Język angielski 2015 — poziom dwujęzyczny — Formuła 2015

their realizing it?

TASK 1. (0–4) You are going to hear three people talking about the influence of texting and other modern technologies. For questions 1.1.–1.4., choose the right speaker (A–C) and put a cross (X) in the appropriate column in the table. One speaker must be chosen twice. You will hear the recording twice. Which speaker A B C suggests that modern technologies limit people’s freedom without 1.1. their realizing it? 1.2. points to the difference in the way youngsters and grown-ups text? 1.3. believes that texting negatively influences the way we speak? suggests that internet-based media are increasingly replacing 1.4. texting?

points to the difference in the way youngsters and grown-ups text?

TASK 1. (0–4) You are going to hear three people talking about the influence of texting and other modern technologies. For questions 1.1.–1.4., choose the right speaker (A–C) and put a cross (X) in the appropriate column in the table. One speaker must be chosen twice. You will hear the recording twice. Which speaker A B C suggests that modern technologies limit people’s freedom without 1.1. their realizing it? 1.2. points to the difference in the way youngsters and grown-ups text? 1.3. believes that texting negatively influences the way we speak? suggests that internet-based media are increasingly replacing 1.4. texting?

believes that texting negatively influences the way we speak? suggests that internet-based media are increasingly replacing

TASK 1. (0–4) You are going to hear three people talking about the influence of texting and other modern technologies. For questions 1.1.–1.4., choose the right speaker (A–C) and put a cross (X) in the appropriate column in the table. One speaker must be chosen twice. You will hear the recording twice. Which speaker A B C suggests that modern technologies limit people’s freedom without 1.1. their realizing it? 1.2. points to the difference in the way youngsters and grown-ups text? 1.3. believes that texting negatively influences the way we speak? suggests that internet-based media are increasingly replacing 1.4. texting?

texting?

TASK 1. (0–4) You are going to hear three people talking about the influence of texting and other modern technologies. For questions 1.1.–1.4., choose the right speaker (A–C) and put a cross (X) in the appropriate column in the table. One speaker must be chosen twice. You will hear the recording twice. Which speaker A B C suggests that modern technologies limit people’s freedom without 1.1. their realizing it? 1.2. points to the difference in the way youngsters and grown-ups text? 1.3. believes that texting negatively influences the way we speak? suggests that internet-based media are increasingly replacing 1.4. texting?

Henry’s interest in auctioneering

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. triggered his passion for collecting things.
2. B. followed naturally from his parents’ ambitions for him.
3. C. was sparked off by a course he attended.
4. D. became increasingly clear when he was a teenager.

Henry uses the phrase “a fork in the road” to refer to

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. the importance of an academic background in the art world.
2. B. the alternatives faced by people seeking a career in the art world.
3. C. the dual nature of commercial opportunities for art school graduates.
4. D. the significance of luck in getting into the art world.

Having joined Christie’s, Henry

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. met an eccentric tutor who inspired him.
2. B. felt that getting an academic degree was his priority.
3. C. focused mainly on studying published sources to develop his expertise.
4. D. adopted a practical approach to broadening his knowledge.

What is the end result of Jo Swinson’s actions?

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. The company’s ads with Julia Roberts were banned.
2. B. A specialist watchdog institution is about to look into the case.
3. C. The complaint filed against the company was dismissed as invalid.
4. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed.

Which is TRUE about Demi Moore’s case?

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. The magazine printed the wrong photo by mistake.
2. B. The actress’s body on the cover was clearly misshapen.
3. C. The lawyers representing the magazine made a deal with the actress.
4. D. The actress experienced body image problems as a result of the incident.

In the final part, the speaker

TASK 2. (0–6) You are going to hear two texts. For questions 2.1.–2.6., choose the answer which best matches what you have heard by circling the appropriate letter (A, B, C or D). Questions 2.1.–2.3. are for Text 1, questions 2.4.–2.6. are for Text 2. You will hear the recording twice. Text 1 2.1. Henry’s interest in auctioneering A. triggered his passion for collecting things. B. followed naturally from his parents’ ambitions for him. C. was sparked off by a course he attended. D. became increasingly clear when he was a teenager. 2.2. Henry uses the phrase “a fork in the road” to refer to A. the importance of an academic background in the art world. B. the alternatives faced by people seeking a career in the art world. C. the dual nature of commercial opportunities for art school graduates. D. the significance of luck in getting into the art world. 2.3. Having joined Christie’s, Henry A. met an eccentric tutor who inspired him. B. felt that getting an academic degree was his priority. C. focused mainly on studying published sources to develop his expertise. D. adopted a practical approach to broadening his knowledge. Strona 2 z 17 MAD-1A Text 2 2.4. What is the end result of Jo Swinson’s actions? A. The company’s ads with Julia Roberts were banned. B. A specialist watchdog institution is about to look into the case. C. The complaint filed against the company was dismissed as invalid. D. Julia Roberts demanded compensation for the fact that her photos had been airbrushed. 2.5. Which is TRUE about Demi Moore’s case? A. The magazine printed the wrong photo by mistake. B. The actress’s body on the cover was clearly misshapen. C. The lawyers representing the magazine made a deal with the actress. D. The actress experienced body image problems as a result of the incident. 2.6. In the final part, the speaker A. enumerates measures which Jo Swinson recommends should be taken. B. advocates the need to back Jo Swinson’s campaign. C. questions the rationale behind Jo Swinson’s complaint. D. praises Jo Swinson for her contribution to the debate on body image problems.

1. A. enumerates measures which Jo Swinson recommends should be taken.
2. B. advocates the need to back Jo Swinson’s campaign.
3. C. questions the rationale behind Jo Swinson’s complaint.
4. D. praises Jo Swinson for her contribution to the debate on body image problems.

What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________

TASK 3. (0–5) You are going to hear someone giving a speech. Based on what you hear, answer questions 3.1.–3.5. in the spaces provided. You will hear the recording twice. 3.1. What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________ 3.2. What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________ 3.3. Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________ 3.4. How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________ 3.5. On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________

TASK 3. (0–5) You are going to hear someone giving a speech. Based on what you hear, answer questions 3.1.–3.5. in the spaces provided. You will hear the recording twice. 3.1. What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________ 3.2. What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________ 3.3. Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________ 3.4. How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________ 3.5. On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________

TASK 3. (0–5) You are going to hear someone giving a speech. Based on what you hear, answer questions 3.1.–3.5. in the spaces provided. You will hear the recording twice. 3.1. What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________ 3.2. What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________ 3.3. Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________ 3.4. How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________ 3.5. On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________

TASK 3. (0–5) You are going to hear someone giving a speech. Based on what you hear, answer questions 3.1.–3.5. in the spaces provided. You will hear the recording twice. 3.1. What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________ 3.2. What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________ 3.3. Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________ 3.4. How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________ 3.5. On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

TASK 3. (0–5) You are going to hear someone giving a speech. Based on what you hear, answer questions 3.1.–3.5. in the spaces provided. You will hear the recording twice. 3.1. What does the speaker refer to as a “win-win situation”? _______________________________________________________________________ _______________________________________________________________________ 3.2. What liberating discovery did the speaker make when getting ready for the speech? _______________________________________________________________________ _______________________________________________________________________ 3.3. Why didn’t the speaker’s parents want her to study English Literature? _______________________________________________________________________ _______________________________________________________________________ 3.4. How did the speaker benefit from her failure? _______________________________________________________________________ _______________________________________________________________________ 3.5. On what occasion is this speech being delivered? _______________________________________________________________________ _______________________________________________________________________ TRANSFER YOUR ANSWERS TO TASKS 1 AND 2 TO THE ANSWER SHEET! MAD-1A Strona 3 z 17

What problem did the artist have before entering the circus ring?

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. He couldn’t erase a disturbing childhood memory from his mind.
2. B. It was difficult for him to keep balance on the slippery surface.
3. C. His stage costume seemed tighter than on other occasions.
4. D. He couldn’t suppress the feeling of anxiety.

In the second paragraph, we learn that

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. the artist’s movements in the ring revealed his fear of the animals to the public.
2. B. the animals were extraordinarily ferocious that day.
3. C. the artist was aware that the public overestimated his control over the animals.
4. D. the noise made by the clowns irritated the animals.

The moment The Great Leonardo made his appearance,

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. the clowns bowed and disappeared.
2. B. the cages with the animals were pulled into the ring.
3. C. the audience switched on their torches to lighten the ring.
4. D. his facial expression changed because of the people’s reaction.

Which is TRUE about the previous lion tamer?

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. He had problems with silencing the applauding spectators.
2. B. He remained silent in the ring not to scare the animals.
3. C. He addressed the audience in a way that created an atmosphere of tension.
4. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org

Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new.

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. In the space marked 
2. B. In the space marked 
3. C. In the space marked 
4. D. In the space marked 

In the first paragraph, the author points out that

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. the circus artists’ feats symbolize our need to confront challenges.
2. B. the contemporary audience demands more life-threatening performances than previous generations.
3. C. in prehistoric tribes circus artists were highly respected.
4. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality.

Which statement best sums up the second paragraph?

TASK 4. (0–7) You are going to read two texts about the circus. For questions 4.1.–4.7., choose the answer that best matches the text and circle the appropriate letter (A, B, C or D). Text 1 THE GREAT LEONARDO His heart was pounding now, like it always did just before he went out into the ring. He had imagined he would get used to it: that his palm, curved around the handle of the thin black whip, would cease to sweat, and that his chest would cease to feel constricted by the glittering silver leotard. He had always dusted his armpits with talc; shifting from foot to foot he felt the wet mineral slippery on his skin. He inhaled, flexed his arms and watched the muscle bunch like the back of a dolphin curving through water. The smell reminded him of his childhood. His father used to take him to the circus every year; there was a troupe that came each spring and set up their tent on the village green. His father bought him candyfloss and peanuts and they sat rapt, admiring the artists and their feats of daring. Across from him, on the other side of the tent, they were rolling out the cages, one by one, linking them together to form a train of ferocity. It was quite dark in the wings, he could not see very clearly, but he could make out the shapes in the cages, moving, twisting in their small spaces, and pressing their fur against the bars. He knew they sensed his presence as much as he did theirs, and it made a vivid bridge between them, across the tent, across the ring, waiting for the moment they would meet. At the moment when the cages were opened, the ranks of seething, fidgety people usually became still, watching his glittering smoothness move so easily among the huge beasts. They would think he had tamed them with his whip and his strength, but that was not so. He knew that things could always happen. After all the cats were wild. The sweat trickled down between his shoulders as he watched the clowns roll about the ring or run up and down in the dimness of the audience. It was almost time. Standing in the corner, the ringmaster was adjusting his brilliant coat, pulling on his tie, clearing his throat. In their cages the cats waited. The ringmaster strode into the ring. ‘Ladies and Gentlemen!’ he called. ‘The moment you have all been waiting for! What more can I say? He needs no introduction. I give you The Great Leonardo!’ A little hop off his toes and he was running into the light, his arms and chest wide, his legs pushing him gracefully out into the centre ring, seeing the cages out of the corner of his eye roll to meet him. The clowns and roustabouts pulled the barred train into a semi-circle behind him as he bowed deeply, his head nearly brushing the sawdust on the ring floor, his face set still and stern. The crowd – from here they looked like bubbles on the surface of turbulent water – shouted and whistled and clapped, twirled their brightly glowing torches upwards to make small acres of spinning light. The Great Leonardo let one arm drop slowly to his side and brought the other hand to his mouth, one finger on his lips, in an exaggerated gesture for silence. There was whispering, shuffling, giggles, and then quiet. He never spoke during the course of his act. The previous lion tamer, Cat Man, had been hard of hearing, and had trained the animals with a series Strona 4 z 17 MAD-1A of gestures and claps without ever touching them. Cat Man had, however, spoken to the audience. To keep them on tenterhooks, he told them of dangerous acts of daring, of the extraordinary cunning of the animals and warned them of what was to come. The Great Leonardo did not open his mouth. He clapped his hands twice. The roustabouts jumped to the front of the cages and turned the keys in their locks. The doors opened in a repeating curve, the roustabouts slipped out of the ring, and the cats glided out of their cages to sit in a circle around him. The audience began to applaud, and then, recalling his gesture, rustled quickly into silence. adapted from The Great Leonardo by Erica Wagner 4.1. What problem did the artist have before entering the circus ring? A. He couldn’t erase a disturbing childhood memory from his mind. B. It was difficult for him to keep balance on the slippery surface. C. His stage costume seemed tighter than on other occasions. D. He couldn’t suppress the feeling of anxiety. 4.2. In the second paragraph, we learn that A. the artist’s movements in the ring revealed his fear of the animals to the public. B. the animals were extraordinarily ferocious that day. C. the artist was aware that the public overestimated his control over the animals. D. the noise made by the clowns irritated the animals. 4.3. The moment The Great Leonardo made his appearance, A. the clowns bowed and disappeared. B. the cages with the animals were pulled into the ring. C. the audience switched on their torches to lighten the ring. D. his facial expression changed because of the people’s reaction. 4.4. Which is TRUE about the previous lion tamer? A. He had problems with silencing the applauding spectators. B. He remained silent in the ring not to scare the animals. C. He addressed the audience in a way that created an atmosphere of tension. D. He based his training on a set of oral commands. MAD-1A Strona 5 z 17 Text 2 DOES THE CIRCUS HAVE A FUTURE? When we founded the Big Apple Circus in the 1970s, we knew we were addressing an audience that had grown up watching television. Today, audiences have grown up in front of computer screens and video games. Patrons’ attention spans are shorter, and their lives are busier and full of other entertainment options. This fact invariably leads us to ask: is the circus still relevant, and can it remain so? The circus has survived for centuries, like the flood, pestilence or famine that haunt the human race. Its antecedents can be traced to prehistory and were at the heart and soul of the tribal cultures that existed in those times.  Indeed, the circus is part of our humanity as its arts address our continual struggle for survival. Watching an acrobat throw a triple somersault affirms our uncanny ability to look improbability in the face and to jump, knowing that a net will appear. The circus, over millennia, has proven itself to be a resilient art form.  The Big Apple Circus, European in style but American in its energy and rhythm, is part of a worldwide phenomenon attesting to that resilience. When I consider how the circus might have to adapt to a changing audience and a shifting world, I’m not overly concerned.  For instance, the circus was one of the first institutions in America to use electric lights. It’s likely that the circus of the year 2050 will have to shorten its moments, maybe even the length of the entire show. Perhaps special effects will be more prominent. You can never tell.  That is why it’s nearly impossible to predict what adaptations will be necessary for the circus to survive, but if it is loyal to its roots, survive it will. Ultimately, the circus is an evergreen experience. It is living entertainment performed by ordinary people who are capable of extraordinary feats. The circus is not just a part of our culture, it is an intrinsic element of our nature. adapted from www.pbs.org Strona 6 z 17 MAD-1A 4.5. Look at the circles marked 1–4 in the text and decide where the following sentence fits best in the passage. After all, this ancient art form has morphed, expanded and contracted before, so innovation – especially technological – is nothing new. A. In the space marked  B. In the space marked  C. In the space marked  D. In the space marked  4.6. In the first paragraph, the author points out that A. the circus artists’ feats symbolize our need to confront challenges. B. the contemporary audience demands more life-threatening performances than previous generations. C. in prehistoric tribes circus artists were highly respected. D. since the 1970s the circus has increasingly served as a refuge from the world of virtual reality. 4.7. Which statement best sums up the second paragraph? A. The necessary changes will severely impair circus performances. B. The circus has gained much more staying power in recent years. C. Having implemented the recommended changes, the circus faces a prosperous future. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

1. A. The necessary changes will severely impair circus performances.
2. B. The circus has gained much more staying power in recent years.
3. C. Having implemented the recommended changes, the circus faces a prosperous future.
4. D. By remaining faithful to its fundamental principles, the circus will endure. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 7 z 17

TASK 5. (0–4) Read the article. Four fragments have been removed from the text. Complete each gap (5.1.–5.4.) with the fragment which fits best and put the appropriate letter (A–E) in each gap. There is one fragment which you do not need to use. WHY SUPERMAN DESERVES MORE RESPECT The one foe that Superman has never vanquished in his long career isn’t Lex Luthor, Bizarro, or the alien consciousness known as Brainiac. No, his greatest enemy is something much more mundane: namely, a simple lack of respect. Even within his own stories, he’s too long had to put up with being mistaken for a bird or a plane. 5.1. _____ This, to be blunt, is just wrong. Let us be clear: Superman is the ultimate superhero, and it’s time everyone recognized that fact. It’s not that Superman was the first superhero, as such. You can trace his lineage back through earlier pulp characters, for instance Zorro, who used his dual identity to battle corruption and crime. There’s also Doc Savage and Gladiator, heroes with abilities beyond those of normal men. 5.2. _____ However, he can never be fully integrated into the society he protects, being the outsider that he is. This is because, on a daily basis, he has to deal with the fact that he is the final survivor of his entire race and his entire social circle consists of people who only know him through work and pile their own overwhelming expectations on him. As if that wasn’t enough, Superman has proven to be an almost endlessly flexible character, and one who’s proven himself to be easily recreated to serve different purposes for different audiences throughout his existence. 5.3. _____ Subsequent years found him functioning as the patriarchal head of a metaphorical Superfamily and a transformative avatar of identity fluidity in the 1950s and ’60s, and a successful Super-Yuppie in the 1980s. Throughout those various portrayals, though, the core of Superman stayed true: that he was, at heart, an almost impossibly good man, a hero that never gives up, and always does the right thing. 5.4. _____ But such thinking has nothing to do with the very notion of superheroes: these aren’t realistic characters; they’re idealized characters, ones created as purposeful and eager rejections of realism in favor of worlds filled with evil geniuses and impossible monsters. abridged from http://entertainment.time.com Strona 8 z 17 MAD-1A A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17

1. A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life.
2. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance.
3. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero.
4. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful.
5. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17

TASK 5. (0–4) Read the article. Four fragments have been removed from the text. Complete each gap (5.1.–5.4.) with the fragment which fits best and put the appropriate letter (A–E) in each gap. There is one fragment which you do not need to use. WHY SUPERMAN DESERVES MORE RESPECT The one foe that Superman has never vanquished in his long career isn’t Lex Luthor, Bizarro, or the alien consciousness known as Brainiac. No, his greatest enemy is something much more mundane: namely, a simple lack of respect. Even within his own stories, he’s too long had to put up with being mistaken for a bird or a plane. 5.1. _____ This, to be blunt, is just wrong. Let us be clear: Superman is the ultimate superhero, and it’s time everyone recognized that fact. It’s not that Superman was the first superhero, as such. You can trace his lineage back through earlier pulp characters, for instance Zorro, who used his dual identity to battle corruption and crime. There’s also Doc Savage and Gladiator, heroes with abilities beyond those of normal men. 5.2. _____ However, he can never be fully integrated into the society he protects, being the outsider that he is. This is because, on a daily basis, he has to deal with the fact that he is the final survivor of his entire race and his entire social circle consists of people who only know him through work and pile their own overwhelming expectations on him. As if that wasn’t enough, Superman has proven to be an almost endlessly flexible character, and one who’s proven himself to be easily recreated to serve different purposes for different audiences throughout his existence. 5.3. _____ Subsequent years found him functioning as the patriarchal head of a metaphorical Superfamily and a transformative avatar of identity fluidity in the 1950s and ’60s, and a successful Super-Yuppie in the 1980s. Throughout those various portrayals, though, the core of Superman stayed true: that he was, at heart, an almost impossibly good man, a hero that never gives up, and always does the right thing. 5.4. _____ But such thinking has nothing to do with the very notion of superheroes: these aren’t realistic characters; they’re idealized characters, ones created as purposeful and eager rejections of realism in favor of worlds filled with evil geniuses and impossible monsters. abridged from http://entertainment.time.com Strona 8 z 17 MAD-1A A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17

1. A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life.
2. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance.
3. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero.
4. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful.
5. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17

TASK 5. (0–4) Read the article. Four fragments have been removed from the text. Complete each gap (5.1.–5.4.) with the fragment which fits best and put the appropriate letter (A–E) in each gap. There is one fragment which you do not need to use. WHY SUPERMAN DESERVES MORE RESPECT The one foe that Superman has never vanquished in his long career isn’t Lex Luthor, Bizarro, or the alien consciousness known as Brainiac. No, his greatest enemy is something much more mundane: namely, a simple lack of respect. Even within his own stories, he’s too long had to put up with being mistaken for a bird or a plane. 5.1. _____ This, to be blunt, is just wrong. Let us be clear: Superman is the ultimate superhero, and it’s time everyone recognized that fact. It’s not that Superman was the first superhero, as such. You can trace his lineage back through earlier pulp characters, for instance Zorro, who used his dual identity to battle corruption and crime. There’s also Doc Savage and Gladiator, heroes with abilities beyond those of normal men. 5.2. _____ However, he can never be fully integrated into the society he protects, being the outsider that he is. This is because, on a daily basis, he has to deal with the fact that he is the final survivor of his entire race and his entire social circle consists of people who only know him through work and pile their own overwhelming expectations on him. As if that wasn’t enough, Superman has proven to be an almost endlessly flexible character, and one who’s proven himself to be easily recreated to serve different purposes for different audiences throughout his existence. 5.3. _____ Subsequent years found him functioning as the patriarchal head of a metaphorical Superfamily and a transformative avatar of identity fluidity in the 1950s and ’60s, and a successful Super-Yuppie in the 1980s. Throughout those various portrayals, though, the core of Superman stayed true: that he was, at heart, an almost impossibly good man, a hero that never gives up, and always does the right thing. 5.4. _____ But such thinking has nothing to do with the very notion of superheroes: these aren’t realistic characters; they’re idealized characters, ones created as purposeful and eager rejections of realism in favor of worlds filled with evil geniuses and impossible monsters. abridged from http://entertainment.time.com Strona 8 z 17 MAD-1A A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17

1. A. Nevertheless, it is Superman that pretty much embodies the template for the perfect crime-fighting hero. He has some super-powers and the desire to do the right thing, even at the cost of his life.
2. B. Any counterargument against such a staggeringly simple premise seems small-minded and sad. We can imagine any number of dangers and ultimate evils – so a perfect guy who does not give up is our last chance.
3. C. Siegel and Shuster invented Superman as a humanist response to Depression-era fears and soulless industrialism. In the time of World War II he was transformed into a patriotic hero.
4. D. That lack of cynicism or self-interest is often pointed to, sneeringly, by those who find the character too one-dimensional and complain about him being too powerful.
5. E. While movie audiences and comic fans swoon at the sight of fellow characters like Batman or Iron Man, poor Superman is continually being dismissed as plain and boring. TRANSFER YOUR ANSWERS TO THE ANSWER SHEET! MAD-1A Strona 9 z 17