The narrator says that his research for the book

The narrator says that his research for the book

1) brought him to Russia to work as a journalist.

2) made him go to the war in Afghanistan.

3) led him to take part in the war in Africa.

4) brought him to a river bank in Africa.

The introduction to a new biography of Gannibal by the Author

Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in ‘The Negro of Peter the Great’, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue — ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer — in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him. Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator says that his research for the book

1) brought him to Russia to work as a journalist.

2) made him go to the war in Afghanistan.

3) led him to take part in the war in Africa.

4) brought him to a river bank in Africa.

The introduction to a new biography of Gannibal by the Author

Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in ‘The Negro of Peter the Great’, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue — ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer — in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him. Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator says that his research for the book

Задание №9588.
Чтение. ЕГЭ по английскому

Прочитайте текст и запишите в поле ответа цифру 1, 2, 3 или 4, соответствующую выбранному Вами варианту ответа.

Pushkin told the story of his black ancestor in “The Negro of Peter the Great”, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue – ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer – in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him.

Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

The narrator says that his research for the book
1) brought him to Russia to work as a journalist.
2) made him go to the war in Afghanistan.
3) led him to take part in the war in Africa.
4) brought him to a river bank in Africa.

Решение:
The narrator says that his research for the book brought him to a river bank in Africa.
Рассказчик говорит, что его исследование для книги привело его на берег реки в Африке.

«. but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there. »

Источник: ФИПИ. Открытый банк тестовых заданий
Сообщить об ошибке

The narrator says that his research for the book

According to the narrator, the biography of Pushkin’s ancestor turned into a novel because Pushkin

1) didn’t like the true biographical facts he had discovered.

2) found it impossible to stick to the facts that were doubtful.

3) could not do without describing fictional events.

4) found the true facts of the slave’s biography uninspiring.

The introduction to a new biography of Gannibal by the Author

Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

Pushkin told the story of his black ancestor in ‘The Negro of Peter the Great’, but this biography tells a different version. The main difference is between fact and fiction. The Russian poet hoped to discover a biographical truth by sticking to the facts, only to discover that facts are slippery and not always true. His biography turned into a novel. Even then, it was left unfinished after six and a half chapters. The scrawled manuscript comes to an end with a line of dialogue — ‘Sit down, you scoundrel, let’s talk!’ — and a line of dots. Pushkin could be speaking to himself. In any case, it’s now time to stand up and carry on with the story. I have tried to join up the dots.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains a physical presence for the biographer — in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him. Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.

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Вариант 3

Раздел 1. Аудирование

Вы услышите 6 высказываний. Установите соответствие между высказываниями каждого говорящего 1—6 и утверждениями, данными в списке A—G. Используйте каждую букву, обозначающую утверждение, только один раз. В задании есть одно лишнее утверждение. Вы услышите запись дважды. Занесите свои ответы в поле справа.

A. The speaker liked the panorama in front of the hotel.

B. The speaker talks about having problems with police on arrival.

C. The speaker had a hard time finding his way to the hotel.

D. The speaker tells how to save money while visiting an expensive place.

E. The speaker gives advice on choosing a place to stay at while travelling.

F. The speaker found the view from his hotel room awful.

G. The speaker was surprised at some norms of cultural behaviour in the country he was visiting.

Вы услышите разговор между друзьями. Определите, какие из приведенных утверждений 1 — 7 соответствуют содержанию текста (1 — True), какие не соответствуют (2 — False) и о чем в тексте не сказано, то есть на основании текста нельзя дать ни положительного, ни отрицательного ответа (3 — Not stated). Обведите номер выбранного вами варианта ответа. Вы услышите запись дважды.

1. It didn’t cost Betsy anything to use the diving equipment.

2. Alex had to work more than 9 hours on Saturday.

3. Alex is pleased with the benefits he gets at his work.

4. Betsy forgot about her classmate’s birthday.

5. Betsy’s friends gave her a lift home because it was very late at night.

6. Alex was invited by his grandparents for lunch on Sunday.

7. Betsy couldn’t make herself do any homework on Sunday.

В заданиях 3—9 обведите цифру 1, 2 или 3, соответствующую выбранному вами варианту ответа. Вы услышите запись дважды.

What changes, according to Susan, are taking place in town life?

1. More and more people prefer to meet out in pubs and clubs.

2. People’s homes are becoming a more popular place to meet.

3. People prefer eating at home to eating out.

How does Susan feel about shops and shopping?

1. She thinks small shops should disappear.

2. Every time she goes shopping she feels annoyed.

3. She dislikes the atmosphere in big shops.

What does Susan think about the book Birdsong?

1. It gives a new perspective on war.

2. It shows how differently people view war.

3. It reveals hidden causes of war.

Why did Susan read The Remains of the Day twice?

1. It was very popular at one time.

2. She enjoyed the film based on it.

3. She did it to kill time.

Why does Susan enjoy reading books?

1. The reading habit runs in her family.

2. She has taken to reading on the way to and from work.

3. She was encouraged to read in her childhood.

What is Susan’s opinion of book reviews?

1. They give misleading information about books.

2. They criticize books written by young authors.

3. They give good recommendation on books to read.

What is Susan’s attitude to gossip books?

1. She doesn’t think they are worth reading.

2. She enjoys reading them.

3. She thinks they are appealing to most people.

Раздел 2. Чтение

1. Musical performance

2. Attractive landscape

3. Perfect holidays

4. Portrait of a girl

5. Film for all ages

6. Exciting hobby

7. Colourful festival

8. Interesting book

A. This is a full-length (ninety minutes) cartoon, which is entertaining for both adults and children over six. The animation and colour are of very high quality and the story has lots of fun and excitement. The plot is quick moving and full of surprises. There’s romance, action, comedy, music and lots of fantastic songs and dances.

B. This is a full-blooded magnificently written portrait of history’s most fascinating woman. Readers will lose themselves for hours in this richly entertaining novel full of dramatic twists and turns. From the spectacular era that bears her name comes the spellbinding story of Elizabeth I – her tragic childhood, her confrontation with Mary, Queen of Scots and her brilliant reign.

D. In this picture one is struck by the artist’s absolute mastery in portraying natural details, whether the dry, sandy soil of the forest, the clear stream of water in the foreground, the yellow bark and fluffy needles of the pines, or the sense of a bright, clear, calm summer day. The artist managed to create an image familiar to anyone who has seen a Russian forest.

E. Have a good time on the most lively and exciting island in the Caribbean. Relax under a palm tree on the white sandy beaches. Swim in the clear, blue sea. Listen to the bands playing Calypso music. Or get really adventurous and go scuba diving for sunken treasure on the sea bed. Join in the many cultural celebrations we offer, for example the sugar harvest festival.

F. This event is considered the greatest attraction for visitors to the Isle of Man. No definite date can be given, but it is normally held between 5th and 15th July. The Pageant begins at about 8 p.m. First we are given a glimpse of village life in Celtic times. Then suddenly Viking long ships appear and then there are scenes of war. Then Celts and Vikings unite, and the Manx nation is born. The actual Pageant is followed by a grand torchlight procession and firework display.

G. Do you like Latin American dancing? Do you want to dance like you see in the films and on the stage? Do you want to feel the rhythm of the music in your body and in your soul? Do you want to meet other people who have a love for the same music as you? If you have answered «Yes» to any of these questions, join our Latin dance classes on Thursday night between seven and ten. All are welcome.

Установите соответствие тем 1 — 7 текстам A — F. Занесите свои ответы в соответствующее поле справа. Используйте каждую цифру только один раз. В задании одна тема лишняя.

1. and finally measure them.

2. since it was heard 3,000 miles away.

3. and they have been able to put many of these discoveries to practical use.

4. that loud sound is of high intensity.

5. as they study mechanical forces.

6. as a painful sensation in the ear.

7. that the unaided human ear can detect.

4. The intensity of a sound is measured in units called decibels. «Zero» sound is the faintest sound D ___.

Прочитайте текст и выполните задания 12—18, обводя цифру 1, 2, 3 или 4, соответствующую номеру выбранного вами варианта ответа.

Alexander Pushkin was not only Russia’s greatest poet, but he was also the great-grandson of an African slave. The slave, whose godfather was Peter the Great, claimed to have royal blood of his own. Certainly his Russian descendants believed that he was an African prince. His descendants have included members as well as close friends of the English royal family. So the legend goes on.

This is a book, then, about a missing link between the storyteller and his subject, an African prince; between the various branches of a family and its roots; between Pushkin and Africa; Africa and Europe; Europe and Russia; black and white. It is the story of a remarkable life and it poses the question: how is such a life to be explained?

My own explanation began in 2001, while I was living in Russia and working there as a journalist. The first draft was written during the war in Afghanistan, on the road to Kabul, but it describes my journey to the frontline of a different kind of war in Africa between the armies of Ethiopia and Eritrea. According to legend, Pushkin’s ancestor was born there, on the northern bank of the River Mareb, where I was arrested for taking photographs and compass readings, on suspicion of being a spy. Understandably my captors didn’t believe that I was only a journalist researching the life of Russia’s greatest writer. At the military camp, where I was held for a number of hours, the commandant looked me up and down when I asked, in my best posh English accent, ‘I say, my good man, can you tell me, basically, what is going on here?’ ‘Basically,’ he replied, with distaste, ‘you are in prison!’ The incident taught me something. Journalists, like biographers, are meant to respect facts, and by retracing Gannibal’s footsteps, I hoped to find a true story.

Some of those journeys lie behind the book, and are used whenever it is helpful to show that the past often retains, a physical presence for the biographer — in landscapes, buildings, portraits, and above all in the trace of handwriting on original letters or journals. But my own journeys are not the point of the book. It is Gannibal’s story. I am only following him. Descriptions of Africa and the slave trade result from my journeys, but this is not a book about a ‘stolen legacy’, nor certainly about the intellectual wars that have been part of black history in recent years. Biographers, like novelists, should tell stories. I have tried to do this. I should, however, point out from the outset that Gannibal was not the only black face to be seen in the centre of fashionable St Petersburg at that time. Negro slaves were a common sight in the grand salons of Millionaires’ Street and they appeared in a variety of roles, such as pets, pages, footmen, mascots, mistresses, favourites and adopted children. At the Winter Palace, so-called court Arabs, usually Ethiopians dressed in turbans and baggy trousers stood guard like stage extras in the marble wings.