249 Acknowledgements I would like to thank everyone who has worked on this book and with particular thanks to Brigit Viney, Nicholas White, Catriona WatsonBrown and Lynn Townsend for their enthusiasm, expertise, eye for detail and sheer dedication. Thanks also to Elizabeth Knowelden and Linda Matthews (production controllers), Hilary Fletcher and Kevin Brown (picture researchers), Michelle Simpson (permissions clearance controller), Leon Chambers (audio producer), Mark Oliver (sound engineer) and Lucy Mordini (proofreader). Special thanks to the design team at Wild Apple Design. Thanks also to David Castillo, Academic Co-ordinator at the Asociación Cultural Peruano Británica, el Británico, for his feedback and advice on text on pages 154 and 155. My warmest thanks also to Paz for her enthusiasm, encouragement, support together with constant feedback from using the First Edition. This book is for her, with love. Guy Brook-Hart, Valencia, January 2014 The author and publishers are grateful to the following for reviewing the material: Kathryn Alevizos (UK), Petrina Cliff (UK), Allan Dalcher (Switzerland), Lyubov Figurovskaya (Russia), Robert Islam (Italy), Fiona Mulcahy (Spain), Peter Sunderland (UK). This product is informed by the English Vocabulary Profi le, built as part of English Profi le, a collaborative programme designed to enhance the learning, teaching and assessment of English worldwide. Its main funding partners are Cambridge University Press and Cambridge English Language Assessment and its aim is to create a ‘profi le’ for English linked to the Common European Framework of Reference for Languages (CEF). English Profi le outcomes, such as the English Vocabulary Profi le, will provide detailed information about the language that learners can be expected to demonstrate at each CEF level, offering a clear benchmark for learners’ profi ciency. For more information, please visit www.englishprofi le.org Development of this publication has made use of the Cambridge English Corpus (CEC). The CEC is a computer database of contemporary spoken and written English, which currently stands at over one billion words. It includes British English, American English and other varieties of English. It also includes the Cambridge Learner Corpus, developed in collaboration with the University of Cambridge ESOL Examinations. Cambridge University Press has built up the CEC to provide evidence about language use that helps to produce better language-teaching materials. The Cambridge Advanced Learner’s Dictionary is the world’s most widely used dictionary for learners of English. Including all the words and phrases that learners are likely to come across, it also has easy-tounderstand defi nitions and example sentences to show how the word is used in context. The Cambridge Advanced Learner’s Dictionary is available online at dictionary.cambridge.org. © Cambridge University Press. Reproduced with permission. The author 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. pp. 10–11: Telegraph Media Group Limited for the adapted article ‘Can teenagers ever be tamed’ by Rachel Carlyle, The Daily Telegraph 27 July 2005; p. 41: adapted article ‘Food Glorious food’ by Rose Prince, The Daily Telegraph 16 September 2006; p. 132: adapted article ‘Circus life, Neil and Toti Gifford run the show’ The Daily Telegraph 6 July 2005. Copyright © Telegraph Media Group Limited 2013. p. 20: Little, Brown Book Group Limited and United Agents for the adapted text ‘My fi rst bike’ from Long Way Round by Ewan McGregor and Charley Boorman. Copyright © Long Way Round Limited 2004. Used by permission of Little, Brown Book Group Limited and United Agents. p. 35: Guardian News & Media Limited for the adapted article (a) ‘My crap holiday, so that’s why the beach was deserted’ by Pauline Vernon The Observer 22 November 2009; p. 35: adapted article (c) ‘My crap holiday, then I woke up and smelt the coffee’ by Cat Donovan The Observer 26 April 2009; p. 35: adapted article (d) ‘My crap holiday, nightmare trek with sudden movements’ by Graham Whitely The Observer 15 April 2007; p. 144: adapted article ‘My kitchen’ by Tamsin Blanchard The Observer 10 June 2001. Copyright © Guardian News & Media Limited 2009, 2007, 2001. p. 35: Ninemsn Pty Ltd for the adapted text (b) ‘Reader story: attacked by a bear’ by Sandy Henderson, 18 June 2009. © 1997–2013 Ninemsn Pty Ltd – All rights reserved. p. 47: Manchester Evening News for the adapted article ‘Moso Moso’ by Kyla Manchester Evening News 17 August 2005. Used by permission of Manchester Evening News. p. 64: Lucy Irvine for the heavily adapted text ‘Lucy’s fi rst job’ from Runaway. Copyright © Lucy Irvine 1987. Used by kind permission of Lucy Irvine. p. 69: The Independent for the adapted article ‘The teenagers who may yet bring big society to life’ by Oliver Wright The Independent 28 August 2012; p. 120: for the adapted article ‘What’s it like to study medicine?’ by Fred Clough The Independent 14 September 2012. Copyright © The Independent. p. 76: Adventure Sports Journal for the adapted text ‘Are you ready for an adventure race?’ by Rebecca Rusch Adventure Sports Journal 2006. Used by permission of Adventure Sports Journal. p. 85: The Scotsman Publications Limited for the adapted text ‘City’s Student actors reach a crucial stage’ by Adrian Mather, The Evening News 29 March 2006. Used by permission of The Scotsman Publications Limited. p. 90: The Daily Mail for the adapted article ‘You Tube “geek” one day, millionaire celeb the next’ from This is Money online 10 December 2010. Copyright © Associated Newspapers Limited. pp. 96–97: Mihaly Csikzentmihalyi for the adapted text ‘The secrets of happiness’ The Times 19 September 2005. Used by kind permission of Mihaly Csikzentmihalyi. p. 108: Teen Ink for the text ‘My greatest infl uence’ by Rachel S., Colleyville, Texas. Reproduced with permission of Teen Ink. pp. 134–135: News Syndication for the adapted article ‘Surviving an animal attack’ The Sunday Times 23 April 2006. Copyright © News Syndication.
250 p. 141: Darley and Anderson Literary Agency for the adapted text ‘My new home in Venice’ from The Cemetery of Secrets by David Hewson, published by Pan Macmillan 2009. Reproduced with permission. 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. The publisher has used its best endeavours to ensure that the URLs for external websites referred to in this book are correct and active at the time of going to press. 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. 8 (t): Altrendo/Juice Images/Corbis; p. 8 (c): PhotoAlto sas/Alamy; p. 8 (bl): CREATISTA/Shutterstock; p. 8 (br): Simon Dack/Alamy; p. 9 Muskopf Photography LLC/Alamy; p. 10: Denkou Images/Alamy; p. 11 (bl): Jon Feingersh/Blend Images/Getty Images; p. 11 (bc): aberCPC/Alamy; p. 11 (tc): Beyond Fotomedia GmbH/Alamy; p. 11 (bl): Jon Feingersh/Blend Images/Getty Images; p. 11(br): Piti Tan/Shutterstock; p. 12: Catchlight Visual Services/Alamy; p. 13 (l): Kiselev Andrey Valerevich/Shutterstock; p. 13 (c): Yellow Dog Productions/Getty Images; p. 13 (r): Beyond Fotomedia GmbH/Alamy; p. 15 (bl): Brian Kinney/Shutterstock; p. 15 (tl): vario images GmbH & Co.KG/Alamy; p. 15(br): JOHN KELLERMAN/Alamy; p. 16: Pressmaster/Shutterstock; p. 17: Ocean/Corbis; p. 18 (tl): Kevin Dodge/ Corbis; p. 18 (tr): Corbis; p. 18 (c): sainthorant daniel/Shutterstock; p. 18 (bl): carlo dapino/Shutterstock; p. 18 (bc): Oliver Furrer/Alamy; p. 18 (br): Blue Jean Images/Alamy; p. 19: Horizons WWP/Alamy; p. 20 (tl): Sven Arnstein/Bravo/NBCUniversal Photo Bank/Getty Images; p. 20 (background): Athanasia Nomikou/Shutterstock; p. 22: iStockphoto/ Thinkstock; p. 23: Erin Patrice O’Brien/Getty Images; p. 24 (t): Lifesize/ Thinkstock; p. 24 (b): Kathrin Ziegler/Taxi/Getty Images; p. 25 (t): KidStock/Blend Images/Corbis; p.25 (b): Outdoor-Archiv/Alamy; p. 27: Design Pics/Superstock; p. 30 (1): Bananastock/Jupiterimages/Thinkstock; p. 30 (2): Justin Kase zsixz/Alamy; p. 30 John Henshall/Alamy (3): p. 30 (4): Ableimages/Superstock; p. 30 (5): NAN728/Shutterstock; p. 32: Marka/ Superstock; p. 33: Ben Pipe/Robert Harding World Imagery/Corbis; p. 34: iStockphoto/Thinkstock; p. 35 (tl): Atlantide Phototravel/Corbis; p. 35 (bl): David Lobos/Shutterstock; p. 35 (tr): Tips Images/Superstock; p. 35 (br): Ed Darack/Science Faction/Corbis; p. 37 (t, b): Británico Language School, Peru;; p. 39: AKP Photos/Alamy; p. 40 (1): Topic Photo Agency/Corbis; p. 40 (2): Maximilian Weinzierl/Alamy; p. 40 (3): nexus 7/Shutterstock; p. 40 (4): MARGRIT HIRSCH/Shutterstock; p. 40 (5): Mauro Fermariello/Science Photo Library; p. 41: Photo by www.katiestandke.com; p. 42: H. Mark Weidman Photography/Alamy; p. 44 (l): Paul Simcock/Corbis; p. 44 (br): Lee Foster/Getty Images; p. 45 (l): photopalace/Alamy;p. 46 (l): Eyecandy Images/Alamy; p. 46 (r): Británico Language School, Peru; p. 47: Sakarin Sawasdinaka/Shutterstock; p. 48 (l): Ilpo Musto/Rex Features; p. 48/49 (t): Andersen Ross/Cultura/Getty Images; p. 48/49 (b): blickwinkel/Alamy; p. 52 (tl): wavebreakmedia/Shutterstock; p. 52 (tc): Martin Shields/Alamy; p. 52(tr): Ocean/Corbis; p. 52 (cl): Fuse/Getty Images; p. 52 (bl): Corbis/ Superstock; p. 55 (l): Lou Linwei/Alamy; p. 55 (br): Peter Lopeman/Alamy; p. 57 (t): VanHart/Shutterstock; p. 57 (A): Samuel Borges Photography/ Shutterstock; p. 57 (B): iStockphoto/Thinkstock; p. 57 (C): Blend Images/ Alamy; p. 57 (D): Big Cheese Photo/Superstock; p. 58: Golden Pixels LLC/ Alamy; p. 61: Hugh Sitton/Corbis; p. 62 (tl): Radius Images/Corbis; p. 62 (tr): SHOUT/Alamy; p. 62 (c): Radius Images/Alamy; p. 62 (bl): Jaimie Duplass/ Shutterstock; p. 62 (br): Merijn van der Vliet/E+/Getty Images; p. 64: iStockphoto/Thinkstock; p. 65: Courtesy of Summer Isles Hotel, Achiltibuie; p. 66 (t): Juan Silva/Getty Images; p. 66 (b): Carlos Davila/Alamy; p. 67 (t): wavebreakmedia/Shutterstock; p. 67 (b): Big Cheese Photo/Superstock; p. 68 (l): Frank Perry/AFP/Getty Images; p. 68/69 (background): Radoman Durkovic/Shutterstock; p. 69 (br): Siegfried Kuttig - RF -2/Alamy; p. 70 (l): Photofusion Picture Library/Alamy; p. 70 (r): Monkey Business Images/ Shutterstock; p. 74 (1): Cultura Limited/Superstock; p. 74 (2): LumiImages/ Mauritius/Superstock; p. 74 (3): Konstantin Shishkin/Shutterstock; p. 74 (4): Giles Bracher/Robert Harding World Imagery/Corbis; p. 74 (5): photofriday/Shutterstock; p. 74 (6): SFL Travel/Alamy; p. 75: Arnd Hemmersbach/NordicFocus/Getty Images; p. 76/77 (t): imago/Actionplus; p. 77 (insert): Hyoung Chang/The Denver Post via Getty Images; p. 80 (t): Nicolas Thibaut/Photononstop/Getty Images; p. 80 (background): Protasov AN/Shutterstock; p. 81: Nick Hanna/Alamy; p. 82: John Powell/Rex Features; p. 84 (t): Cris Bouroncle/AFP/Getty Images; p. 84 (cl): Gabriel Bouys/AFP/Getty Images; p. 84 (cr): Kevin Winter/Getty Images; p. 84 (b): PictureGroup/Rex Features; p. 85: Dean Conger/Corbis; p. 87 (t): John Eder/Getty Images; p. 87 (c): Jung Yeon-Je/AFP/Getty Images; p, 87 (b): Nathan King/Alamy; p. 88 (t): ITV/Rex Features; p. 88 (b): Olga Martynenko/Shutterstock; p. 90: William Perugini/Shutterstock; p. 91 (tl): Ariel Skelley/Blend Images/Corbis; p. 91 (bl): Multi-bits/Getty Images; p. 91 (tr): MBI/Alamy; p. 91 (br): Helene Rogers/Art Directors & TRIP; p. 92: Johannes Eisele/AFP/Getty Images; p. 96 (tl): Corbis; p. 96 (tr): Edith Held/ Corbis; p. 96 (bl): Ocean/Corbis; p. 96 (br): Daniel Koebe/Corbis; p. 97: plearn/Shutterstock; p. 98: Tim McPherson/Cultura/Image Source; p. 102 (tl): picturegarden/The Image Bank/Getty Images; p. 102 (bl): Juice Images/Alamy; p. 102 (tr): Cusp/Superstock; p. 102 (br): Pegaz/Alamy; p. 103: Rechitan Sorin/Shutterstock; p. 104 (tl): Blend Images/Superstock; p. 104 (bl): jay goebel/Alamy; p. 104 (tr): Peter Dazeley/Getty Images; p. 104 (br): Sharie Kennedy/LWA/Corbis; p. 106 (tl): B.O’Kane/Alamy; p. 106 (bl): vnlit/Shutterstock; p. 106 (tc): NetPhotos/Alamy; p. 106 (bc): Maxx-Studio/ Shutterstock; p. 106 (tr): Andrey Armyagov/Shutterstock; p. 106 (br): Ken Welsh/Alamy; p. 109: Konstantin Yolshin/Alamy; p. 111: Photononstop/ Superstock; p. 112: Peter Cade/Getty Images; p. 114 (t): John Giustina/Getty Images; p. 114 (c): BrandX Pictures/Jupiterimages/Thinkstock; p. 114 (b): Flirt/Superstock; p. 115: VikaSuh/Shutterstock; p. 116 (t): iStockphoto/ Thinkstock; p. 116 (b): Erik Isakson/Corbis; p. 118 (tl): Blend Images/ Superstock; p. 118 (tc): Denkou Images/Alamy; p. 118 (tr): michaeljung/ Shutterstock; p. 118 (bl): F1online/Getty Images; p. 118 (bc): IgorGolovniov/ Shutterstock; p. 118 (br): Chris Rout/Alamy; p. 119: LWA/Dann Tardif/Getty Images; p. 120/121 (t): T. 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J. Fdez. Bordonada/age fotostock/Superstock; p. 140 (1): Tupungato/Shutterstock; p. 140 (2): blickwinkel/Alamy; p. 140 (3): Derek Meijer/Alamy; p. 140 (4): iStockphoto/Thinkstock; p. 140 (5): picturesbyrob/Alamy; p. 140 (6): Greg Balfour Evans/Alamy; p. 141 (tl): Bridge of Sighs, Venice (La Riva degli Schiavoni) c.1740 (oil on canvas), Canaletto, (Giovanni Antonio Canal) (1697-1768) / Toledo Museum of Art, Ohio, USA /Giraudon / The Bridgeman Art Library; p. 141 (r): Honza Hruby/Shutterstock; p. 142: Patrick Lane/Blend Images/Getty Images; p. 144: Peter Horree/Alamy; p. 145 (t): moodboard/Alamy; p. 145 (b): OJO Images Ltd/Alamy; p. 146 (t): Blend Images/Superstock; p. 146 (b): frans lemmens/Alamy; p. 147 (t): Christine Webb/Alamy; p. 147 (b): Sandra Baker/Alamy; p. 148: Image Source/Corbis; p. 149: Steven Miric/Getty Images; p. 150 (t, 2): KIKE CALVO/VWPICS/Alamy; p. 150 (1): Kirsty McLaren/Alamy; p. 150 (3): Richard Wayman/Alamy; p. 150 (4): Peter Titmuss/Alamy; p. 150 (5): Geoff Burke/Getty Images; p. 150 (6): Curt Wiler/Alamy; p. 151: Gregory Davies/Alamy; p. 153: Megapress/Alamy; p. 154: Bjorn Svensson/Alamy; p. 155: Bjorn Svensson/Alamy; p. 156: Alfredo Maiquez/age fotostock/Superstock; p. 157: Blend Images/Image Source; p. 158 (l): Jilly Wendell/Getty Images; p. 158 (r): Erik Isakson/Corbis; p. 159 (t): Norbert Schaefer/Corbis; p. 159 (b): Stockbroker/Superstock; p. 196 (t): Pablo Paul/Alamy; p. 196 (b): Norbert Schaefer/Alamy. Cover image by biletskiy/Shutterstock. Illustration acknowledgements Jeff Anderson (Graham-Cameron Illustration) pp. 23, 63, 122(b), 147. John Batten (Beehive Illustration) pp. 21, 89, 107. Moreno Chiacchiera (Beehive Illustration) p. 56. Fay Dalton (Pickled Ink) p. 108. Elisabeth Eudes-Pascal (Graham-Cameron Illustration) pp. 43, 101. Roger Harris (NB Illustration) p. 86. Dusan Paulic (Beehive Illustration) pp. 17, 22, 36, 99, 122(t). David Shephard (The Bright Agency) pp. 9, 45, 78, 79, 100. Sue Woollatt (GrahamCameron Illustration) p. 26.