7.3.
A. would rather contribute A. applies A. the heads
B. had better contribute B. converts B. the minds
C. may have contributed C. generates C. the wits
D. used to be contributed D. discloses D. the brains

7.4. 7.5.
A. when stepped on A. unnecessary
B. to being stepped on B. extended
C. having stepped on C. foremost
D. while stepping on D. sufficient

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

Strona 14 z 20 MJAA-D0-100

Własny materiał MJAA-D0-100-2305 — zadanie 7

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 7. (0–5)
Read the text. For questions 7.1.–7.5., choose the word or phrase which fits best in
each gap. Circle the appropriate letter (A, B, C or D).

POWER-GENERATING TILES

Would you believe that while people were making their way to attend the Olympics in London
in 2012, they were also producing renewable energy? And as a result, they 7.1. _____ to
a breakthrough in renewable power.

Around one million or so visitors alighted at West Ham underground station to get to the
Games. Access to the Olympic Park was via a tiled walkway. Using a hybrid technology that
7.2. _____ kinetic energy into electricity, the walkway’s lights were powered by a uniquely
original source: footsteps. Laurence Kemball-Cook, 7.3. _____ behind the technology,
dreamt up the idea of turning footsteps into power when he worked at Loughborough
University.

The young inventor calls his creation “footfall harvesting”. How does it work? The tile surface
flexes about five millimetres 7.4. _____, thus creating kinetic energy that is then used to
produce an average of six watts per footstep. During the two weeks of the Games, the tiles
generated 20 kilowatt-hours or 72 million joules, which provided 7.5. _____ energy to keep
the walkway lights illuminated at full power through the night, and at half power during the
day, with plenty of back-up energy to spare. Kemball-Cook sees renewable energy
technology as a potential alternative to solar, which is difficult to use indoors or in built-up
urban areas.
Adapted from: www.theguardian.com

7.1. 7.2. 7.3.
A. would rather contribute A. applies A. the heads
B. had better contribute B. converts B. the minds
C. may have contributed C. generates C. the wits
D. used to be contributed D. discloses D. the brains

7.4. 7.5.
A. when stepped on A. unnecessary
B. to being stepped on B. extended
C. having stepped on C. foremost
D. while stepping on D. sufficient

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

Strona 14 z 20 MJAA-D0-100

Własny materiał MJAA-D0-100-2305 — zadanie 7

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 7. (0–5)
Read the text. For questions 7.1.–7.5., choose the word or phrase which fits best in
each gap. Circle the appropriate letter (A, B, C or D).

POWER-GENERATING TILES

Would you believe that while people were making their way to attend the Olympics in London
in 2012, they were also producing renewable energy? And as a result, they 7.1. _____ to
a breakthrough in renewable power.

Around one million or so visitors alighted at West Ham underground station to get to the
Games. Access to the Olympic Park was via a tiled walkway. Using a hybrid technology that
7.2. _____ kinetic energy into electricity, the walkway’s lights were powered by a uniquely
original source: footsteps. Laurence Kemball-Cook, 7.3. _____ behind the technology,
dreamt up the idea of turning footsteps into power when he worked at Loughborough
University.

The young inventor calls his creation “footfall harvesting”. How does it work? The tile surface
flexes about five millimetres 7.4. _____, thus creating kinetic energy that is then used to
produce an average of six watts per footstep. During the two weeks of the Games, the tiles
generated 20 kilowatt-hours or 72 million joules, which provided 7.5. _____ energy to keep
the walkway lights illuminated at full power through the night, and at half power during the
day, with plenty of back-up energy to spare. Kemball-Cook sees renewable energy
technology as a potential alternative to solar, which is difficult to use indoors or in built-up
urban areas.
Adapted from: www.theguardian.com

7.1. 7.2. 7.3.
A. would rather contribute A. applies A. the heads
B. had better contribute B. converts B. the minds
C. may have contributed C. generates C. the wits
D. used to be contributed D. discloses D. the brains

7.4. 7.5.
A. when stepped on A. unnecessary
B. to being stepped on B. extended
C. having stepped on C. foremost
D. while stepping on D. sufficient

TRANSFER YOUR ANSWERS TO THE ANSWER SHEET!

Strona 14 z 20 MJAA-D0-100

Własny materiał MJAA-D0-100-2305 — zadanie 8

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 8. (0–4)
Read the text. For questions 8.1.–8.4., use the word given in brackets to form a word
that fits the gap. The text must be logical and correct in both grammar and spelling.
Write the missing word in the space provided.

THE FUTURE OF WINTER SPORTS AND RECREATION

Since 1949, nearly 80% of weather stations across the contiguous 48 states in the US have
recorded an increase in winter precipitation falling as rain instead of snow. With future
projected temperature rises, winter sports may experience a decline. For ski resorts in the
Northeast to remain viable, they require the 8.1. (LONG) ________________________ of an
average ski season to be at least 100 days.

Projections indicate that the 8.2. (SUSTAIN) ________________________ of most resorts in
the region will be in question by the end of the century, as they will be required to produce
more artificial snow. This, in turn, will result in increased resort attendance costs due to
higher water and energy usage.

The snowpack has always been an 8.3. (RESIST) _________________________ attraction
for the hikers who visit national parks in huge numbers every winter. But decreases in
snowpack depth have been observed since 1955. Although, currently, hikers are still able to
reach snowcapped mountains and glaciers, as winters become warmer, the snowpack on the
tops of mountains and the glaciers will 8.4. (PRESUME) _______________________
disappear.

Adapted from: www.neefusa.org

MJAA-D0-100 Strona 15 z 20

Własny materiał MJAA-D0-100-2305 — zadanie 8

Poziom dwujęzyczny, pełne własne pytania, teksty i opcje. Pierwsza redakcja do niezależnej recenzji.

Własne polecenie i materiał

TASK 8. (0–4)
Read the text. For questions 8.1.–8.4., use the word given in brackets to form a word
that fits the gap. The text must be logical and correct in both grammar and spelling.
Write the missing word in the space provided.

THE FUTURE OF WINTER SPORTS AND RECREATION

Since 1949, nearly 80% of weather stations across the contiguous 48 states in the US have
recorded an increase in winter precipitation falling as rain instead of snow. With future
projected temperature rises, winter sports may experience a decline. For ski resorts in the
Northeast to remain viable, they require the 8.1. (LONG) ________________________ of an
average ski season to be at least 100 days.

Projections indicate that the 8.2. (SUSTAIN) ________________________ of most resorts in
the region will be in question by the end of the century, as they will be required to produce
more artificial snow. This, in turn, will result in increased resort attendance costs due to
higher water and energy usage.

The snowpack has always been an 8.3. (RESIST) _________________________ attraction
for the hikers who visit national parks in huge numbers every winter. But decreases in
snowpack depth have been observed since 1955. Although, currently, hikers are still able to
reach snowcapped mountains and glaciers, as winters become warmer, the snowpack on the
tops of mountains and the glaciers will 8.4. (PRESUME) _______________________
disappear.

Adapted from: www.neefusa.org

MJAA-D0-100 Strona 15 z 20