Student`s Book without answers

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978-0-521-18171-6 – Objective Advanced
Felicity O’Dell and Annie Broadhead
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Objective
Advanced
Student’s Book
without answers
Felicity O’Dell Annie Broadhead
© in this web service Cambridge University Press
Third Edition
www.cambridge.org
Cambridge University Press
978-0-521-18171-6 – Objective Advanced
Felicity O’Dell and Annie Broadhead
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More information
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Acknowledgements
The authors and publishers acknowledge the following sources of copyright material and
are grateful for the permissions granted. While every effort 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, Thaindian News
23.12.08; Cambridge University Press p. 27 adapted from The Cambridge Encyclopedia of the
English Language by David Crystal. Copyright © 1995 Cambridge University Press and p.
124(1) adapted from Eating Out, Social Differentiation, 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’ The Times 21.4.00, p. 45(6) adapted from
‘Nowhere Man’ by Sarah Sims The Times 11.3.00, p. 70 adapted from ‘Talking clothes get our
measure’ by Paul Nuki The Sunday Times 21.3.99, p. 95 adapted from ‘What these kids need is
discipline’ by Ann McFerran The 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 ‘The $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 The Telegraph 10.3.01,
p. 68 adapted from ‘When the office is your best bet’ by Tom Standage, The Telegraph 1.10.96,
p. 125(2) adapted from ‘James Dyson’s History of Great Inventions, The Telegraph Magazine,
June 2000, p. 125(3) from ‘In the picture’ by Andrew Graham-Dixon, The Sunday Telegraph
Magazine 18.6.00, p. 129 adapted from ‘Is honesty the best policy?’ by Thea Jourdan, The
Telegraph 17.10.00. Copyright © Telegraph Media Group Limited; Crimson Business p. 46
adapted from ‘Dominic McVey – The 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. Thames & Hudson 1991. Reproduced with permission of the publishers; p. 64(3)
extract from The 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 The
HJ Eysenck Memorial Fund; University of Nottingham Centre for Career Development p. 77
adapted from ‘Modern Languages: what are my career options’. This 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 The 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 ‘The KISS Principle’ from The 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, The 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,
The Guardian, 23.4.01, p. 156 adapted from ‘Sucker for soccer: Octopus predicts World Cup
finalist’ by Mark Tran, The 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; The Independent pp. 104–105 ‘Don’t
be fooled: The Queen is not speaking our language’ by Philip Hensher, The Independent
22.12.00. Copyright © The 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; The
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.
The authors and publishers acknowledge the following sources of copyright material and
are grateful for the permissions granted. While every effort 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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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): Thinkstock; p. 13 (B): Sean Sprague/Still
Pictures; p. 13 (C): Charles O Cecil/Alamy; p. 13 (D): Ian M Butterfield (Tunisia)/Alamy; p.
13 (E): John Powell Photography/Alamy; p. 15: Michael Dunne/Photolibrary.com; p. 16
(TR): Thinkstock/iStockphoto; p. 16 (TL):Thinkstock /Jupiterimages; p. 16 (B): iStockphoto/
Brian Jackson; p. 17: Thinkstock/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: Thinkstock/Jupiterimages; p. 26: BDG/Rex Features; p. 28 (T):
Garo/Phanie/Rex Features; p. 28 (CR): iStockphoto/Sean Locke; p. 28 (BL):Thinkstock/
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: Thinkstock /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/craftvision; 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):
Thinkstock/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):
Thinkstock; 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 Images
p. 58: ©Hulton Deutsch Collection/Corbis; p. 59 (A): Mel Yates/Getty Images; p. 59 (B): Julia
Martin/Photofusion; p. 59 (C): Thinkstock/Stockbyte; p. 61: Janine Wiedel Photolibrary/
Alamy; p. 62 (L): Thinkstock/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 Through A Glass Darkly by Donna Leon,
published by Arrow Books. Used by permission of The 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): Thinkstock/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): Lucasfilm/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:
Thinkstock/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): The Painter’s Daughters
chasing a Butterfly, c.1759, Gainsborough, Thomas (1727-88)/National Gallery, London, UK /
The 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): Thinkstock /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): Jeffrey 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:
Thinkstock/Digital Vision; p. 150 (A): AP Photo/The Canadian Press, Jonathan Hayward/Press
Association Images; p. 150 (B): Joerg Boethling/Still Pictures; p. 154 (L): Thinkstock/Ryan
McVay/Photodisc; p. 154 (TC): Thinkstock/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 Brown
Illustrations:
Asa Anderson p. 71; Kathryn Baker pp. 82, 86; Mark Draisey pp. 96, 100, Mark Duffin pp.
65, 67, 71, 107, 118; Nick Duffy 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.
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Felicity O’Dell and Annie Broadhead
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Map of Objective Advanced Student’s Book
TOPIC
EXAM PRACTICE
GRAMMAR
VOCABULARY
Unit1
Gettingtoknowyou 10–13
Paper 5 Speaking: 1
Paper 4 Listening: 4
Conditionals
culture and places
Collocations
Examfolder1 14–15
Paper 3 Use of English: 1
Multiple-choice gap fill
Unit2
Keepingintouch 16–19
Paper 2 Writing: 1 and 2
Paper 5 Speaking: 1
Prepositions and phrasal verbs (1)
informal writing
Words with multiple meanings
Writingfolder1 20–21
Informal and formal writing
Unit3
Inthepubliceye 22–25
Paper 1 Reading: 3
Wishes and regrets
interviews and the media
Idioms (verb + the + object)
Examfolder2 26–27
Paper 3 Use of English: 2
Open gap fill
Unit4
Actingonadvice 28–31
Paper 3 Use of English: 3
Modals and semi-modals (1)
advice and instructions
Prefixes and suffixes
Writingfolder2 32–33
Formal writing
Unit5
DearSirorMadam 34–37
Paper 2 Writing
Paper 4 Listening: 2
Relative clauses
formal writing
Connotation
Unit6
Connections 40–43
Paper 1 Reading
Phrasal verbs (1)
phone messages
Collocations with have, do, make,
take
Examfolder3 44–45
Paper 3 Use of English: 3
Word formation
Unit7
Asuccessfulbusiness 46–49
Reason, result and purpose
work and business
The world of work
Paper 1 Reading: 3
Paper 3 Use of English: 4
Paper 3 Use of English: 3
Writingfolder3 50–51
Reports
Unit8
Beinginventive 52–55
Paper 5 Speaking
Modals and semi-modals (2)
describing objects
Positive and negative adjectives
Examfolder4 56–57
Paper 3 Use of English: 4 Gapped
sentences
Unit9
Ihaveadream 58–61
Paper 4 Listening
Paper 5 Speaking: 3
Future forms
speeches
Metaphors
Writingfolder4 62–63
Describing a novel (set texts)
People and places
Making contact
In the media
Memory techniques
Dream jobs
Units1–5Revision 38–39
Communications technology
Inventions
Social change
4
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Felicity O’Dell and Annie Broadhead
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TOPIC
EXAM PRACTICE
GRAMMAR
VOCABULARY
Unit10
Youliveandlearn 64–67
Paper 1 Reading: 1
Paper 3 Use of English: 3
Paper 2 Writing
Paper 5 Speaking
Participle clauses
academic english
Word formation
Unit11
Fashionstatements 70–73
Paper 4 Listening: 2
Paper 5 Speaking: 2
Reported speech
fashion
Examfolder5 74–75
Paper 3 Use of English: 5
Key word transformations
Unit12
Leafthroughaleaflet 76–79
Making decisions
Paper 2 Writing
Paper 4 Listening: 2
-ing forms
design
Verbs with the -ing form
Dreaming
Unit13Factorfantasy 82–85
Paper 1 Reading
Paper 4 Listening
Past tenses and the present perfect
descriptive language
Adjective order
Examfolder6 86–87
Paper 1 Reading: 1 Themed texts
Unit14
Evolvinglanguage 88–91
Paper 4 Listening: 3
Paper 4 Listening: 2
Paper 1 Reading: 3
Paper 3 Use of English: 3
The passive
communication
Word formation
Writingfolder6 92–93
Essays
Unit15
Inmyview… 94–97
Family life
Paper 1 Reading: 3
Paper 5 Speaking: 3
Paper 4 Listening: 4
The infinitive
family life
Expressing opinions
Unit16
Whatif…? 100–103
Paper 2 Writing
Hypothesising
competition entries
Idioms of the body
Examfolder7 104–105
Paper 1 Reading: 2
Gapped text
Unit17
Ravereviews 106–109
Articles
The arts
Paper 1 Reading: 1
Paper 5 Speaking
Paper 4 Listening: 2
the arts
Giving a positive or negative review
Writingfolder7 110–111
Reviews
Unit18
MayIintroduce…? 112–115
White lies
Paper 5 Speaking
Emphasis
small talk
Playful language
Examfolder8 116–117
Paper 1 Reading: 1, 3 and 4
Multiple choice and multiple
matching
Further study
Units6–10Revision 68–69
Fashion
Writingfolder5 80–81
Human communication
Units11–15Revision 94–95
Mini sagas
m a p o f o b j e c t i v e a d v a n c e d s t u d e n t ’ s b o ok © in this web service Cambridge University Press
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Felicity O’Dell and Annie Broadhead
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TOPIC
EXAM PRACTICE
GRAMMAR
VOCABULARY
Unit19
Doitformysake 118–121
Paper 5 Speaking
Paper 3 Use of English: 4
Language of persuasion
proposals and negotiations
Words with different meanings
Writingfolder8 122–123
Proposals
Unit20
Feedingthemind 124–127
Paper 1 Reading: 1
Paper 3 Use of English: 3
Paper 4 Listening
Paper 5 Speaking: 4
Inversion
food, pictures and science
Word formation
Unit21
Naturalwonders 130–133
Beauty spots
Paper 2 Writing
Range of grammatical structures
travel articles
Travel idioms
Examfolder9 134–135
The Listening test
Unit22
Undertheweather 136–139
Paper 4 Listening
Paper 5 Speaking
Interpreting and comparing
Climate change
Weather and climate collocations
Interpreting and comparing
Writingfolder9 140–141
Persuasive writing
Unit23
Ireallymustinsist 142–145
Phrasal verbs (2)
Putting your point across
Paper 4 Listening: 3
Paper 2 Writing
Paper 5 Speaking
putting your point across
Phrasal verbs
Examfolder10 146–147
The Speaking test
Unit24
Newsandviews 148–151
Paper 1 Reading: 3
Paper 4 Listening
Connecting words
news stories
Precise or dramatic language
Writingfolder10 152–153
Articles
Unit25
Intelligence 154–157
Paper 3 Use of English: 2
Complex sentences and adverbial
clauses
intelligence
Research and reporting on results
Persuasion
Food, pictures and science
Units16–20Revision 128–129
Climate change
Stories in the news
Intelligence and studies
Units21–25Revision 158–159
Grammarfolder 163–176
6
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Content of Cambridge English: Advanced
Cambridge English: Advanced, also known as Certificate in Advanced English (CAE) consists of five papers, each of
which is worth 20% of the exam total. It is not necessary to pass all five 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 profile of your performance on each paper.
Extended certification
Cambridge English: Advanced is set at Level C1 of the Common European Framework of Reference for Languages
(CEFR). Extended certification 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 certificate 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 certificate 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
1hour15minutes
There 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, leaflets, 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 find the information.
8 (116–117)
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978-0-521-18171-6 – Objective Advanced
Felicity O’Dell and Annie Broadhead
Frontmatter
More information
Paper 2 Writing
1hour30minutes
There 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
1
2
Task Type
article
report
proposal
letter
article
report
review
essay
letter
proposal
information sheet
competition entry
contribution to
a longer piece
(only the first four
from this list used
for set text tasks)
Number of
Tasks
Task Format
Objective Writing Folder
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)
8Proposals (122–123)
10 Articles (152–153)
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
1hour
There are five parts to this paper, which tests your grammar and vocabulary.
Part
8
Task Type
Number of
Questions
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)
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© in this web service Cambridge University Press
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Cambridge University Press
978-0-521-18171-6 – Objective Advanced
Felicity O’Dell and Annie Broadhead
Frontmatter
More information
Paper 4 Listening
approximately40minutes
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.
Part
Task Type
Number of
Questions
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
15minutes
There 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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