쉐도잉 연습: C2 Proficiency CPE Listening Part 1,2,3 -T25 with answer - 영상으로 영어 말하기 배우기

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263 문장

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Now open your question paper and look at part 1.

You will hear three different extracts.

For questions 1 to 6, choose the answer A, B or C, which fits best according to what you hear.

There are two questions for each extract.

Extract 1

The latest wave of worry started in the 1960s, and there's been a proliferation of societies for the preservation of pure English ever since.

And you know, when all else fails, when they've got nowhere with teachers and public figures and so on, these people would write to us.

And I drew the short straw of having to deal with all those letters complaining about the language.

These range from those drawing our attention to our own piddling misprints,

to those vilifying the general use of vogue words such as ongoing or scenario or whatever in the media,

and those cataloguing the alleged mispronunciation of newsreaders.

this latter being a real obsession with some of the most persistent correspondence.

The latest wave of worry started in the 1960s, and there's been a proliferation of societies for the preservation of pure English ever since.

And, you know, when all else fails, when they've got nowhere with teachers and public figures and so on, these people would write to us.

And I drew the short straw of having to deal with all those letters complaining about the language.

These range from those drawing our attention to our own piddling misprints,

to those vilifying the general use of vogue words such as ongoing or scenario or whatever in the media,

and those cataloguing the alleged mispronunciation of newsreaders, this latter being a real obsession with some of the most persistent correspondence.

Extract 2

Thank you.

about the immediacy of being on stage with an audience that's ten metres away from you, as opposed to the distance in an ice arena.

And I've been fortunate enough not only to have skated on a theatrical stage and have the audience there,

but also to have danced in some of the great shows, Cats, Rocky Horror...

But when you dance, don't you miss the skates terribly?

I don't miss the skates, but in rehearsals it did take some getting used to.

In ice skating, you take a few steps and you've You've travelled 20 metres at high speed.

I was 10-pin bowling with the rest of the cast.

I was making my steps and banging into other people.

Then I realised you can do all this great choreography and move nowhere.

So, you're finished with competitive skating, and you're going to carry on choreographing ice shows.

What else?

Well, I'm only 42, full of energy.

And I hear you've taken to the boards.

I love the stage.

There's something about the immediacy of being on stage with an audience that's ten metres away from you, as opposed to the distance in an ice arena.

And I've been fortunate enough not only to have skated on a theatrical stage and have the audience there, but also to have danced in some of the great shows, Cats, Rocky Horror.

But when you dance, don't you miss the skates terribly?

I don't miss the skates, but in rehearsals it did take some getting used to.

In ice skating you take a few steps and you've travelled 20 metres at high speed.

I was ten-pin bowling with the rest of the cast.

I was making my steps and banging into other people.

Then I realised you can do all this great choreography and move nowhere.

Extract 3

The film was rather limp and morose, a rather low-powered film, and unfortunately not a very good adaptation of the novel.

I think part of the problem is that this particular novelist is not a very filmic writer on many occasions.

Most of the pleasures one gets from reading him are pleasures of language.

He's very playful.

He's very witty with language.

But the message goes straight from the eye to the brain.

You don't need pretty pictures to intervene.

So, wisely, on the one hand, the filmmakers have skipped a lot of the verbal playfulness, but what they're left with is a rather pedestrian story, firmly set in the 70s,

examining the issue of conformity, and it all seems to have lost its relevance.

The other thing which is lost in the translation is that the heroes, Chris and Tony, are very clever boys.

They're very bright and witty.

But in the film, Chris is a rather pedestrian character.

Tony, who in the book is a rather exotic character, whose sense of otherness Chris wants to emulate, just comes across as a bit of a thug and totally unappealing.

I thought the film was rather limp and morose, a rather low-powered film, and unfortunately not a very good adaptation of the novel.

I think part of the problem is that this particular novelist is not a very filmic writer on many occasions.

Most of the pleasures one gets from reading him are pleasures of language.

He's very playful, he's very witty with language, but the message goes straight from the eye to the brain.

You don't need pretty pictures to intervene.

So, wisely, on the one hand, the filmmakers have skipped a lot of the verbal playfulness, but what they're left with is a rather pedestrian story, firmly set in the 70s,

examining the issue of conformity, and it all seems to have lost its relevance.

The other thing which is lost in the translation is that the heroes, Chris and Tony, are very clever boys, they're very bright and witty.

But in the film, Chris is a rather pedestrian character.

Tony, who in the book is a rather exotic character, whose sense of otherness Chris wants to emulate, just comes across as a bit of a thug and totally unappealing.

That is the end of part one.

Now turn to part two.

You'll hear a talk given by a naturalist who's interested in a type of insect called the damselfly.

For questions 7 to 15, complete the sentences with a word or short phrase.

You now have 45 seconds in which to look at part 2.

Thank you.

Good evening.

Now, you may think that looking into the murky depths of a muddy pond doesn't sound much like fun, but I have many happy childhood memories of doing just

that as I went hunting for the insects that have always fascinated me.

For it is in surroundings like these

that you can find one of the fastest and oldest species of insect in the world,

the dragonfly, and its elusive but beautiful smaller cousin, the damselfly.

The speed of these insects is estimated to vary from 35 to 60 miles per hour,

and fossilised remains show them to have been in existence 300 million years ago.

But apart from that, relatively little is known about these creatures, particularly the damselfly, the abundance and distribution of which in Britain can only be guessed at.

What is known is that changes to the rural landscape have been affecting the population of these charming creatures over recent decades.

Developments such as land drainage and the filling in of ponds have certainly taken their toll, but exactly how much is difficult to assess.

And this is where you come in, because conservation organisations desperately need your help in locating the remaining damselfly habitats.

So, how do you go about this?

Well, first of all, when you make what you think is a sighting of a damselfly, it is necessary to make a positive identification.

The insect is similar to its close relation, the dragonfly, but differs in several respects.

Firstly, the dragonfly has a rapid, strong flight, while its damsel cousin is delicate, with frail wings, and is therefore relatively weak in flight.

Secondly, you should try to observe the insect when it is at rest.

When the dragonfly is not flying, its wings are held out at right angles to its body.

This is in direct contrast to the damselfly, which holds its wings over its body, so that they are touching each other, rather like a butterfly.

I would like to emphasise that this is a stronger distinguishing feature than, say, the eyes or body.

As regards colouring, damselflies can be blue, red, or green, but these are not ordinary colours.

There's nothing muted about them.

They're vivid, and they sparkle in the sunlight like jewels, as the insects dart about from place to place.

And some of them have names that reflect this.

The emerald damselfly and the azure damselfly, both of which may be spotted locally.

It is, however, the more prosaically named blue-tailed damselfly that is actually the most frequently sighted in the region.

Whilst others you might see include the common blue damselfly, which is not as common as its name suggests, and the large red damselfly,

100

which is thought almost to have died out locally.

101

And so, if you should get a sighting of that one, we'd certainly be interested in hearing about it.

102

Now, where and when to look for them?

103

Well, not surprisingly, the summer months are best, from May onwards, but not much after August.

104

It is a relatively short season, and you need to be looking in areas where there is water.

105

Although you may find them in gardens, especially near slow-moving streams, damselflies really thrive in the vegetation that's found in and around still water.

106

It's here that they find the smaller, flying insects which are their prey, and it's also here that they lay their eggs below the surface of the water.

107

In terms of the best time of day, avoid the afternoon and evenings, because these insects are definitely early risers.

108

The ideal time to catch up with them is soon after dawn.

109

And so please, if you see damselflies, and if you find them as captivating as I do, then please don't just walk away and forget them.

110

The Conservation Trust is keen to produce a survey of the remaining sites that provide a habitat,

111

and so put pressure on the authorities to preserve them for future generations.

112

So do let them know what you see and where you see it.

113

Now you'll hear part two again.

114

Good evening.

115

Now, you may think that looking into the murky depths of a muddy pond doesn't sound much like fun,

116

but I have many happy childhood memories of doing just

117

that as I went hunting for the insects that have always fascinated me.

118

For it is in surroundings like these

119

that you can find one of the fastest and oldest species of insect in the world,

120

the dragonfly, and its elusive but beautiful smaller cousin, the damselfly.

121

The speed of these insects is estimated to vary from 35 to 60 miles per hour,

122

and fossilised remains show them to have been in existence 300 million years ago.

123

But apart from that, relatively little is known about these creatures, particularly the damselfly, the abundance and distribution of which in Britain can only be guessed at.

124

What is known is that changes to the rural landscape have been affecting the population of these charming creatures over recent decades.

125

Developments such as land drainage and the filling in of ponds have certainly taken their toll, but exactly how much is difficult to assess.

126

And this is where you come in, because conservation organisations desperately need your help in locating the remaining damselfly habitats.

127

So, how do you go about this?

128

Well, first of all, when you make what you think is a sighting of a damselfly, it is necessary to make a positive identification.

129

The insect is similar to its close relation, the dragonfly, but differs in several respects.

130

Firstly, the dragonfly has a rapid, strong flight, while its damsel cousin is delicate, with frail wings, and is therefore relatively weak in flight.

131

Secondly, you should try to observe the insect when it is at rest.

132

When the dragonfly is not flying, its wings are held out at right angles to its body.

133

This is in direct contrast to the damselfly, which holds its wings over its body, so that they are touching each other, rather like a butterfly.

134

I would like to emphasise that this is a stronger distinguishing feature than, say, the eyes or body.

135

As regards colouring, damselflies can be blue, red or green, but these are not ordinary colours.

136

There's nothing muted about them.

137

They're vivid, and they sparkle in the sunlight like jewels, as the insects dart about from place to place.

138

and some of them have names that reflect this

139

the emerald damselfly and the azure damselfly both of which may be spotted locally

140

it is however the more prosaically named blue-tailed damselfly that is actually the most frequently sighted in the region

141

whilst others you might see include the common blue damselfly

142

which is not as common as its name suggests

143

and the large red damselfly which is thought almost to have died out locally And so, if you should get a sighting of that one,

144

we'd certainly be interested in hearing about it.

145

Now, where and when to look for them?

146

Well, not surprisingly, the summer months are best, from May onwards, but not much after August.

147

It is a relatively short season.

148

And you need to be looking in areas where there is water.

149

Although you may find them in gardens,

150

especially near slow-moving streams, damselflies really thrive in the vegetation that's found in and around still water.

151

It's here that they find the smaller flying insects which are their prey, and it's also here that they lay their eggs below the surface of the water.

152

In terms of the best time of day, avoid the afternoon and evenings because these insects are definitely early risers.

153

The ideal time to catch up with them is soon after dawn.

154

And so please, if you see damselflies and if you find them as captivating as I do, then please don't just walk away and forget them.

155

The Conservation Trust is keen to produce a survey of the remaining sites that provide a habitat,

156

and so put pressure on the authorities to preserve them for future generations.

157

So do let them know what you see and where you see it.

158

That's the end of part two.

159

Now turn to part three.

160

You'll hear a radio interview with the artist Madeline Nol.

161

For questions sixteen to twenty, choose the answer A, B, C or D, which fits best, according to what you hear.

162

You now have one minute in which to look at part three.

163

Thank you.

164

Thank you.

165

Her paintings reflect the peaceful nature of country life.

166

A vase of pansies or roses, a few buttercups or some bluebells.

167

A new book, The Art of Madeline Knowles, has been published this week to coincide with her 75th birthday, and she currently has exhibitions in London and Cardiff.

168

Madeline, why do you usually paint very peaceful subjects rather than the harsher realities of life?

169

Well, I think the thing about plants, actually, is that they're quite wonderful.

170

They're absolutely adapted to survival, and I think that what we see as grace and beauty is actually strength.

171

When I'm painting flowers, I'm looking for their inner strength and wanting to show it.

172

It isn't for me done in order to be peaceful.

173

It's done in order to discover that something inside which keeps them going.

174

But is art then just to please the eye and calm the nerves?

175

Because that's how we respond to it, isn't it?

176

I think mankind has always needed art for magic, for celebration, for embellishment, and artists,

177

meanwhile, have been trying to produce some sort of sense out of this funny old world in which we exist.

178

And I think artists today, well, we're still trying to find that order and show it to people when we paint.

179

So you don't approve of what's called the modern movement?

180

I think my kind of painting is part of the modern movement, but it's a description that gets overused and often in a misleading fashion.

181

For example, those artists at the so-called cutting edge are only one very small part of it, which gets a lot of attention in the media and elsewhere.

182

Now, you began as a designer of textiles rather than a painter.

183

Why did you change?

184

Was it very important to you to paint?

185

Well, I jumped into it, really.

186

I hadn't sought the change at all.

187

I was teaching drawing at the time, as well as doing my own design work.

188

And I was suddenly asked for some reason, staff shortages or something, to do the painting classes with the students as well.

189

so it made me shift.

190

I had to get a box of paints and go out and paint myself in order to feel prepared.

191

And, of course, I found it such a, I don't know, almost sort of an enormous relief that I haven't looked back since.

192

And these days you teach just the one rather famous person, I believe.

193

What was it in your work that appealed particularly to Andy Benson, the rock star?

194

Well, I think he saw a little painting of mine in an exhibition.

195

It had a pathway running up to a village, I think, but it was the image that caused his attention, because when I got to his house,

196

I was early, and so I was waiting in the sitting room for a quarter of an hour or so,

197

and I looked out of the window and saw that he was outside creating a path with stones,

198

and it struck me that it must have been that image which had appealed to him.

199

I understand that on seeing my picture he'd said, oh, I'd like my garden painted like that.

200

And initially that's what you were invited to do, of course.

201

That's right.

202

But then later he did ask me for advice about his own paintings.

203

Which you gave?

204

Oh, yes.

205

We had to go through them because he was working for an exhibition the following year.

206

And your advice was?

207

Oh, it was the usual art school advice about big shapes and little shapes.

208

Quite a formal discussion.

209

It wasn't about how he felt about the landscapes that he was doing.

210

That's for him.

211

Why, treat him just like an art school student, really.

212

Madeleine Knowles, thank you very much for joining me today.

213

Thank you.

214

Now you'll hear part three again.

215

Her paintings reflect the peaceful nature of country life.

216

A vase of pansies or roses, a few buttercups or some bluebells.

217

A new book, The Art of Madeline Knowles, has been published this week to coincide with her 75th birthday, and she currently has exhibitions in London and Cardiff.

218

Madeline, why do you usually paint very peaceful subjects rather than the harsher realities of life?

219

Well, I think the thing about plants, actually, is that they're quite wonderful.

220

They're absolutely adapted to survival, and I think that what we see as grace and beauty is actually strength.

221

When I'm painting flowers, I'm looking for their inner strength and wanting to show it.

222

It isn't for me done in order to be peaceful.

223

It's done in order to discover that something inside which keeps them going.

224

But is art then just to please the eye and calm the nerves?

225

Because that's how we respond to it, isn't it?

226

I think mankind has always needed art for magic, for celebration, for embellishment.

227

And artists, meanwhile, have been trying to produce some sort of sense out of this funny old world in which we exist.

228

And I think artists today, well, we're still trying to find that order and show it to people when we paint.

229

So you don't approve of what's called the modern movement?

230

I think my kind of painting is part of the modern movement, but it's a description that gets overused and often in a misleading fashion.

231

For example, those artists at the so-called cutting edge are only one very small part of it, which gets a lot of attention in the media and elsewhere.

232

Now, you began as a designer of textiles rather than a painter.

233

Why did you change?

234

Was it very important to you to paint?

235

Well, I jumped into it, really.

236

I hadn't sought the change at all.

237

I was teaching drawing at the time, as well as doing my own design work.

238

And I was suddenly asked for some reason, staff shortages or something, to do the painting classes with the students as well.

239

So it made me shift.

240

I had to get a box of paints and go out and paint myself in order to feel prepared.

241

And, of course, I found it such a, well, I don't know, almost sort of an enormous relief that I haven't looked back since.

242

And these days you teach just the one rather famous person, I believe.

243

What was it in your work that appealed particularly to Andy Benson, the rock star?

244

Well, I think he saw a little painting of mine in an exhibition.

245

It had a pathway running up to a village, I think, but it was the image that caught his attention, because when I got to his house,

246

I was early, and so I was waiting in the sitting room for a quarter of an hour or so,

247

and I looked out of the window and saw that he was outside creating a path with stones,

248

and it struck me that it must have been that image which had appealed to him.

249

I understand that on seeing my picture he'd said, oh, I'd like my garden painted like that.

250

And initially that's what you were invited to do, of course.

251

That's right.

252

But then later he did ask me for advice about his own paintings.

253

Which you gave?

254

Oh, yes.

255

We had to go through them because he was working for an exhibition the following year.

256

And your advice was?

257

Oh, it was the usual art school advice about big shapes and little shapes.

258

Quite a formal discussion.

259

It wasn't about how he felt about the landscapes that he was doing.

260

That's for him.

261

Why, treat him just like an art school student, really.

262

Madeline Knowles, thank you very much for joining me today.

263

Thank you.

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이 레슨의 어휘와 말하기 포인트

이 C2 수준 말하기 레슨은 영상 “C2 Proficiency CPE Listening Part 1,2,3 -T25 with answer”을(를) 바탕으로 합니다. 이 영상에는 섀도잉할 문장 263개와 단어 3727개가 있습니다. 말하는 구간의 길이는 25:36입니다. 화자는 분당 약 146단어의 일정한 속도로 말해서 섀도잉하기에 편한 속도입니다. 영어에서 가장 많이 쓰이는 3,000단어에 속하는 단어가 81%뿐이라 어휘가 어려운 편입니다.

이 영상의 핵심 어휘

영상에서 가장 어려운 단어 15개를 발음, 뜻과 함께 정리했습니다.

단어	발음	뜻
insect 명사	/ˈɪn.sɛkt/	곤충
skate 명사	/skeɪt/	스케이트, 스케트
dragonfly 명사	/ˈdɹæɡənˌflaɪ/	잠자리
pedestrian 명사	/pəˈdɛstɹiən/	보행자
metre 명사	/ˈmiːtəɹ/	미터, 메터
pond 명사	/pɑnd/	못, 연못
azure 명사	/ˈæʒɚ/	하늘색, 천색
buttercup 명사	/ˈbʌt.ɚ.kʌp/	미나리아재비
choreography 명사	/ˌkɔɹiˈɑɡɹəfi/	안무
morose 형용사	/məˈɹoʊs/	시무룩하다
onward 부사	/ˈɒnwəd/	앞으로
pansy 명사	/ˈpæn.zi/	팬지
thug 명사	/θʌɡ/	폭력배
dart 명사	/dɑɹt/	다트, 투창
vase 명사	/veɪ̯s/	꽃병, 화병

영상에 나오는 구동사

단어	뜻
go out 동사	나가다
look back 동사	돌아보다

따라 말해 볼 만한 문장

영상에 나오는 짧고 완결된 문장으로, 일상 대화에서 그대로 쓸 수 있습니다:

You don't need pretty pictures to intervene.
Because that's how we respond to it, isn't it?
Why did you change?
Was it very important to you to paint?
I hadn't sought the change at all.

이 영상의 문법

화자가 가장 많이 쓰는 문형을 영상 속 실제 표현과 함께 정리했습니다.

문형	영상 속 표현
현재완료진행 have/has been + -ing — 전에 시작해 지금도 계속되는 동작	have been affecting · have been trying
현재완료 have/has + 과거분사 — 과거의 일이 지금도 관련이 있을 때	there's been · I've been · You've travelled
수동태 be + 과거분사 — 누가 하는지보다 무슨 일이 일어나는지에 초점	is lost · is estimated · is known
관계절 who / which + 절 — 사람이나 사물에 대한 추가 정보	thing which is · insects which are

주의할 발음

화자는 don't, they're, I'm 같은 축약형과 약화된 형태를 61번 사용합니다. 들리는 대로 짧게 발음하세요.

“th” 소리: thug /θʌɡ/, theatrical /θiˈætɹɪkəl/, thrive /θɹajv/, pathway /ˈpæθˌweɪ/
“sh”와 “zh” 소리: azure /ˈæʒɚ/, embellishment /ɪmˈbɛlɪʃmənt/, mispronunciation /mɪspɹəˌnʌn.siˈeɪ.ʃən/, proliferation /pɹəˌlɪf.əˈɹeɪ.ʃən/, vegetation /ˌvɛd͡ʒəˈteɪʃən/
긴 단어 — 강세 위치에 주의: choreography /ˌkɔɹiˈɑɡɹəfi/, conformity /kənˈfɔːmɪti/, embellishment /ɪmˈbɛlɪʃmənt/, immediacy /ɪˈmiːdi.əsi/, mispronunciation /mɪspɹəˌnʌn.siˈeɪ.ʃən/

한국어 화자가 어려워하는 소리:

/f/ — ㅍ(/p/)으로 바꾸지 말고 윗니를 아랫입술에 대기: damselfly /ˈdæmzəlflaɪ/, dragonfly /ˈdɹæɡənˌflaɪ/, choreography /ˌkɔɹiˈɑɡɹəfi/, conformity /kənˈfɔːmɪti/, fascinate /ˈfæsɪneɪt/
/v/ — ㅂ(/b/)과 구별하기: captivate /ˈkæptəˌveɪt/, elusive /ɪˈl(j)u.sɪv/, overuse /ˌoʊvɚˈjuːz/, vilify /ˈvɪl.ɪ.faɪ/, vase /veɪ̯s/
/z/ — ㅈ이 아니라 성대를 울리는 /s/: damselfly /ˈdæmzəlflaɪ/, damsel /ˈdæm.zəl/, overuse /ˌoʊvɚˈjuːz/, pansy /ˈpæn.zi/, riser /ˈɹaɪ.zə(ɹ)/

이 영상으로 연습하는 방법

먼저 말하지 않고 영상을 끝까지 듣고 모르는 단어를 적어 둡니다.
보통 속도로 한 문장씩 섀도잉하고, 화자의 리듬과 맞을 때까지 반복합니다.
자신의 목소리를 녹음해 원본과 비교하고, insect, skate, dragonfly 같은 단어에 특히 주의합니다.

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법

쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.

섀도잉 방법: 단계별 전체 가이드 읽기 →

쉐도잉 연습: C2 Proficiency CPE Listening Part 1,2,3 -T25 with answer - 영상으로 영어 말하기 배우기

연습 모드 선택

앱 다운로드

같은 채널

FCE Listening Test Part 3 with answers (06)

C1 Advanced (CAE) Listening Test 66 with answers

C1 Advanced (CAE) Listening Test 52 with answers

Full B2 First (FCE) Listening Test 66 with Answers

C1 Advanced (CAE) Listening Test 17 with answers

C1 Advanced (CAE) Listening Test 64 with answers

Full B2 First (FCE) Listening Test 67 with Answers

C2 Proficiency (CPE) Listening Test 33 with answers

추천 영상

How to pass Speaking Part 1 | B2 First, C1 Advanced C2 Proficiency

C2 Proficiency Speaking test - Derk and Annick | Cambridge English

Cambridge First Certificate Exam - Trainer Practice - Test 1 I Listening Part 1

CAE TEST3 PART1

[CAM 11] Test 2 Section 2

Listening B2 | FCE Practice Test with Answers - English Listening B2 Cambridge FULL Ingles B2 exam º

IELTS Cambridge 9 test 2 section 2

IELTS 7 Listening Test 3

[Audio] Cambridge Vocabulary For Ielts With Answers - 02 1a

CAE TEST2 PART2

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이 영상으로 연습하는 방법

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법