Shadowing Practice: CAE 1 - TEST 3 - Learn English Speaking with Video
בחר מצב תרגול
כל מצב פותח חדר תרגול במסך מלא.
398 משפטים
אם המשפטים קצרים או ארוכים מדי, לחץ על ערוך כדי להתאים אותם.
1
You'll hear three different extracts.
2
For questions 1 to 6, choose the answer A, B, or C, which fits best according to what you hear.
3
There are two questions for each extract.
4
Extract 1.
5
You hear two colleagues, Eva and Colin, talking about a problem at work.
6
Now look at questions 1 and 2.
7
So the thing is, you aren't getting on with her new boss then, Colin.
8
She's just so different from her predecessor.
9
I mean, John used to get us all involved in the decision -making process.
10
No chance of that with Sandra, you think?
11
No way!
12
Okay, I grant you, she's got some good ideas.
13
She moved pretty fast to get us all to agree to individual job descriptions and a proper timetable, none of which we've had before, and we should have had.
14
And she's done her homework on the staff profile, our qualifications and past experience and so on.
15
As you'd expect.
16
Yes, but she doesn't seem aware of the atmosphere here.
17
It's the way we've always done things.
18
I just don't feel I can work with her.
19
I'd say she's just finding her feet in a new job, and she'll soon get the hang of what we're all about.
20
Let's focus on how much she's already achieved.
21
I wouldn't let anybody tell you it's a trivial issue, though.
22
So, if she doesn't settle in soon, and you still have issues with her, I think you should approach her direct.
23
Okay.
24
Thanks, Eva.
25
Now you'll hear the recording again.
26
So the thing is, you aren't getting on with her new boss then, Colin.
27
She's just so different from her predecessor.
28
I mean, John used to get us all involved in the decision -making process.
29
No chance of that with Sandra, you think?
30
No way!
31
OK, I grant you, she's got some good ideas.
32
She moved pretty fast to get us all to agree to individual job descriptions and a proper timetable, none of which we've had before and we should have had.
33
And she's done her homework on the staff profile, our qualifications and past experience and so on.
34
As you'd expect.
35
Yes, but she doesn't seem aware of the atmosphere here it's the way we've always done things
36
I just don't feel I can work with her
37
I'd say she's just finding her feet in a new job
38
and she'll soon get the hang of what we're all about
39
let's focus on how much she's already achieved I wouldn't let anybody tell you it's a trivial issue though
40
if she doesn't settle in soon and you still have issues with her I think you should approach her direct okay,
41
thanks Eva Extract 2.
42
You hear an interview with an expert who repairs antique vases.
43
Now look at questions 3 and 4.
44
Show me how you do it.
45
I see you've got trays and trays of pieces here.
46
Yes.
47
You have to find the bits that match.
48
So I've put all these tiny pieces into colour groups red here, blue over there.
49
It's a bit like doing a jigsaw, really, but at least there are no stains to remove.
50
All we have to be aware of is the enamel on the surface, that we have to lift all the dirt and grease off.
51
If you don't, the pieces won't go back together again.
52
It'll fall apart.
53
If the cracks are going to show, they've got to be really clean, otherwise they'll look messy.
54
You want the cracks to show?
55
Some people would say that's terrible for such a valuable vase.
56
Well, yes, they probably would.
57
But something that's broken so extensively as this, if you cover all the cracks up, you're really making a fake.
58
Being broken is something that's happened to it in its lifetime, which should be recorded.
59
And as long as you can restore it so that aesthetically it still works, it shouldn't matter that the cracks show.
60
Now you'll hear the recording again.
61
Show me how you do it.
62
I see you've got trays and trays of pieces here.
63
Yes, you have to find the bits that match, so I've put all these tiny pieces into colour groups, red here, blue over there.
64
It's a bit like doing a jigsaw, really, but at least there are no stains to remove.
65
All we have to be aware of is the enamel on the surface, that we have to lift all the dirt and grease off.
66
If you don't, the pieces won't go back together again.
67
It'll fall apart.
68
If the cracks are going to show, they've got to be really clean, otherwise they'll look messy.
69
You want the cracks to show?
70
Some people would say that's terrible for such a valuable vase.
71
Well, yes, they probably would.
72
But something that's broken so extensively as this, if you cover all the cracks up, you're really making a fake.
73
Being broken is something that's happened to it in its lifetime, which should be recorded.
74
And as long as you can restore it so that, aesthetically, it still works, it shouldn't matter that the cracks show.
75
Extract 3 On the radio, you hear a visitor talking to a man about the remote island where he lives.
76
Now look at questions 5 and 6.
77
This is such an unusual place, because there's no public transport to the island.
78
I came here in your fishing boat.
79
The result is a paradise.
80
Rich marine life, unspoilt countryside.
81
Yet you want to let the world in.
82
You've campaigned to start up a ferry service from the mainland.
83
Why?
84
Well, there isn't enough work to support our population.
85
If visitors come to the island and we have a lot to offer them, catering for them would create employment.
86
Also, our young people would be able to commute to jobs on the mainland.
87
Don't you think it's risky?
88
These beaches could be covered with holiday houses and hotels.
89
Your visitors will complain because there are only a few shops, and a ferry service won't be enough.
90
People will want to fly here, and you'll have to build an airport.
91
No more paradise.
92
We can build a small airport without impacting on our quality of life here, and it makes economic sense.
93
Our shops can cope with more people on the island.
94
It'll be seasonal anyway.
95
And why would we build on the beaches?
96
It'd be crazy.
97
I hope you're right.
98
Now you'll hear the recording again
99
This is such an unusual place
100
Because there's no public transport to the island I came here
101
in your fishing boat The result is a paradise Rich marine life,
102
unspoilt countryside Yet you want to let the world in You've campaigned to start up a ferry service from the mainland.
103
Why?
104
Well, there isn't enough work to support our population.
105
If visitors come to the island and we have a lot to offer them, catering for them would create employment.
106
Also, our young people would be able to commute to jobs on the mainland.
107
Don't you think it's risky?
108
These beaches could be covered with holiday houses and hotels.
109
Your visitors will complain because there are only a few shops, and a ferry service won't be enough.
110
People will want to fly here, and you'll have to build an airport.
111
No more paradise.
112
We can build a small airport without impacting on our quality of life here, and it makes economic sense.
113
Our shops can cope with more people on the island.
114
It'll be seasonal anyway.
115
And why would we build on the beaches?
116
It'd be crazy.
117
I hope you're right.
118
That's the end of part one.
119
Part two.
120
You'll hear a short radio report about how technology is helping
121
archaeologists who want to learn more about some texts written over 2 ,000 years ago known as Roman tablets.
122
For questions 7 to 14, complete the sentences.
123
You now have 45 seconds to look at part 2.
124
You Transcription
125
by CastingWords information to be written not on paper, but on things called tablets.
126
These were pieces of wood about the size and thickness of a typical modern envelope.
127
Hundreds of such tablets have been unearthed from archaeological sites throughout Europe and the Mediterranean world.
128
Nearly 200 were found in one Roman fort alone.
129
And like most of these discoveries, they have been placed in public collections, mainly in museums in northern Europe,
130
to be viewed, but not, unfortunately, to be read.
131
This is because, although in some cases traces of writing can still be seen, most are now illegible to the naked eye.
132
But that's all soon to change, because archaeologists hope that, with the help of new technology, their secrets may soon be revealed.
133
Many of the tablets took the form of legal documents and letters written by Roman soldiers.
134
An example, now at the British Museum, bears the name of the person who wrote it and the name of the person who received it,
135
plus the word transportation, which you can just make out.
136
But the rest remains a mystery.
137
Now, with the help of computer techniques, experts hope eventually to be able to read the whole letter.
138
Professor Mike Brady, a leading figure in what's known as computer vision for many years, admits that this is the hardest project he's ever worked on.
139
But the excitement of seeing the latest ideas in computing applied to such a very ancient problem has the archaeological community buzzing.
140
So, in simple terms, why has the writing been preserved, and how will it be possible to undo the aging process?
141
Well, the tablets were made with thin, hollow panels cut across them.
142
Wax was poured into these, and the text was then written into this soft surface using an instrument with a fine metal point.
143
In virtually all cases, the wax has perished, and all that can be detected on the surface of the tablet underneath are scratches.
144
These are too faint to be read because they are distorted.
145
For some time, scientists have attempted to study them with laser photography, but this has proved fruitless.
146
However, it is now hoped that by enhancing images of the tablets on computer, their original messages will become legible again.
147
If this is the case, a whole new source of historical information will be opened up, and this promises advances and new knowledge for many decades to come.
148
The new technology has already been used on texts in ink as well, and in the future it will be applied to damaged surfaces of many kinds.
149
Now you'll hear the recording again.
150
At the time of the Roman Empire in Europe, around 2 ,000 years ago, it was common for information to be written not on paper, but on things called tablets.
151
These were pieces of wood about the size and thickness of a typical modern envelope.
152
Hundreds of such tablets have been unearthed from archaeological sites throughout Europe and the Mediterranean world.
153
Nearly 200 were found in one Roman fort alone.
154
And like most of these discoveries, they have been placed in public collections, mainly in museums in northern Europe, to be viewed, but not, unfortunately, to be read.
155
This is because, although in some cases traces of writing can still be seen, most are now illegible to the naked eye.
156
But that's all soon to change, because archaeologists hope that, with the help of new technology, their secrets may soon be revealed.
157
Many of the tablets took the form of legal documents and letters written by Roman soldiers.
158
An example, now at the British Museum, bears the name of the person who wrote it and the name of the person who received it,
159
plus the word transportation, which you can just make out, but the rest remains a mystery.
160
Now, with the help of computer techniques, experts hope eventually to be able to read the whole letter.
161
Professor Mike Brady, a leading figure in what's known as computer vision for many years, admits that this is the hardest project he's ever worked on.
162
But the excitement of seeing the latest ideas in computing applied to such a very ancient problem has the archaeological community buzzing.
163
So, in simple terms, why has the writing been preserved?
164
And how will it be possible to undo the ageing process?
165
Well, the tablets were made with thin, hollow panels cut across them.
166
Wax was poured into these, and the text was then written into this soft surface using an instrument with a fine metal point.
167
In virtually all cases, the wax has perished, and all that can be detected on the surface of the tablet underneath are scratches.
168
These are too faint to be read because they are distorted.
169
For some time, scientists have attempted to study them with laser photography, but this has proved fruitless.
170
However, it is now hoped that by enhancing images of the tablets on computer, their original messages will become legible again.
171
If this is the case, a whole new source of historical information will be opened up, and this promises advances and new knowledge for many decades to come.
172
The new technology has already been used on texts in ink as well, and in the future, it will be applied to damaged surfaces of many kinds.
173
That's the end of Part 2.
174
Now turn...
175
Part 3.
176
You'll hear an interview with an architect called Lucy Collett, who designs small buildings.
177
For questions 15 to 20, choose the answer A, B, C or D, which fits best according to what you hear.
178
You now have one minute to look at Part 3.
179
Thank you.
180
I'm sitting here, rather uncomfortably, with designer Lucy Collett.
181
Lucy, you're an architect, really, but an architect with a difference.
182
Yes, I specialise in small buildings.
183
And we're in one of your buildings now.
184
It's a treehouse, and we're perched on child -sized seats two or three metres above the ground.
185
In fact, I was commissioned to design this house by my neighbours for their children.
186
I don't like heights, but I loved the challenge of weaving the house in amongst the branches.
187
You can see there are several storeys with stairways between them.
188
I'd have given anything for a house like this when I was a child.
189
Yeah.
190
What started you off on this type of design?
191
I've always had a passion for small buildings.
192
Playhouses, of course, when I was a little girl.
193
Then I found a book about historical telephone boxes, which fascinated me.
194
When the telephone was an amazing new invention, money was poured into the designs of public phone boxes.
195
They were all sizes and styles.
196
There were some that looked like rustic cottages with thatched roofs.
197
others like Chinese pagodas, one like a sort of Greek temple.
198
Some were quite luxurious with chairs, and people used to go in there to play cards.
199
But it didn't last long.
200
They had to be standardised and made more practical.
201
You went to architecture school.
202
Did you know you were going to work on this small scale?
203
Yes, my final year project was on small buildings in an industrial context.
204
If you look at major building sites, they're dotted around with huts and temporary buildings.
205
You think they put up these tin boxes for the workers to drink their tea and read their newspapers in.
206
What is there to that?
207
Well, they've all got to conform to safety standards.
208
And why shouldn't they have some style as well?
209
I designed them to look better and also to be put up and dismantled more quickly.
210
I worked on durability of materials, comfort and so on.
211
Where did you get your inventiveness from?
212
I don't know.
213
I think I'm more practical than inventive.
214
My parents were market stall holders.
215
They had a really cumbersome stall which took them forever to put up.
216
All the market people started setting up about four o 'clock in the morning.
217
It was freezing, back -breaking work, and it drove me mad when I had to help them.
218
I was visiting some clients abroad a few years ago and saw some brilliant stalls in their local market.
219
They were little metal folding houses, completely waterproof and enclosed with plenty of display room.
220
At the end of the day, you could lock them up with the goods safe inside, or you could fold them flat and cart them off to the next town.
221
I did drawings of them and made one when I got home, but I haven't sold it.
222
What have you done that you're most proud of?
223
I suppose everything I've done is a variation on a theme, so it's hard to pick anything out.
224
But I did get an award.
225
The Newspaper Sellers Association gave me a prize for a design I did for street corner kiosks.
226
You know, those cute little buildings with display windows on three sides.
227
Mine were in strong steel, painted, with domed roofs and lots of decorative detail.
228
I must admit, I was particularly pleased with the fancy work, and the newspaper people loved it.
229
Have you ever done any phone box designs, since that was what started you off?
230
Funnily enough, that's what I've just been doing for an international hotel chain.
231
They'd stopped putting public phone booths in their hotel lobbies because of mobile phones.
232
But there were complaints from a few countries where mobiles hadn't really caught on yet.
233
So the hotel decided to make a big feature of lobby phone boxes.
234
I did these sort of glass birdcage designs with brass work and over -the -top telephones.
235
Now the company's putting them in all their hotels, and people are going into them to make calls on their mobiles.
236
It's sort of retro -style lobby furniture. And treehouses?
237
No, this is a one -off.
238
I've told you, I'm scared of heights.
239
OK.
240
Shall we let down the ladder and go home?
241
Thank you, Lucy.
242
Now you'll hear the recording again.
243
I'm sitting here, rather uncomfortably, with designer Lucy Collett.
244
Lucy, you're an architect really, but an architect with a difference.
245
Yes, I specialize in small buildings.
246
And we're in one of your buildings now.
247
It's a treehouse, and we're perched on child -sized seats two or three meters above the ground.
248
In fact, I was commissioned to design this house by my neighbors for their children.
249
I don't like heights, but I loved the challenge of weaving the house in amongst the branches.
250
You can see there are several stories with stairways between them.
251
I'd have given anything for a house like this when I was a child.
252
Yeah.
253
What started you off on this type of design?
254
I've always had a passion for small buildings, playhouses of course when I was a little girl.
255
Then I found a book about historical telephone boxes which fascinated me.
256
When the telephone was an amazing new invention, money was poured into the designs of public phone boxes.
257
They were all sizes and styles.
258
There were some that looked like rustic cottages with thatched roofs, others like Chinese pagodas sodas, one like a sort of Greek temple.
259
Some were quite luxurious with chairs, and people used to go in there to play cards.
260
But it didn't last long, they had to be standardised and made more practical.
261
You went to architecture school.
262
Did you know you were going to work on this small scale?
263
Yes, my final year project was on small buildings in an industrial context.
264
If you look at major building sites, they're dotted around with huts and temporary buildings.
265
You think they They put up these tin boxes for the workers to drink their tea and read their newspapers in.
266
What is there to that?
267
Well, they've all got to conform to safety standards, and why shouldn't they have some style as well?
268
I designed them to look better, and also to be put up and dismantled more quickly.
269
I worked on durability of materials, comfort, and so on.
270
Where did you get your inventiveness from?
271
I don't know.
272
I think I'm more practical than inventive.
273
My parents were market stall holders.
274
They had a really cumbersome stall which took them forever to put up.
275
All the market people started setting up about four o 'clock in the morning.
276
It was freezing, back -breaking work, and it drove me mad when I had to help them.
277
I was visiting some clients abroad a few years ago and saw some brilliant stalls in their local market.
278
They were little metal folding houses, completely waterproof and enclosed with plenty of display room.
279
At the end of the day, you could lock them up with the goods safe inside, or you could fold them flat and cart them off to the next town.
280
I did drawings of them and made one when I got home, but I haven't sold it.
281
What have you done that you're most proud of?
282
I suppose everything I've done is a variation on a theme, so it's hard to pick anything out.
283
But I did get an award.
284
The Newspaper Sellers Association gave me a prize for a design I did for street -corner kiosks.
285
You know, those cute little buildings with display windows on three sides.
286
Mine were in strong steel, painted, with domed roofs and lots of decorative detail.
287
I must admit, I was particularly pleased with the fancy work, and the newspaper people loved it.
288
Have you ever done any phone box designs, since that was what started you off?
289
Funnily enough, that's what I've just been doing for an international hotel chain.
290
They'd stopped putting public phone booths in their hotel lobbies because of mobile phones.
291
But there were complaints from a few countries where mobiles hadn't really caught on yet.
292
So the hotel decided to make a big feature of lobby phone boxes.
293
I did these sort of glass birdcage designs with brass work and over -the -top telephones.
294
Now the company's putting them in all their hotels.
295
and people are going in to them to make calls on their mobiles.
296
It's sort of retro -style lobby furniture. And treehouses?
297
No, this is a one -off.
298
I've told you, I'm scared of heights.
299
OK, shall we let down the ladder and go home?
300
Thank you, Lucy.
301
That's the end of part three.
302
Now turn to part four.
303
Now turn to part four.
304
Part four.
305
Part four consists of two tasks.
306
You'll hear five short extracts in which people are talking about problems related to their work.
307
Look at task one.
308
For questions twenty -one to twenty -five, choose from the list A to H the problem each person encounters.
309
Now look at task two.
310
For questions twenty -six to thirty, choose from the list A to H each person's current feeling.
311
While you listen, you must complete both tasks.
312
You now have forty -five seconds to look at part four.
313
Thank you.
314
Speaker 1 The weird thing is, it's up to quite recently.
315
I used to really love being in the theatre business, so it never seemed much of a hardship earning next to nothing
316
and holding meetings in an office the size of a shoebox.
317
But somehow, over the past year, The gloss seems to have worn off a bit, and now I've realised I'm just being taken for granted.
318
I feel as though my spirit's been broken.
319
It's awful.
320
I don't blame anyone for it.
321
We've had no actual rows.
322
But I won't put up with it.
323
It won't be easy entering the job market all over again, though.
324
Speaker 2 Normally I'd say I thrive on deadlines and pressure from clients, but it does all build up,
325
and recently I've been prone to fairly severe headaches in the office.
326
Don't get me wrong, I'm fine outside work, I can chill out with the best of them, but I do have a lot on my plate, as you'd expect at my level in the company, and it's probably too much to handle,
327
if I'm honest, especially with my current project.
328
I can't wait to see what happens when I implement my new time management plan at work.
329
It's hardly rocket science, but I'll be devastated if it doesn't work.
330
Speaker 3 The thing that finally made me flip was being told to move into a new office, which was patently unsuitable for the project I was working on.
331
That was on top of a whole series of other ridiculous demands, so the trouble was it just all came to a head, and the people in charge simply refused to take responsibility for it.
332
We had a number of bitter exchanges, and I ended up seething with rage.
333
I still feel that way, but I'm determined not to just accept it, although I have no idea what I should do about it.
334
It all happened so fast.
335
You can bet I won't be leaving, though, because I love the work.
336
I'm rapidly reaching the end of my tether.
337
I haven't lost my cool with a customer yet, but it'll happen soon.
338
It's just too much, being expected to run my department without a reliable flow of data.
339
My line manager's been very supportive, I'll give her that, and she's been on at the technicians to sort it out, so I've done my bit, but nothing's happened yet.
340
And the final straw is when I'm deluged with supposedly helpful emails from other departmental heads about how to cope.
341
What do they know about it?
342
They go on and on about how disastrous it is, as if it's my fault.
343
Luckily, I've got a great team under me.
344
Speaker 5 Well, I'm not sure what my options are.
345
She's got such a bee in her bonnet about this internal promotion that you just can't reason with her, so I haven't tried to talk her out of it.
346
I really don't want to get her into trouble by reporting her to management for
347
that row yesterday it would ruin morale in the office I
348
suppose in the end we might both get a small pay rise
349
and a new job title if she isn't satisfied with that
350
and I have a feeling she won't be I'll have to raise the whole issue with the boss
351
and let him resolve it
352
Now you'll hear the recording again.
353
Speaker 1 The weird thing is, it's up to quite recently.
354
I used to really love being in the theatre business, so it never seemed much of a hardship earning next to nothing
355
and holding meetings in an office the size of a shoebox.
356
But somehow, over the past year, the gloss seems to have worn off a bit.
357
And now I've realised I'm just being taken for granted.
358
I feel as though my spirit's been broken.
359
It's awful.
360
I don't blame anyone for it.
361
We've had no actual rows.
362
But I won't put up with it.
363
It won't be easy entering the job market all over again, though.
364
Speaker 2 Normally I'd say I thrive on deadlines and pressure from clients, but it does all build up,
365
and recently I've been prone to fairly severe headaches in the office.
366
Don't get me wrong, I'm fine outside work, I can chill out with the best of them, but I do have a lot on my plate, as you'd expect at my level in the company, and it's probably too much to handle,
367
if I'm honest, especially with my current project.
368
I can't wait to see what happens when I implement my new time management plan at work.
369
It's hardly rocket science, but I'll be devastated if it doesn't work.
370
The thing that finally made me flip was being told to move into a new office, which was patently unsuitable for the project I was working on.
371
That was on top of a whole series of other ridiculous demands, so the trouble was it just all came to a head, and the people in charge simply refused to take responsibility for it.
372
We had a number of bitter exchanges, and I ended up seething with rage.
373
I still feel that way, but I'm determined not to just accept it.
374
Although I have no idea what I should do about it, it all happened so fast.
375
You can bet I won't be leaving, though, because I love the work.
376
Speaker 4 I'm rapidly reaching the end of my tether.
377
I haven't lost my cool with a customer yet, but it'll happen soon.
378
It's just too much, being expected to run my department without a reliable flow of data.
379
My line manager's been very supportive, I'll give her that, and she's been on at the technicians to sort it out, so I've done my bit, but nothing's happened yet.
380
And the final straw is when I'm deluged with supposedly helpful emails from other departmental heads about how to cope.
381
What do they know about it?
382
They go on and on about how disastrous it is, as if it's my fault.
383
Luckily, I've got a great team under me.
384
Speaker 5 Well, I'm not sure what my options are.
385
She's got such a bee in her bonnet about this internal promotion that you just can't reason with her, so I haven't tried to talk her out of it.
386
I really don't want to get her into trouble by reporting her to management for that row yesterday.
387
It would ruin morale in the office.
388
I suppose, in the end, we might both get a small pay rise and a new job title.
389
If she isn't satisfied with that, and I have a feeling she won't be, I'll have to raise the whole issue with the boss and let him resolve it.
390
That's the end of Part 4.
391
There'll now be a pause of five minutes for you to copy your answers onto the separate answer sheet.
392
Be sure to follow the numbering of all the questions.
393
I'll remind you when there is one minute left so that you're sure to finish in time.
394
That's the end of the test.
395
Please stop now.
396
Your supervisor will now collect all the question papers and answer sheets.
397
Thank you.
398
Thank you.
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אוצר מילים והערות הגייה לשיעור הזה
שיעור הדיבור הזה ברמה C1 מבוסס על הסרטון “CAE 1 - TEST 3”. בסרטון הזה יש 398 משפטים ו-5002 מילים לתרגול Shadowing. הדיבור נמשך 35:46. הדובר שומר על קצב יציב של כ-140 מילים בדקה, קצב נוח לתרגול Shadowing. 82% מהמילים נמצאות בין 3,000 המילים הנפוצות ביותר באנגלית; כדאי ללמוד את השאר לפני שמתחילים.
אוצר מילים מרכזי בסרטון הזה
15 המילים המתקדמות ביותר בסרטון, עם ההגייה והמשמעות שלהן:
| מילה | הגייה | משמעות |
|---|---|---|
| tablet שם עצם | /ˈtæblət/ | לוּחַ |
| stall שם עצם | /stɔːl/ | תָּא |
| extract שם עצם | /ˈɛkstɹækt/ | תַּמְצִית |
| lobby שם עצם | /ˈlɑ.bi/ | לוֹבִּי |
| architect שם עצם | /ˈɑɹ.kɪˌtɛkt/ | אַדְרִיכָל, אדריכלית |
| tray שם עצם | /tɹeɪ/ | מַגָּשׁ |
| ferry שם עצם | /ˈfɛɹi/ | מעבורת \ מַעְבֹּרֶת |
| archaeologist שם עצם | /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/ | אַרְכֵאוֹלוֹג, ארכאולוגית |
| deluge שם עצם | /ˈdɛl.ju(d)ʒ/ | מַבּוּל |
| dismantle פועל | /dɪsˈmæntəl/ | פֵּרֵק |
| enclose פועל | /ɪnˈkloʊz/ | צרף |
| gloss שם עצם | /ɡlɔs/ | פירוש |
| jigsaw שם עצם | /ˈd͡ʒɪɡ.sɔ/ | גֶ׳קְסוֹן |
| kiosk שם עצם | /ˈkiˌɑsk/ | קִיּוֹסְק |
| legible שם תואר | /ˈlɛd͡ʒəbl/ | קָרִיא |
Phrasal verbs שתשמעו
| מילה | משמעות |
|---|---|
| fall apart פועל | התפרק, מט לנפול |
| put up with פועל | הִשְׁלִים עִם |
משפטים שכדאי לחזור עליהם
משפטים קצרים ושלמים מהסרטון שאפשר להשתמש בהם בשיחה יומיומית:
- You want the cracks to show?
- Don't you think it's risky?
- What started you off on this type of design?
- Where did you get your inventiveness from?
- What have you done that you're most proud of?
דקדוק בסרטון הזה
המבנים שהדובר משתמש בהם הכי הרבה, עם המילים המדויקות מהסרטון:
| מבנה | בסרטון |
|---|---|
| “Used to” used to + verb — הרגל או מצב שהיה נכון בעבר וכבר לא קיים | used to get · used to go · used to really love |
| הווה מושלם ממושך (Present perfect continuous) have/has been + -ing — פעולה שהתחילה בעבר ועדיין נמשכת עכשיו | I've just been doing |
| משפטי תנאי (Conditional sentences) if + clause, will/would + verb — תנאי ותוצאה שלו | If you don't, the pieces won't go |
| הווה מושלם (Present perfect) have/has + past participle — פעולה שקרתה בעבר ועדיין יש לה חשיבות או השפעה עכשיו | we've had · we've always done · I've put |
הגייה ששווה לשים לב אליה
הדובר משתמש ב-173 קיצורים וצורות מקוצרות, כמו I'm, I've, don't. אמרו אותם בצורה הקצרה, כפי שאתם שומעים אותם.
- הצלילים של “th”: thrive /θɹajv/, thickness /ˈθɪknəs/, underneath /ˌʌndɚˈniθ/
- הצלילים של “sh” ו-“zh”: deluge /ˈdɛl.ju(d)ʒ/, luxurious /lʌɡˈʒʊəɹi.əs/, hardship /ˈhɑɹdˌʃɪp/, technician /tɛkˈnɪʃən/, qualification /ˌkwɑlɪfɪˈkeɪʃən/
- מילים ארוכות — שימו לב להטעמה: archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/, departmental /dɪpɑːtˈmɛntəl/, durability /dəɹəˈbɪləti/, illegible /ɪˈlɛd͡ʒəbəl/, luxurious /lʌɡˈʒʊəɹi.əs/
צלילים שדוברי עברית מתקשים בהם:
- /w/ — שפתיים מעוגלות, לא /v/: weave /wiːv/, waterproof /ˈwɔt̬ɚˌpruf/, qualification /ˌkwɑlɪfɪˈkeɪʃən/
- /æ/ — פתוח יותר מה-“אֶ” העברית, לא כמו “a” ב-“cup”: tablet /ˈtæblət/, extract /ˈɛkstɹækt/, dismantle /dɪsˈmæntəl/, enamel /ɪˈnæməl/, fascinate /ˈfæsɪneɪt/
- /r/ — הלשון לא נוגעת בשום מקום, לא ה-“ר” הגרונית: extract /ˈɛkstɹækt/, architect /ˈɑɹ.kɪˌtɛkt/, tray /tɹeɪ/, ferry /ˈfɛɹi/, archaeologist /ˌɑɹ.kiˈɑ.lə.d͡ʒɪst/
איך לתרגל עם הסרטון הזה
- הקשיבו לכל הסרטון פעם אחת בלי לדבר, ורשמו את המילים שאתם לא מכירים.
- תרגלו Shadowing משפט אחר משפט במהירות רגילה, וחזרו על כל משפט עד שהקצב שלכם תואם את הדובר.
- הקליטו את עצמכם והשוו למקור, תוך תשומת לב למילים כמו tablet, stall, extract.
מהי טכניקת השאדואינג?
שאדואינג היא טכניקת למידת שפה מבוססת מדע שפותחה במקור להכשרת מתורגמנים מקצועיים ופופולרית על ידי הפוליגלוט ד"ר אלכסנדר ארגואלס. השיטה פשוטה אך עוצמתית: אתה מקשיב לאודיו באנגלית ילידית וחוזר עליו בקול רם מיד — כמו צל העוקב אחרי הדובר עם עיכוב של 1–2 שניות בלבד. בניגוד להאזנה פסיבית או תרגילי דקדוק, שאדואינג מכריח את המוח והשרירים בפה לעבד ולשחזר דפוסי דיבור אמיתיים בו זמנית. מחקרים מראים שזה משפר משמעותית את דיוק ההגייה, האינטונציה, הקצב, הדיבור המחובר, הבנת השמיעה ושטף הדיבור — מה שהופך אותו לאחת השיטות היעילות ביותר להכנה לIELTS Speaking ולתקשורת באנגלית בעולם האמיתי.