Олимпиада “Ломоносов” Английский язык ответы 5-11 класс. Разбор олимпиады “Ломоносов” отборочный этап для 5, 6, 7, 8, 9, 10 и 11 класса. Варианты заданий с ответами. Данная олимпиада проводится с 15 ноября по 22 ноября 2024 года.
Ломоносов Английский язык 5-8 класс ответы
Задание 1. Listening comprehension
Listen to the fairy tale and put the events of the story in chronological order.
Понимание устного текста
Прослушайте сказку и расположите события сказки в хронологическом порядке.
Задание 2. Reading comprehension
Read the extract from the story.
For questions 1-6, decide whether the statements are True, False or Not Given.
For questions 7-15, decide which answer (A, B, C or D) best fits each gap.
Понимание письменного текста
Прочитайте отрывок рассказа.
Для вопросов 1-6 установите истинность высказывания.
Выберите True, если утверждение верно, False, если утверждение неверно, и Not Given, если в тексте не содержится данная информация.
Для вопросов 7-15 выберите один верный вариант из предложенных вариантов A, B, C и D.
“Oh, just look here!” Jo cried .
The top of the box was mostly taken up with four square paper boxes, round which parcels of all shapes and sizes were wedged and fitted. The whole was a miracle of packing. It had taken Mum three mornings, with assistance from Granny, and much advice from Dad, to do it so beautifully.
Each box held a different kind of cake. One was of jumbles, another of ginger-snaps, a third of crullers, and the fourth contained a big square loaf of frosted plum-cake, with a circle of sugar almonds set in the frosting. How the girls exclaimed at this!
“I never imagined any thing so nice,” declared Beth, with her mouth full of jumble. “As for those snaps, they’re simply perfect. What can be in all those fascinating bundles? Do hurry and open one, Jo.”
Dear little Amy! The first two bundles opened were hers and Beth’s, then a white hood for Jo, and a blue one for Meg, both of Mum’s knitting, and so nicely done. The girls were enchanted.
“How she has improved!” said Jo. “She knits better than either of us, Meg.”
“There never was such a clever little darling!” responded Meg, and they patted the hoods, tried them on before the glass, and spent so much time in admiring them that Amy grew impatient.
Meg’s bundle was for herself, “Marianne,” in blue and gold; and pretty soon “Golden Legend,” in the same binding, appeared for Jo. Both these were from Dad. Next came a couple of round packages of exactly the same size. These proved to be ink-stands, covered with Russia leather: one marked, “Jo from Laurie,” and the other, “Meg from Laurie.” The two long narrow parcels revealed the carved pen-handles, precisely alike.
What fun it was opening those bundles! The girls made a long business of it, taking out but one at a time, exclaiming, admiring, and exhibiting to each other. They laughed, they joked, but I do not think it would have taken much to make either of them cry. It was almost too gentle and sensitive a pleasure, each separate article seemed full of the very look and feel of home.
Never was such a wonderful box. It appeared to have no bottom whatever. Under the presents were parcels of figs, prunes, almonds, raisins, candy; under those, apples and pears. There seemed no end to the surprises.
At last all were out.
1. Granny helped pack the box alongside Mum
2. Each of the four square boxes contained a different type of homemade pie.
3. The white and blue hoods were made by the elder sisters.
4. Meg’s bundle contained a book titled “Golden Legend” from Dad.
5. Jo was unhappy with the ink-stand gift from Laurie.
6. The sisters took their time opening the presents.
7. What does the phrase “It was a miracle of packing” imply about the box?A. It was poorly packed.B. It was packed haphazardly.C. It was packed with extreme skill and care.D. It had been organized by a professional packer..
8. What is implied by the phrase “There seemed no end to the surprises”?A. There was too much food.B. The girls were surprised that the box was mostly empty.C. The box was filled with a seemingly endless number of surprises.D. There was nothing of interest left to find..
9. What does the word “jumble” refer to?A. A variety of small, mixed sweets.B. A disorderly heap.C. A type of cookie.D. A basket of fruit..
10. What was Jo’s reaction to the box?A. She cried out in surprise.B. She cried out in excitement.C. She was quiet and speechless.D. She seemed uninterested..
11. How did Beth describe the ginger-snaps?A. Tasty but ordinary.B. Almost perfect.C. She thought they were perfect.D. Slightly disappointing..
12. What gifts did Laurie give Meg and Jo?A. Identical stationery.B. Matching scarves.C. Two woolen hoods.D. Books of poetry.
13. How would you best describe the tone of the passage?A. Somber and melancholic.B. Lighthearted and humorous.C. Tender and nostalgic.D. Tense and suspenseful..
14. What does the variety of treats and hand-knit gifts reveal about the cultural setting of the story?A. The family has a very progressive taste, not typical of the middle 20th century UK.B. The family enjoys the luxury of store-bought items.C. The family is struggling financially.D. The family values homemade, traditional items, typical of the 19th-century America..
15. What is the central message of the passage?
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Задание 3. Grammar and vocabularyRead the text about the British Museum. For questions 1-15, complete the task.
Think of ONE word that fits each gap. For some four gaps in the text the words are given in the following list.
Грамматика и лексика
Прочитайте текст о Британском музее. Заполните пропуски 1-15 ОДНИМ словом. Для четырёх пропусков используйте слова из списка.
haunt
houses
tidbit
trove
The British Museum, located in London, is known for its extensive collection of artifacts from around the world. The museum came into 1.in 1753, largely thanks to Sir Hans Sloane’s vast collection of artifacts, books, and antiquities. Since then, the museum has gone through countless expansions and changes, making it a treasure 2.of historical wonders. Today, the museum is visited by millions of people from 3.over the world.
Various historical objects are displayed across multiple galleries, and each exhibition tells a story of a different culture. Artifacts were brought to the museum by explorers and scholars. The exhibits range 4.ancient Egyptian mummies to Greek sculptures, and they are used by students and researchers for academic purposes.
One curious fact about the museum is that it 5.the Rosetta Stone, which turned out to be 6.key to deciphering Egyptian hieroglyphics. 7.it, the secrets of Ancient Egypt might still be lost to us today. Visitors are often taken 8.by the incredible detail on the stone, which harks 9.to 196 B.C.
Another fascinating 10.is that the museum’s Reading Room was once a favorite 11.of Karl Marx, who spent years researching and writing there. This room was said to witness the early development of ideas that inspired the foundation of many communist regimes in the twentieth century.
The museum has 12.praised for its dedication to preserving history. It is considered a symbol of cultural exchange and education. People enjoy visiting the museum to learn about the past, and many educational programs are offered to enhance visitors’ experiences.
The British Museum continues to grow, and its exhibitions are constantly updated to showcase new research and discoveries. 13.you’re a scholar or a casual visitor, the museum offers something for everyone. It is known 14.one of the most important cultural institutions in the world where the past 15.alive.
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Задание 4. Writing
Письменная речь
Представьте, что Ваши родители готовы подарить Вам на Новый год самый заветный подарок. Выбор подарка указывает на важные черты Вашего характера, на Ваши интересы и увлечения.
Напишите об этом сообщение в пределах 130-150 слов.
Ваш текст должен содержать элементы описания, повествования и рассуждения.
1. Что Вы чувствовали, когда засыпали в новогоднюю ночь? Используйте прошедшие времена.
2. Что Вы почувствовали, как только проснулись? Используйте прошедшие времена.
3. Опишите свою комнату и место, где Вас ждёт подарок. Опишите подарок.
4. Представьте, что Вы сейчас играете/занимаетесь/что-то делаете со своим долгожданным подарком. Повествуйте в настоящих временах.
Упомяните, как Ваша семья украдкой наблюдает за Вами и радуется за Вас/присоединяется к Вам и разделяет Вашу радость.
5. Предскажите, какое будущее ждёт Ваш подарок. Используйте будущие времена.
Важные элементы успешного написания текста:
-аргументируйте выбор подарка;
-используйте эпитеты прилагательные и эпитеты наречия, ярко описывающие подарок и Ваши эмоции;
-используйте глаголы, точно повествующие о всех действиях;
-используйте логические связки, которые помогут Вам передать Ваше представление о будущем этого подарка.
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Ломоносов Английский язык 9-10 класс ответы
Задание 1. Listening Comprehension
You are going to listen to a speech.
For questions 1-15, complete the task.
For questions 1-15, decide whether the information in the statements is True, False, or Not Given.
True: The statement agrees with the information in the recording
False: The statement contradicts the information in the recording
Not Given: The information is not mentioned in the recording
1. The queen claims that her decision to step down was made without much thought
2. She believes a sovereign must prioritize their family to understand their subjects better.
3. The queen admits she lacks the skills necessary to lead in challenging times.
4. According to the queen, her family requested her to abdicate the throne.
5. She acknowledges that she possesses more wisdom than any other potential leader.
6. The queen states she will leave the country permanently after stepping down.
7. She feels there are others more capable of guiding the kingdom through current challenges.
8. The queen considers herself better suited to leadership than to service.
9. She states that her dedication to the country’s values will continue even after her abdication.
10. The queen asserts that only she is fit to uphold the title of sovereign.
11. According to the speech, the queen feels that her weaknesses would endanger the kingdom if she
remains on the throne.
12. The queen encourages the people of the country to help the new sovereign.
13. She expresses confidence in a future marked by peace, prosperity, and unity.
14. The queen directly names her successor in the speech.
15. The speech suggests that the queen sees herself continuing in a role that benefits the kingdom, though not as its leader.
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Задание 2. Reading Comprehension
Read the extract of the story. For questions 1-15, complete the tasks.
Peter and Ann had gone off to a party, wearing their best clothes and looking ever so fancy. The house was very quiet and still. It felt as though it were thinking its own thoughts, or dreaming perhaps.
Down in the living-room Mother was reading the paper with her spectacles perched on her nose. Father was in the garden busily doing nothing. Grandfather was on the kitchen sofa with his feet up. And the house stood very quietly around them all, dreaming its own dreams, or thinking perhaps.
Upstairs in the nursery the sunlight poured in at the window, flickering on the white walls, dancing over the beds where the babies were lying.
“I say, move over! You’re right in my eyes,” said William in a loud voice.
“Sorry!” said the sunlight. “But I can’t help it. I’ve got to get across this room somehow. Orders is orders. I must move from East to West in a day and my way lies through this nursery. Sorry! Shut your eyes and you won’t notice me.”
The gold shaft of sunlight lengthened across the room. It was obviously moving as quickly as it could in order to oblige William.
“How soft, how sweet you are! I love you,” said Maria, holding out her hands to its shining warmth.
“Good girl,” said the sunlight approvingly, and moved up over her cheeks and into her hair with a light, caressing movement. “Do you like the feel of me?” it said, as though it loved being praised.
“Dee-licious!” said Maria, with a happy sigh.
“Chatter, chatter, chatter! I never heard such a place for chatter. There’s always somebody talking in this room,” said a shrill voice at the window.
William and Maria looked up. It was the Rook who lived on the top of the chimney.
“I like that,” said William, standing up quickly. “What about yourself? All day long on the roofs and telegraph poles. Roaring and screaming and shouting — you’d talk the leg off a chair, you would. Worse than any sparrow.”
The Rook cocked his head on one side and looked down at him from his perch on the windowframe. “Well,” he said, “I have my business to attend to. Consultations, discussions, arguments, bargaining. And that, of course, necessitates a certain amount of — er — quiet conversation—”
“Quiet!” exclaimed Maria, laughing heartily.
“And I wasn’t talking to you, young lady,” said the Rook, hopping down on to the window-sill. “And you needn’t talk — anyway. I heard you for several hours on end last Saturday week. Goodness, I thought you’d never stop — you kept me awake all night.”
“That wasn’t talking,” said Maria. “I was—” She paused. “I mean, I had a pain.”
“Humph!” said the Rook, and hopped on to the back of Maria’s bed. He sidled along it until he came to the head of the bed. Then he said in a soft, wheedling voice: “Well, Maria Smith, anything for the old fellow today, eh?”
Maria brought herself into a sitting position by supporting her body with her both hands. “There’s the other half of my arrowroot biscuit,” she said, and held it out in her round, fat fist. The Rook swooped down, plucked it out of her hand and flew back to the window-sill. He began nibbling it greedily.
“Thank you!” said William, meaningly, but the Rook was too busy eating to notice the rebuke. “I said ‘Thank you!’” said William a little louder.
The Rook looked up. “Eh — what? Oh, get along, boy, get along. I’ve no time for such frills and furbelows.” And he gobbled up the last of his biscuit.
The room was very quiet.For questions 1-15, choose the answer (A,B,C, or D) which you think fits best according to the story.
1. What does the phrase “The house stood very quietly around them all” imply?
2. What does “you’d talk the leg off a chair” mean?
3. Which character is portrayed through an oxymoron?
4. Where does the word “rook” etymologically come from?
5. Which of the following is an example of a personification in the story?
6. What might the Rook’s attitude toward Maria suggest about its character?
7. What is Maria’s reaction to the sunlight moving over her?
8. What does the Rook request from Maria?
9. How does William react when the Rook criticizes Maria’s chatter?
10. What does the word “chatter” most likely mean in the context of the story?
11. What does the word “caressing” most likely mean in the context of the story?
12. What is implied by the phrase “orders is orders”?
13. In the context of the story, what is not the synonym of “wheedling”?
14. What tone best describes the overall feeling of the story?
15. What message is conveyed in the interaction between Maria and the Rook?
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Задание 3. Grammar and VocabularyFor questions 1-15, read the extract from the story and complete the tasks. Use these verbs in their new forms – finite (tense, mood, number, person) and non-finite (infinitive, gerund, participle) – and complete the gaps.
commence
experiment
lead
revere
see
Use these stems in new lexemes – with the help of prefixes, suffixes, conversion – and complete the gaps.
access
classic
interconnect
romantic
scholar
Think of ONE word to fill each of the remaining gaps.
The evolution of literary genres has been shaped by many social, cultural, and historical factors. Literature was first classified into genres in ancient times. Epic poetry and tragedies were written in the 1.era, with the works of Homer and Sophocles, for example, being widely studied and 2.. Over the centuries, various genres, such as the novel, drama, and poetry, have developed and 3.influenced by changing political and societal norms.
In the Middle Ages, the clergy 4.committed to preserving many of the Latin and Greek texts, making them 5.to future generations. The role of the church in the development of literature was significant, especially with the translation of texts from and into Latin, which was used as the primary language for 6.writing.
By the Renaissance, writers 7.to experiment with different styles, and the invention of the printing press 8.to the widespread distribution of books. The novel, a genre that would become central in the modern era, 9.to be introduced in the 17th century with works such as Don Quixote by Cervantes.
In the 18th century, the rise of the middle class gave 10.to the development of new genres. The novel was further developed, 11.writers such as Samuel Richardson and Jane Austen making significant contributions to the genre. Societal issues were explored through literature, and the rise of satire also marked this period: Jonathan Swift’s Gulliver’s Travels is considered one of the most prominent works of the time.
The 19th century 12.the flourishing of the novel as a dominant genre. The authors like Victor Hugo, Charles Dickens, and Leo Tolstoy are among the most celebrated novelists of this era. 13., a movement that valued emotion over reason, influenced poetry and prose. Authors blended the personal with the political, exploring themes such as industrialization, class struggles, and human rights. This period also witnessed the rise of Gothic fiction, exemplified by Mary Shelley’s Frankenstein and Bram Stoker’s Dracula, which combined elements of horror, mystery, and the supernatural.
Over time, literary forms have continued to evolve. Writers are now used to 14.with new forms and incorporating influences from other artistic media. The advent of mass media in the 20th century is a driving force behind the expansion of genres like science fiction and detective fiction.
The 21st century has brought further developments in genres. Digital literature and interactive storytelling are not uncommon any more. Genres are continuously transformed by technological innovations, social changes, and global 15..
Overall, literary genres have adapted to new cultural and technological challenges and opportunities, and their evolution is likely to continue as society progresses. This adaptability of literary genres is part of what makes literature such a dynamic and important form of human expression.
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Задание 4. Writing
Представьте, что Вам разрешили завести экзотического питомца. Выберите животное, которое Ваша семья вряд ли бы одобрила, но этот выбор отражает важные черты Вашего характера и соответствует Вашим интересам.
Напишите рассказ о том дне, когда этот питомец появился у Вас в доме.
Напишите рассказ в пределах 160-180 слов.
Персонажи:
Вы.
Животное.
Члены семьи, соседи, друзья и т.д.
Проблемы:
Ваша семья не хотела заводить это животное, несмотря на все Ваши просьбы.
Животное действительно нелегко содержать в обычной квартире/в обычном доме.
Все обязанности по уходу и развлечению животного ложатся только на Вас.
Место действия:
Квартира/частный дом.
Ваша, теперь уже общая с питомцем, комната.
В рассказ необходимо включить следующие компоненты структуры:
1. Завязка (день ничего не предвещал, шёл своим чередом). Повествуйте в прошедших временах.
2. Череда событий (Ваши мечты о питомце материализовались совершенно удивительным образом). Повествуйте в прошедших временах.
3. Кульминация (встреча с семьёй, которая узнаёт о новом “члене семьи”). Опишите состояние членов семьи (и любых других персонажей) при знакомстве с животным. Описывайте и повествуйте в настоящих временах.
4. Развязка (совет всех заинтересованных лиц в форме краткого диалога, в рамках которого определяется дальнейшая судьба животного и распределяются функции по его уходу на будущее; приходит осознание, что обязанности неравномерно распределены и Вы несёте практически полную ответственность). Описывайте своё состояние и повествуйте о решении семьи в настоящих и будущих временах.
Требования:
-Аргументация выбора животного.
-Описание места. Используйте яркие эпитеты, которые отражают эмоциональное состояние персонажей.
-Описание внешнего вида животного. Используйте слова, точно отражающие специфику выбранного животного.
-Повествование о событиях. Используйте конкретные глаголы, точно отражающие действия, и эпитеты наречия.
-Прямая речь персонажей. Помните о правилах пунктуации.
-Упоминание проблем, которые возникают в связи с новыми обстоятельствами. Используйте логические связки.
-Решение проблем. Используйте логические связки.
-Опишите перспективы Вашего нового уклада жизни.
Внимание!
Заимствованный или сгенерированный рассказ будет снят с конкурса.
Работа провокационного характера, написанная с нарушением этических норм, будет снята с конкурса. Напишите рассказ в пределах 160-180 слов.
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Ломоносов Английский язык 11 класс ответы
Задание 1. Listening Comprehension
You will hear six extracts of commencement speeches.
For questions 1-12 choose the answer which fits best according to what you hear.
For questions 13-15, complete the sentences with a word from extract F.
Question 7 image:
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For questions 1-12, choose the answer which fits best according to what you hear.
1. Which three speeches view the pursuit of personal passion as essential for fulfillment?
2. Which three speeches view individual responsibility as a means of impacting broader society?
3. Which two speeches focus on the importance of honour and sound moral principles?
4. Which three speeches emphasize the need for resilience in facing life’s challenges?
5. Which three speeches suggest that graduates embrace a sense of humility?
6. Which speech shows the effects of false aims and lack of authenticity?
7. Which speech contains the idiom that is reflected in the Midjourney generated image?
8. Which speech contains the phrasal verb which is polysemantic or even a contronym, meaning either “agree to do, undertake” or “fight against”?
9. Which speech contains the Americanism verb that can be used in the following sentence? I’ll only marry for love: I can’t … for the person I do not love.
10. Which speech contains the adjective that is etymologically related to the first concept in the famous Latin axiom “Mors vincit omnia” = “death always wins”.
11. Which speech contains the idiom that illustrates the following situation and can be used to continue the sentence? Why did he listen to his parents and become a doctor? I wish he could … and live his own life.
12. Which speech contains the verb that is a synonym of “urge” in the following sentence? J.F.K.Kennedy urged people to stay away from violence.
For questions 13-15, complete the sentence with a word from Extract F for each gap. Sincerity cannot be—people will notice when you’re, even if it’s.
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Задание 2. Reading Comprehension
You are going to read an essay on the evolution of literature and cinematography. For questions 1-15 choose the answer (A, B, C or D) which you think fits best according to the text.
Quick Cuts: The Novel Follows Film Into a World of Fewer Words
By E.L. DOCTOROW
The effect of a hundred years of filmmaking on the practice of literature has been considerable. As more than one critic has noted, today’s novelists tend not to write exposition as fully as novelists of the 19th century. Where the first chapter of Stendahl’s “Red and the Black” (1830) is given over to the leisurely description of a provincial French town, its topographic features, the basis of its economy, the person of its mayor, the mayor’s mansion, the mansion’s terraced gardens and so on, Faulkner’s “Sanctuary” (1931) begins this way: “From beyond the screen of bushes which surrounded the spring, Popeye watched the man drinking.”
The 20th-century novel minimizes discourse that dwells on settings, characters’ CVs and the like. The writer finds it preferable to incorporate all necessary information in the action, to carry it along in the current of the narrative, as is done in movies.
Of course there are 19th-century works, Mark Twain’s “Tom Sawyer,” for example (” ‘Tom?’ No answer.”), that jump right into things, and perhaps American writers always have been disposed to move along at a snappier pace than their European counterparts. But the minimal use of exposition does suppose a kind of filmic compact between writer and reader, that everything will become clear eventually.
Beyond that, the rise of film art is coincident with the tendency of novelists to conceive of compositions less symphonic and more solo voiced, intimate personalist work expressive of the operating consciousness. A case could be made that the novel’s steady retreat from realism is as much a result of film’s expansive record of the way the world looks as it is of the increasing sophistications of literature itself.
Another crossover effect has to do with film’s major device, the instantaneous reposition in space and time: the cut. Writers today derive all sorts of effects from scanting the interstitial explanations or transitions that get their story from one character to another, or their characters from one place to another, or from yesterday to next year. More daring uses of discontinuity have occurred from violations of the grammatical protocols of person or tense.
But after a hundred years or so, it may be that movies can do nothing more for, or to, literature than they already have done. By now film has begun to affirm its essentially nonliterate nature and to make of its conventions an art form detached and self-contained, like painting.
Movies began in silence. The early filmmakers learned to convey meaning apart from the use of language. For the most part the title cards of the silent films only nailed down the intelligence given to the audience nonverbally. (Young couple on porch swing at night. He removes a ring from his vest pocket. He gazes into her eyes. Title card: “Milly, will you be my wife?”)
In the modern audible feature film, especially as made by Hollywood, spoken dialogue tends more and more to function as the old title cards of the silents. The genre of the film is indicated with the portentous opening credits. The beginning shots site the film and identify its time period. A given scene is lighted, and the camera is positioned to create mood or inform the audience as to how it is to regard what it is seeing, how serious or unserious the story may be, how objectively we may regard the characters, how intimately we are being asked to share their adventures.
The film stock is color coordinated with its subject. The actors are dressed, and their hair is cut or coiffed, to indicate age, economic class, social status, education and even degree of virtue. They’re directed to demonstrate their characters’ states of mind with bodily attitudes, gestures, facial expressions and the movements of their eyes. Given all this, the weight of the scene is carried nonverbally. What is seen and felt is a signifying context for any words actually spoken. In some of today’s film dramas, 95 percent of a scene’s meaning is conveyed before a word is uttered; 98 percent if you add music.
Of course recent filmmakers — Eric Rohmer, for example, or Louis Malle — have made highly verbal films. As a generalization, the assemblage of visual effects that make of dialogue a capstone is less true of comedy. The art of the television sitcom, for example, is highly verbal. Its standing sets, and its inclination to celebrate character, provide the impetus for wordplay, gags and verbal economies that can verge on the aphoristic. On the other hand the sitcom’s mostly interior scenes and its limited scope for camera setups suggest it is closer to a filmed stage play than it is to movies.
In the 1930s and 40s, when stage plays and books were a major source of film scripts, the talkies were talkier (as adaptations of Shakespeare are still). Films of that period were, by comparison with today’s products, logorrheic. Even action films, the Bogart film noir, the Errol Flynn swashbuckler, abounded with dialogue. Now, after a century of development, the medium of film generates its own culture. Its audience is as schooled in its rhythms and motifs and habits of being as Wagnerians are in der Nibelungen. Films work off previous films. They are genre referential and can be more of what they are by nature.
Literary language extends experience in discourse. It flowers to thought with nouns, verbs, objects. It thinks. That is why the term “film language” may be an oxymoron. Film de-literates thought; it relies primarily on an association of visual impressions or understandings. Moviegoing is an act of inference. You receive what you see as a broad band of sensual effects that evoke your intuitive nonverbal intelligence. You understand what you see without having to think it through with words.For questions 1-15, choose the answer (A, B, C or D) which you think fits best according to the text.
1. What does the first paragraph suggest is minimized in 20th-century novels compared to 19th-century novels?A) DialogueB) ExpositionC) ActionD) Characters’ inner thoughts.
2. Which of the following is an example used in the passage to describe an unusual 19th-century exposition?A) Faulkner’s “Sanctuary”B) The title card in silent filmsC) Stendhal’s “Red and the Black”D) Mark Twain’s “Tom Sawyer”.
3. What major technique in film is highlighted in the passage as influencing modern novels?A) The use of symbolismB) The cutC) FlashbacksD) Direct address to the audience.
4. How does the passage describe early film title cards?A) A major source of narrative tensionB) A tool for nonverbal communicationC) An art form detached from filmD) A way to introduce the genre of the film.
5. Which of the following is described as a characteristic of sitcoms in the passage?A) They use fewer visual effects than action films.B) They celebrate character through wordplay and gags.C) They rely primarily on visual effects to convey meaning.D) They emphasize music over dialogue..
6. What word in the passage describes the verbose nature of films from the 1930s and 40s?A) SnappyB) LogorrheicC) MinimalD) Subtle.
7. According to the passage, what role does the film stock play in conveying meaning?A) It determines the genre of the film.B) It indicates the emotional tone and subject matter.C) It is irrelevant to the understanding of the film.D) It is used to identify the time period of the film..
8. What does the passage imply about the effect of film on literary language?A) Film enhances the complexity of literary language.B) Film reduces the intellectual engagement required by literary language.C) Film allows for more in-depth dialogue in literature.D) Film has no effect on literary language..
9. How does the passage characterize the evolution of film over the last century?A) It has become more narrative-focused.B) It has become a self-contained art form.C) It has abandoned visual effects for dialogue.D) It has become less visually complex..
10. If the author were to create a movie version of the passage, which scene would most likely open it?A) A novelist’s pen slowing down as a projector speeds upB) A film reel spinning and transforming into an open bookC) A silent film actor staring dramatically at the cameraD) A debate between two filmmakers on film’s merits.
11. If the author were to write a letter to a 19th-century novelist, which closing line would best convey their main point?A) “Keep telling stories your way – there’s nothing like the depth of prose!”B) “Modern stories can do without the ‘filler’ – film has taught us that.”C) “Adapt, as film has taught us, for the swift ways of today’s world.”D) “Times are changing – exposition is out, and we owe it to the magic of film.”.
12. If the author’s message was adapted into a tweet, which would best capture its essence?A) “Novels learned a thing or two from movies. Today’s stories move faster, thanks to film!”B) “Film’s biggest gift to literature? Losing all that excessive description!”C) “Novels were better in the 1800s. Film has diluted storytelling.”D) “Movies & books are worlds apart. Let’s keep them that way.”.
13. Which of these represents the author’s view on “film language”?A) A powerful new form of literatureB) An intuitive, nonverbal style of communicationC) A declining art formD) A rival to traditional literature.
14. What literary style does the author imply most sitcoms resemble?A) A witty, dialogue-driven playB) A visually rich novel with detailed descriptionsC) A silent film with title cardsD) A philosophical essay.
15. If the passage were a historical exhibit, which description would best fit?A) “Film and Literature: Rivals Through the Ages”B) “From Page to Screen: How Film Changed the Novel”C) “Books in the Age of Film: The Lost Art of Exposition”D) “Literature Strikes Back: The Storytelling Debate”.
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Задание 3. Grammar and vocabulary
For questions 1-15, read the extract from the story and complete the tasks.
Use these verbs in their new forms – finite (tense, mood, number, person) and non-finite (infinitive, gerund, participle) – and complete the gaps.
burst
lie
master
roar
screech
see
Use these stems in new lexemes – with the help of prefixes, suffixes, conversion – and complete the gaps.
BEAR
BREATH
CHANGE
FEATHER
PENETRATE
PERIL
Use these Latin and Greek stems in their etymologically linked English words and complete the gaps.
ēkhē sound
horrēre to bristle; to tremble
movēre to moveFor a few moments the boys watched the fire in silence.
Then Tom giggled.
“Wasn’t he mad?”
“About the―”
“Fire and the bird.”
“Lucky he went for Tim, ‘stead of us.”
“Huh. Remember old Mad at school?”
“‘Boy―you-are-driving-me-slowly-insane!’”
The boys 1.into hysterical laughter, then remembered the darkness and other things and swept the area uneasily.
The flames, busy about the tent, drew their eyes back again. Tom watched the scurrying ants that were so frantically unable to avoid the flames, and thought of the first fire―just down there, on the steeper side of the mountain, where now was 2.darkness. He did not like to remember it, and looked away at the mountain-top. Warmth radiated now, and beat pleasantly on them. Heck amused himself by fitting branches into the fire as closely as possible. Tom spread out his hands, searching for the distance at which the heat was just 3.. Idly looking beyond the fire, he resettled the scattered rocks from their flat shadows into daylight contours. Just there was the big rock, and the three stones there, that split rock, and there beyond was a gap―just there―
“Heck.”
“Huh?”
“Nothing.”
The fire 4.the branches, the bark was curling and falling away, the wood exploding. The tent fell inwards and flung a wide circle of light over the mountain-top. “Heck―”
“Huh?”
“Heck! Heck!”
Heck looked at Tom irritably. The intensity of Tom’s gaze made the direction in which he looked dreadful, for Heck had his back to it. He squatted by Tom, and looked 5.. They became 6., gripped in each other’s arms, four unwinking eyes aimed and two mouths open. Far beneath them, the trees of the forest sighed, then roared. The hair on their foreheads fluttered and flames blew out sideways from the fire. Fifteen yards away from them came the plopping noise of fabric blown open. Neither of the boys screamed but the grip of their arms tightened and their mouths grew peaked. For perhaps ten seconds they crouched like that while the flailing fire sent smoke and sparks and waves of 7.light over the top of the mountain. Then as though they had but one terrified mind between them they scrambled away over the rocks and fled.
Tim was dreaming. He had fallen asleep after what seemed hours of tossing and turning noisily among the dry leaves. Even the sounds of nightmare from the other tent no longer reached him, for he was back to where he came from, playing with his children and talking to his wife in the house. Then someone was shaking his arm, telling him that it was time for tea. “Tim! Wake up!”
The leaves were roaring like the sea.
“Tim, wake up!”
“What’s the matter?”
“We saw―”
“―the beast―”
“―plain!”
“Who are you? Tom, Heck?”
“We saw the beast―”
“Quiet. Becky!”
The leaves were 8.still.
Becky tumbled down and Tom grabbed her. “You can’t go out―it’s horrible!”
“Becky―where are the swords?”
“I can hear the―”
“Quiet then. Lie still.”
They 9.there listening, at first with doubt but then with terror to the description Tom and Heck 10.at them between bouts of extreme silence. Soon the darkness was full of claws, full of the 11.unknown and menace. An interminable dawn faded the stars out, and at last light, sad and grey, filtered into the shelter. They began to stir though still the world outside the shelter was impossibly 12.. The maze of the darkness sorted into near and far, and at the high point of the sky the cloudlets were warmed with color. A single sea bird flapped upwards with a hoarse cry that 13.immediately, and something 14.in the forest. Now streaks of cloud near the horizon began to glow rosily, and the the palms waved their 15.green tops.
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Задание 4. Writing
You are going to write an original story based on your personal experience of being a high school student navigating relationships, shaping your identity and character.
Your class went camping for a day but got lost in a dense forest. Draw from your personal experience of knowing yourself and your classmates. Show how your or their character can reveal itself or change in a calamity.
Write your story in 200-220 words. To write a successful competition story, make sure you meet all the following requirements:
I. Story structure:
1. Setting/exposition
(WHO? WHEN? WHERE?)
Describe the location. Establish the context. The reason for getting lost.
2. Chain of events
(WHAT DID YOU PERSONALLY DO? HOW WERE YOU PERSONALLY FEELING? WHAT DID YOUR CLASSMATES DO? HOW WERE THEY FEELING? WHAT WERE THE ADULTS ACCOMPANYING YOU DOING?)
Add a dangerous situation that raises a moral dilemma. Build up tension arising from the conflict. Show how one character unexpectedly steps up and becomes the leader. Show how negativity, despair, and violence can be tackled through communication, compassion, ingenuity, and clever distribution of roles and tasks.
3. Climax
(This is where the suspense is peaking)
By now your reader is conditioned to be rooting for one character who saves the day.
4. Anticlimax
(This is where the conflict or the dilemma gets its resolution)
Everyone is safe and sound.
II. Language:
1. Use vivid epithets in your description. Be short but specific.
2. Use a range of verbs and adverbs showing detailed actions. Be short but specific.
4. Use Direct Speech. Observe punctuation rules. Be short but specific.
5. Use past tenses.
Внимание!
Заимствованная или сгенерированная искусственно история будет снята с конкурса.
Работа провокационного характера, написанная с нарушением этических норм, будет снята с конкурса.Write your story in 200-220 words.
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