Objective Advanced - Cambridge University Pressassets.cambridge.org/97805211/81716/frontmatter/9780521181716... · 978-0-521-18171-6 – Objective Advanced Felicity O’Dell and Annie

Cambridge University Press978-0-521-18171-6 – Objective AdvancedFelicity O’Dell and Annie BroadheadFrontmatterMore information

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Objective AdvancedStudent’s Book without answers

Felicity O’Dell Annie Broadhead Third Edition

http://www.cambridge.org/9780521181716

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Th e authors and publishers acknowledge the following sources of copyright material and are grateful for the permissions granted. While every eff ort has been made, it has not always been possible to identify the sources of all the material used, or to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting.p. 18 adapted from http://hubpages.com/hub/Pros-and-Cons-of-Social-Networking-Sites published 2009; CBS News p. 23 from ‘Michelle Obama on love, family and politics’ by Katie Couric, CBS Evening News 18.6.09. Copyright © CBS News Archive; p. 26 adapted from ‘Kate Beckinsales perfect way of dealing with paparazzi – ignore them’, by ANI, Th aindian News 23.12.08; Cambridge University Press p. 27 adapted from Th e Cambridge Encyclopedia of the English Language by David Crystal. Copyright © 1995 Cambridge University Press and p. 124(1) adapted from Eating Out, Social Diff erentiation, Consumption and Pleasure by Alan Warde and Lydia Martens. Copyright © 2000 Cambridge University Press; Mind Tools p. 29 adapted from ‘How to…Learn a Foreign Language’ www.mindtools.com/pages/article/newTIM_10.htm. Reproduced with permission; NI Syndication Limited p. 37 adapted from ‘Our young face watched by 1000 million eyes’ Th e Times 21.4.00, p. 45(6) adapted from ‘Nowhere Man’ by Sarah Sims Th e Times 11.3.00, p. 70 adapted from ‘Talking clothes get our measure’ by Paul Nuki Th e Sunday Times 21.3.99, p. 95 adapted from ‘What these kids need is discipline’ by Ann McFerran Th e Times 22.8.99, p. 117 adapted from ‘Reviews’ Sunday Times Culture Magazine, May 2001. Copyright © NI Syndication Limited; MoneyWeek Limited p. 39 adapted from ‘Catherine Cook: the brainwave that made me $10m by the age of 18’ by Jodie Clarke, MoneyWeek 26.9.08. www.moneyweek.com. Copyright © 2008 MoneyWeek Limited; Daily Mail pp. 42–43 adapted from ‘Did we really believe in the joy of text?’ by Craig Brown, Daily Mail 1.4.10, p. 99 adapted from ‘Th e $25,000 Levis’ by David Gardner, Daily Mail 16.5.01, p. 149 adapted from ‘Binging on chocolate makes trousers too tight’ by Paul Kendall, Daily Mail 23.4.00. Copyright ©Daily Mail; Telegraph Media Group Limited pp. 44–45 adapted from ‘Problem school is now top of the class’ by Liz Lightfoot Th e Telegraph 10.3.01, p. 68 adapted from ‘When the offi ce is your best bet’ by Tom Standage, Th e Telegraph 1.10.96, p. 125(2) adapted from ‘James Dyson’s History of Great Inventions, Th e Telegraph Magazine, June 2000, p. 125(3) from ‘In the picture’ by Andrew Graham-Dixon, Th e Sunday Telegraph Magazine 18.6.00, p. 129 adapted from ‘Is honesty the best policy?’ by Th ea Jourdan, Th e Telegraph 17.10.00. Copyright © Telegraph Media Group Limited; Crimson Business p. 46 adapted from ‘Dominic McVey – Th e entrepreneurial whizz-kid talks to Startups.co.uk about his amazing rise to success’ Startups 11.8.04. Reproduced with permission; p. 52 from Patently Absurd! www.patentlyabsurd.org.uk. Reproduced with permission; Writers House LLC pp. 58–59 from ‘I have a dream’. Copyright 1963 Dr Martin Luther King Jr; copyright renewed 1991 Coretta Scott King. Reprinted by arrangement with the Heirs to the Estate of Martin Luther King Jr., c/o Writers House as agent for the proprietor New York, NY; p. 64(1) extract from An Introduction to Sociolinguistics, 6th edition by Ronald Wardhaugh. John Wiley & Sons, 2009; p. 64(2) extract from Russia: A concise history. Revised and updated edition by Ronald Hingley. Th ames & Hudson 1991. Reproduced with permission of the publishers; p. 64(3) extract from Th e Midas Touch by Anthony Sampson (copyright Anthony Sampson 1990) by permission of PDF on behalf of Anthony Sampson; p. 65(4) extract from Every Man’s Own Lawyer by A. Barrister (Judge Brian Galpin), Macmillan Reference Books, 1981, reproduced with permission of Macmillan, London, UK; p. 65(5) extract from Sense and Nonsense in Psychology, by H. J. Eysenck, published by Penguin 1958, reprinted with permission from Th e HJ Eysenck Memorial Fund; University of Nottingham Centre for Career Development p. 77 adapted from ‘Modern Languages: what are my career options’. Th is material is copyright of University of Nottingham Centre for Career Development; One North East p. 78 adapted from ‘A Guide to good design’ www.northeastfestivals.co.uk. Reproduced with permission; A P Watt Ltd pp. 82–83 from Th e Dream by Somerset Maugham. Reproduced by permission of A P Watt Ltd on behalf of the Royal Literary Fund; HarperCollins Publishers Ltd and HarperCollins Publishers US p. 86 from Bel Canto by Ann Patchett. Copyright © 2001 by Ann Patchett. Reprinted with permission of HarperCollins Publishers Ltd and HarperCollins Publishers US; p. 87 ‘Ballet’s opening night’ adapted from Darcey Bussell and Igor Zelensky ‘Kiss’ review, Ian Palmer, www.ballet.co.uk, 21 December 2006; American Academy of Family Physicians p. 87 extract from ‘Th e KISS Principle’ from Th e KISS Principle in Family Practice: Keep It Simple and Systematic, July/Aug 2003, Vol 10, no 7, Family Practice Management. Copyright © 2003 American Academy of Family Physicians. All Rights Reserved; p. 88 extract from ‘Evolutionary factors of language’ (www.ling.lancs.ac.uk/monkey/the/linguistics/LECTURE4/ 4evo.htm), reprinted with permission; p. 91: extract from ‘Why was this tutorial created’? (www.kumc.edu/SAH/OtED/jrade/preparing_talks/101.html), reprinted with permission of the University of Kansas Medical Centre; p. 98 from ‘How much is family life changing?’ Copyright © www.news.bbc.co.uk; Guardian News & Media Ltd p. 99 adapted from ‘Why teenagers can’t concentrate: too much grey matter’ by Amelia Hill, Th e Guardian 31.5.10, p. 128 adapted from ‘Art’s masters draw the queues’ by Maev Kennedy, 10.2.01, p. 151 adapted from ‘Beaten by a tomato, but I still loved the world and it loved me’ by David Munk, Th e Guardian, 23.4.01, p. 156 adapted from ‘Sucker for soccer: Octopus predicts World Cup fi nalist’ by Mark Tran, Th e Guardian 8.7.10. Copyright © Guardian News & Media Ltd, 2010, 2001; Sutton Publishing p. 101 adapted from Mini Sagas. Editor, Brian Aldiss, 1997. Reproduced with permission of Sutton Publishing Ltd; Th e Independent pp. 104–105 ‘Don’t be fooled: Th e Queen is not speaking our language’ by Philip Hensher, Th e Independent 22.12.00. Copyright © Th e Independent 2000; p. 107(b) by James Berardinelli. www.reelviews.net; Greene & Heaton Ltd p. 113 from My Name is Ozzy Manders, Dean of Kings by Michael Frayn. Copyright © Frayn, 1964. Reproduced with permission of Greene & Heaton Ltd; Th e River Group p. 130 from ‘Treasure Island’, Flightbookers, Travelling and Freestyle Magazine, Autumn 2000. Reproduced with permission; Summersdale pp. 130–131 extracts from Running a hotel on the roof of the world by Alec Le Sueur, published by Summersdale. Reproduced with permission; Climatadata.info for the graph on p. 136 ‘Comparison of temperature estimates’. www.climatedate.info. Reproduced with permission; New Scientist for the text on p. 136 adapted from ‘What’s the weather’ New Scientist 16.9.00. Copyright © New Scientist Magazine.Th e authors and publishers acknowledge the following sources of copyright material and are grateful for the permissions granted. While every eff ort has been made, it has not always been possible to identify the sources of all the material used, or to trace all copyright holders. If any omissions are brought to our notice, we will be happy to include the appropriate acknowledgements on reprinting.

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However, the publisher has no responsibility for the websites and can make no guarantee that a site will remain live or that the content is or will remain appropriate.Photo acknowledgements:p. 10: James D Morgan/Rex Features; p. 11 (B): Bela/Photolibrary.com; p. 11 (C): BL Images Ltd/Alamy; p. 12: Scott Hortop/Alamy; p. 13 (A): Th inkstock; p. 13 (B): Sean Sprague/Still Pictures; p. 13 (C): Charles O Cecil/Alamy; p. 13 (D): Ian M Butterfi eld (Tunisia)/Alamy; p. 13 (E): John Powell Photography/Alamy; p. 15: Michael Dunne/Photolibrary.com; p. 16 (TR): Th inkstock/iStockphoto; p. 16 (TL):Th inkstock /Jupiterimages; p. 16 (B): iStockphoto/Brian Jackson; p. 17: Th inkstock/Jupiterimages; p. 19 (L): poco_w/Fotolia; p. 19 (R): beyond foto/Photolibrary; p. 22 (T): dk/Alamy; p. 22 (B): Francis Dean/Rex Features; p. 23: ©2011 AFP/Getty Images; p. 24: Th inkstock/Jupiterimages; p. 26: BDG/Rex Features; p. 28 (T): Garo/Phanie/Rex Features; p. 28 (CR): iStockphoto/Sean Locke; p. 28 (BL):Th inkstock/Stockbyte; p. 28 (BR):MBI/Alamy; p. 31: imagebroker.net /Superstock; p. 34: Ron Royals/Corbis; p. 35: Ignacio Palacios/Alamy; p. 37: Ed Horowitz/Getty Images; p. 38: age fotostock/Superstock; p. 39: Th inkstock /iStockphoto; p. 40 (L): Courtesy of Everett Collection/Rex Features; p. 40 (R): Neil Farrin/Getty Images; p. 41 (L): Hubert Moal/John Warburton-Lee Photography /Photolibrary.com; p. 41 (R): David Young-Wolff /Alamy; p. 43 (T): David Sacks/Getty Images; p. 43 (C): Sipa Press/Rex Features; p. 43 (B): David J. Green - lifestyle 2/Alamy; p. 46/47: Action Press/Rex Features; p. 47 (R): Vision SRL/Getty Images; p. 48: Shutterstock/AVAVA; p. 49 (T): iStockphoto/craft vision; p. 49 (C): John McKenna/Alamy; p. 49 (B): parm/Alamy; p. 53 (dishwasher): iStockphoto /JazzIRT; p. 53 (DVD player): iStockphoto/George Peters; p. 53 (bread): iStockphoto /Alvin Burrows; p. 53 (biro): Th inkstock/iStockphoto; p. 53 (video recorder): iStockphoto/Lusoimages; p. 53 (computer mouse): iStockphoto/Jonas Staub; p. 53 (toaster): iStockphoto/Jill Chen; p. 53 (personal stereo): Dave King/Andy Crawford/Steve Gorton/DK Images; p. 53 (wrist watch): Th inkstock; p. 53 (can): Shutterstock/J and S Photography; p. 54 (A): Michael Willis/Alamy; p. 54 (B): David J. Green - technology/Alamy; p. 54 (C): Michael Ventura/Alamy; p. 54 (D): iStockphoto/Shantell; p. 56: Chris Martinez/AP/Press Association Imagesp. 58: ©Hulton Deutsch Collection/Corbis; p. 59 (A): Mel Yates/Getty Images; p. 59 (B): Julia Martin/Photofusion; p. 59 (C): Th inkstock/Stockbyte; p. 61: Janine Wiedel Photolibrary/Alamy; p. 62 (L): Th inkstock/Jupiterimages; p. 62 (C): OF MICE AND MEN by John Steinbeck (Penguin, 2000). Copyright © John Steinbeck, 1937, 1965. Reproduced by permission of Penguin Books Ltd.; p. 62 (R): from Th rough A Glass Darkly by Donna Leon, published by Arrow Books. Used by permission of Th e Random House Group Ltd.; p. 65 (A): West Coast Surfer/Moodboard/Rex Features; p. 65 (B): Superstock; p. 65 (C): Jonathan Hordle/Rex Features; p. 65 (E): Car Culture/Getty Images; p. 69: Sipa Press/Rex Features; p. 71: Rex Features; p. 73 (A): Shutterstock/Valeriy Lebedev; p. 73 (C): Sipa Press/Rex Features; p. 73 (D): Cultura Ltd/Superstock; p. 76 (A): Image courtesy of the Advertising Archives; p. 76 (B): Courtesy of Anglia Ruskin University; p. 76 (C): Science Photo Library/Alamy; p. 76 (D): Helene Rogers/Art Directors & TRIP; p. 77: Dmitriy Shironosov/Alamy; p. 78: Reggie Casagrande/Getty Images; p. 79 (T): Cultura Ltd/Superstock; p. 79 (B): Glow Images Inc./Photolibrary.com; p. 80 (L): Robin Lyn Gibson/Getty Images; p. 80 (TR): iStockphoto/hartphotography; p. 80 (BR): iStockphoto/rest; p. 85 (A): Sheltered Images/Superstock; p. 85 (B): Imagestate; p. 85 (C): Dennis MacDonald/age fotostock/Photolibrary.com; p. 85 (D): Photononstop/Superstock; p. 87: Nigel Norrington/ArenaPal/Topfoto; p. 88 (TL): European Press Agency /Photolibrary.com; p. 88 (BL): Th inkstock/Stockbyte; p. 88 (C): Tetra Images/Alamy; p. 88 (R): iStockphoto/Sean Locke; p. 94 (A): Paul Brown/Rex Features; p. 94 (B): Image Source/Rex Features; p. 94 (C): Leah Warkentin/Design Pics Inc./Rex Features; p. 95: Design Pics Inc./Alamy; p. 97: J Marshall/Tribaleye Images/Alamy; p. 98: Monkey Business Images/Rex Features; p. 99: Image courtesy of the Advertising Archives; p. 103: Blend Images/Superstock; p. 104: Getty Images; p. 107 (TL): Warner Bros/Ronald Grant Archive; p. 109 (A): Mirmax/Ronald Grant Archive; p. 109 (B): Lucasfi lm/Ronald Grant Archive; p. 109 (C): ©Dreamworks/Everett/Rex Features; p. 109 (D): MOSFILM/Kobal Collection; p. 110: 20th Century Fox Film Corporation/Kobal Collection; p. 112 (TC): Tony Anderson/Getty Images; p. 112 (R): Picture Partners/Alamy;p. 112 (BC): Jiang Jin/Superstock; p. 112 (L): PhotoAlto/Superstock; p. 113: Glowimages RM/Alamy; p. 115: Shutterstock/Galina Barskaya; p. 118: Th inkstock/iStockphoto; p. 119: mylife photos/Alamy; p. 121: iStockphoto/alexander mychko; p. 124 (TL): Helene Rogers/Art Directors & TRIP; p. 124 (CL): Shutterstock/Zheltyshev; p. 124 (BL): Cephas Picture Library/Alamy; p. 124 (BR): Photo Japan/Robert Harding Travel/Photolibrary.com; p. 125 (T): iStockphoto/skhoward; p. 125 (B): Th e Painter’s Daughters chasing a Butterfl y, c.1759, Gainsborough, Th omas (1727-88)/National Gallery, London, UK /Th e Bridgeman Art Library; p. 127 (TL): Bettmann/Corbis; p. 127 (BL): Shutterstock /John Black; p. 127 (TR): Asia Images Group Pte Ltd/Alamy; p. 127 (BR): Frank P Wartenberg/Picture Press/Photolibrary.com; p. 128: moodboard/Superstock; p. 130 (L): Indexstock/Superstock; p. 130 (C): Imagestate; p. 130 (R): FPG International /Ron Chapple/Getty Images; p. 131 (L): Roger Cracknell 14/Asia/Alamy; p. 131 (R): China Tourism Press; p. 132: Shutterstock/Manamana; p. 133 (T): Th inkstock /iStockphoto; p. 133 (B): Gűnter Lenz/Imagebroker.net/Photolibrary.com; p. 136: Iola Clark/Art Directors & TRIP; p. 137 (T): Paul Glendell/Alamy; p. 137 (C): KPA/Zuma /Rex Features; p. 137 (B): Indexstock/Superstock; p. 138: Clover/Superstock; p. 139; Splashdowndirect/Photolibrary.com; p. 144: I love images/Alamy; p. 145: iStockphoto/Ivan Stevanovic; p. 146 (A): Philip & Karen Smith/Superstock; p. 146 (B): Glow Images Inc./Superstock; p. 146 (C): fotolia/Monkey Business; p. 147 (D): Finnbarr Webster/Alamy; p. 147 (E): Mike Booth/Alamy; p. 147 (F): Jeff rey Blackler/Alamy; p. 147 (G); imagebroker/Alamy; p. 147 (H): Helene Rogers/Art Directors & TRIP; p. 148 (T): Manor Photography/Alamy; p. 148 (B): Alex Lentati/Evening Standard/Rex Features; p. 149: Th inkstock/Digital Vision; p. 150 (A): AP Photo/Th e Canadian Press, Jonathan Hayward/Press Association Images; p. 150 (B): Joerg Boethling/Still Pictures; p. 154 (L): Th inkstock/Ryan McVay/Photodisc; p. 154 (TC): Th inkstock/iStockphoto; p. 154 (TR): Cyril Rusos/Bios/Photolibrary.com; p. 154 (BR): Andrew Fox/Alamy; p. 155: Mary Evans Picture Library; p. 156: Sipa Press/Rex Features; p. 157: Kim Steele/Blend Images/Photolibrary.com; p. 159: iStockphoto/kristian sekulic.Picture research by Kevin BrownIllustrations:Asa Anderson p. 71; Kathryn Baker pp. 82, 86; Mark Draisey pp. 96, 100, Mark Duffi n pp. 65, 67, 71, 107, 118; Nick Duff y pp. 30, 52, 84, 102; Peter Greenwood pp. 90, 151; Kamae Design pp. 89, 136, 161, 162; Julian Mosedale pp. 52, 61; Rory Walker p. 142.

Acknowledgements






mapofobjectiveadvancedstudent’s book � 54 mapofobjectiveadvancedstudent’s book

Map of Objective Advanced Student’s BookTOPIC EXAM PRACTICE GRAMMAR VOCABULARYUnit�1Getting�to�know�you� 10–13 People and places

Paper 5 Speaking: 1Paper 4 Listening: 4

Conditionals culture and placesCollocations

Exam�folder�1� 14–15 Paper 3 Use of English: 1Multiple-choice gap fi ll

Unit�2�Keeping�in�touch� 16–19 Making contact

Paper 2 Writing: 1 and 2Paper 5 Speaking: 1

Prepositions and phrasal verbs (1) informal writingWords with multiple meanings

Writing�folder�1� 20–21 Informal and formal writing

Unit�3�In�the�public�eye� 22–25 In the media

Paper 1 Reading: 3 Wishes and regrets interviews and the mediaIdioms (verb + the + object)

Exam�folder�2� 26–27 Paper 3 Use of English: 2 Open gap fi ll

Unit�4�Acting�on�advice� 28–31Memory techniques

Paper 3 Use of English: 3 Modals and semi-modals (1) advice and instructionsPrefi xes and suffi xes

Writing�folder�2� 32–33 Formal writing

Unit�5Dear�Sir�or�Madam� 34–37 Dream jobs

Paper 2 WritingPaper 4 Listening: 2

Relative clauses formal writingConnotation

Units�1–5�Revision� 38–39

Unit�6�Connections� 40–43 Communications technology

Paper 1 Reading Phrasal verbs (1) phone messagesCollocations with have, do, make, take

Exam�folder�3� 44–45 Paper 3 Use of English: 3 Word formation

Unit�7�A�successful�business� 46–49 Th e world of work

Paper 1 Reading: 3Paper 3 Use of English: 4Paper 3 Use of English: 3

Reason, result and purpose work and business

Writing�folder�3� 50–51 Reports

Unit�8�Being�inventive� 52–55 Inventions

Paper 5 Speaking Modals and semi-modals (2) describing objectsPositive and negative adjectives

Exam�folder�4� 56–57 Paper 3 Use of English: 4 Gapped sentences

Unit�9�I�have�a�dream� 58–61 Social change

Paper 4 ListeningPaper 5 Speaking: 3

Future forms speechesMetaphors

Writing�folder�4� 62–63 Describing a novel (set texts)






mapofobjectiveadvancedstudent’s book � 54 mapofobjectiveadvancedstudent’s book

TOPIC EXAM PRACTICE GRAMMAR VOCABULARYUnit�10��You�live�and�learn� 64–67 Further study

Paper 1 Reading: 1Paper 3 Use of English: 3Paper 2 WritingPaper 5 Speaking

Participle clauses academic englishWord formation


Unit�11��Fashion�statements� 70–73 Fashion

Paper 4 Listening: 2Paper 5 Speaking: 2

Reported speech fashion

Exam�folder�5� 74–75 Paper 3 Use of English: 5 Key word transformations

Unit�12��Leaf�through�a�leaflet� 76–79 Making decisions

Paper 2 WritingPaper 4 Listening: 2

-ing forms designVerbs with the -ing form

Writing�folder�5� 80–81

Unit�13�Fact�or�fantasy� 82–85Dreaming

Paper 1 ReadingPaper 4 Listening

Past tenses and the present perfect descriptive languageAdjective order

Exam�folder�6� 86–87 Paper 1 Reading: 1 Themed texts

Unit�14��Evolving�language� 88–91 Human communication

Paper 4 Listening: 3Paper 4 Listening: 2Paper 1 Reading: 3Paper 3 Use of English: 3

The passive communicationWord formation

Writing�folder�6� 92–93 Essays

Unit�15��In�my�view�…� 94–97 Family life

Paper 1 Reading: 3Paper 5 Speaking: 3Paper 4 Listening: 4

The infinitive family lifeExpressing opinions


Unit�16��What�if�…?� 100–103Mini sagas

Paper 2 Writing Hypothesising competition entriesIdioms of the body

Exam�folder�7� 104–105 Paper 1 Reading: 2 Gapped text

Unit�17��Rave�reviews� 106–109 The arts

Paper 1 Reading: 1 Paper 5 SpeakingPaper 4 Listening: 2

Articles the arts Giving a positive or negative review

Writing�folder�7� 110–111 Reviews

Unit�18��May�I�introduce�…?� 112–115 White lies

Paper 5 Speaking Emphasis small talkPlayful language

Exam�folder�8� 116–117 Paper 1 Reading: 1, 3 and 4 Multiple choice and multiple matching






contentofcambridgeenglish: advanced � 76 mapofobjectiveadvancedstudent’s book

TOPIC EXAM PRACTICE GRAMMAR VOCABULARYUnit�19�Do�it�for�my�sake� 118–121Persuasion

Paper 5 SpeakingPaper 3 Use of English: 4

Language of persuasion proposals and negotiationsWords with diff erent meanings

Writing�folder�8� 122–123 Proposals

Unit�20�Feeding�the�mind� 124–127 Food, pictures and science

Paper 1 Reading: 1Paper 3 Use of English: 3Paper 4 ListeningPaper 5 Speaking: 4

Inversion food, pictures and scienceWord formation


Unit�21�Natural�wonders� 130–133Beauty spots

Paper 2 Writing Range of grammatical structures travel articlesTravel idioms

Exam�folder�9� 134–135 Th e Listening test

Unit�22�Under�the�weather� 136–139 Climate change

Paper 4 ListeningPaper 5 Speaking

Interpreting and comparing Climate changeWeather and climate collocationsInterpreting and comparing

Writing�folder�9� 140–141 Persuasive writing

Unit�23�I�really�must�insist� 142–145 Putting your point across

Paper 4 Listening: 3Paper 2 WritingPaper 5 Speaking

Phrasal verbs (2) putting your point acrossPhrasal verbs

Exam�folder�10� 146–147 Th e Speaking test

Unit�24�News�and�views� 148–151 Stories in the news

Paper 1 Reading: 3Paper 4 Listening

Connecting words news storiesPrecise or dramatic language

Writing�folder�10� 152–153 Articles

Unit�25�Intelligence� 154–157 Intelligence and studies

Paper 3 Use of English: 2 Complex sentences and adverbial clauses

intelligenceResearch and reporting on results


Grammar�folder� 163–176






contentofcambridgeenglish: advanced � 76 mapofobjectiveadvancedstudent’s book

Content of Cambridge English: Advanced

Cambridge English: Advanced, also known as Certifi cate in Advanced English (CAE) consists of fi ve papers, each of which is worth 20% of the exam total. It is not necessary to pass all fi ve papers in order to pass the examination. There are three passing grades: A, B, C. As well as being told your grade, you will also be given a statement of your results which shows a graphical profi le of your performance on each paper.

Extended certifi cation Cambridge English: Advanced is set at Level C1 of the Common European Framework of Reference for Languages (CEFR). Extended certifi cation can give you additional credit for the language skills you demonstrate in the exam. It works in two ways.• If you perform particularly well, you can get credit at a higher level on the CEFR. If you get grade A in the exam, you

receive a certifi cate indicating that you are at C2 level.• You can also receive credit for your English language skills, even if you do not achieve a passing grade. So if you do

not get enough marks for a grade C in the exam, you can still be awarded a certifi cate showing performance at level B2 if you show this level of ability in the exam.

Results CEFR level

Grade A C2

Grades B and C C1

B2 level B2

Paper 1 Reading 1�hour�15�minutesThere are four parts to this paper and they are always in the same order. Each part contains one or more texts and a comprehension task. The texts used are from newspapers, magazines, journals, books, leafl ets, brochures, etc.

Part Task Type Number of Questions

Task Format Objective Exam folder

1 Multiple choice 6 You read three short texts relating to the same theme and have to answer two multiple-choice questions on each. Each question has four options, A, B, C and D.

6 (86–87)

2 Gapped text 6 You must read a text with extracts removed. You need to use the missing extracts to complete the text.

7 (104–105)

3 Multiple choice 7 You read a text followed by multiple-choice questions with four options.

8 (116–117)

4 Multiple matching 15 You read a text, which may be divided into sections, or a group of short texts, preceded by multiple-matching questions. You match a question to the part of the text where you can fi nd the information.

8 (116–117)






contentofcambridgeenglish: advanced � 98 contentofcambridgeenglish: advanced

Paper 2 Writing 1�hour�30�minutesThere are two parts to this paper. Part 1 is compulsory as you have to answer it in 180–220 words. In Part 2 there are five questions, two of which relate to set texts. You must write an answer of 220–260 words to one of these five questions.

Part Task Type Number of Tasks

Task Format Objective Writing Folder

1 articlereportproposal letter

1 You are given a situation and some information which you need to respond to. You may be given two different pieces of material which you need to use in your answer.

1 Informal writing (20–21)2 Formal writing (32–33)3 Reports (50–51)8�Proposals (122–123)10 Articles (152–153)

2 articlereportreviewessayletter proposalinformation sheetcompetition entrycontribution toa longer piece (only the first fourfrom this list usedfor set text tasks)

Choose 1 from a choice of four tasks.

You are given a choice of tasks which specify the type of text you have to write, your purpose for writing and the person or people you have to write for.

4 Set texts (62–63)5 Information sheets (80–81)6 Essays (92–93)7 Reviews (110–111)9 Persuasive writing (140–141)

Paper 3 Use of English 1�hourThere are five parts to this paper, which tests your grammar and vocabulary.


Task Format Objective Exam Folder

1 Multiple-choice gap fill mainly testing vocabulary

12 Multiple-choice gap fill mainly testing vocabulary. Each question has four options: A, B, C and D.

1 (14–15)

2 Open gap fill, mainly testing grammar

15 You fill each of 15 gaps in a text with one word each. 2 (26–27)

3 Word formation 10 You need to use the right form of a given word to fill the gaps in a text containing 10 gaps.

3 (44–45)

4 Gapped text 5 You read three sentences. Each sentence has a gap. You must write one word which is appropriate in all three sentences.

4 (56–57)

5 Key word transformations

8 You read a given sentence, and then complete a second sentence so that it has a similar meaning to the first one. You can use between three and six words, including one word which is given.

5 (74–75)






contentofcambridgeenglish: advanced � 98 contentofcambridgeenglish: advanced

Paper 4 Listening approximately�40�minutes�There are four parts to this paper. All the recordings are heard twice. The recordings are set in a variety of situations. In some parts you hear just one speaker; in others more than one speaker.


Task Format Objective Exam Folder

1 Multiple choice 6 You hear three short extracts and have to answer two multiple- choice questions on each. Each question has three options, A, B and C.

9 (134–135)

2 Sentence completion

8 You hear a recording and have to write a word or short phrase to complete sentences.

9 (134–135)

3 Multiple choice 6 You hear a recording and have to answer multiple-choice questions with four options.

9 (134–135)

4 Multiple matching 10 You hear five short extracts. There are two matching tasks focusing on the gist and the main points of what is said, the attitude of the speakers and the context in which they are speaking.

9 (134–135)

Paper 5 Speaking 15�minutesThere are four parts to this paper. There are usually two of you taking the examination together and two examiners. This paper tests your grammar and vocabulary, interactive communication, pronunciation and how you link your ideas.

Part Task Type Time Format Objective Exam Folder

1 Three-way conversation between two students and one of the examiners

3 minutes The examiner asks you both some questions about yourself and your interests and experiences.

10 (146–147)

2 Individual ‘long turn’ with brief response from partner

4 minutes You are each given some visual and written prompts and the examiner will ask you to talk about these for about a minute. You are asked to give a short response after your partner has finished their ‘long turn’.

10 (146–147)

3 Collaborative task 4 minutes You are given some visual prompts for a discussion or decision-making task and you discuss these prompts with your partner.

10 (146–147)

4 Three-way interaction between students and one of the examiners

4 minutes The examiner asks you and your partner questions relating to topics arising from Part 3.

10 (146–147)




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Objective Advanced - Cambridge University Pressassets.cambridge.org/97805211/81716/frontmatter/9780521181716... · 978-0-521-18171-6 – Objective Advanced Felicity O’Dell and Annie