HƯỚNG DẪN CHẤM ĐỀ THI ĐỀ XUẤT

Trại hè Hùng Vương lần thứ XIV

Môn: Tiếng Anh 11

HƯỚNG DẪN CHẤM

A. LISTENING (50 points)

Part 1. You will hear a talk on the subject of the urban landscape. Complete
the notes below using NO MORE THAN THREE WORDS for each answer.
1. cities / environment 

2. windy
3. humid
4. shady / shaded
5. dangerous
6. leaves
7. ground
8. considerably reduce / decrease / filter
9. low
10. space / room
Part 2. You will hear Tim Cole talking about guidebooks. Listen and give short
answers to the following questions.
1. a comedy club
2. the publication date
3. the restaurant suggestions
4. not easy to use
5. like a real adventure/ adventurous

Part 3. You will hear part of a radio programme in which a psychologist talks
about the way in which people behave in crowds and groups. For questions 1
-5, indicate which views he expresses by writing YES or NO in the box
provided.
1
1. yes 2. no 3. yes 4. no 5. no

Part 4. You will hear an interview with an architect called Lucy Collett who
designs small buildings. For questions 1-5, choose the answer (А, В, C or D)
which fits best according to what you hear.
1. B 2. C 3. A 4. C 5. B

B. LEXICO - GRAMMAR (40 points)

Part 1. Choose the best answer (A, B, C or D) to complete each sentence below.
(20 pts)
1. A 2. B 3. A 4. A 5. C 6. B 7. A 8. C 9. D 10. B
11. B 12. B 13. A 14. B 15. D 16. A 17. B 18. C 19. C 20. D

Part 2. Fill each gap of the following sentences with the correct form of the
word in brackets. Write your answers in the correspondent numbered boxes.
(10 pts)
1. observatory 6. association
2. unsympathetic 7. haven’t worked
3. impersonating 8. powerlessness
4. intentionally 9. ungovernable
5. lengthened 10. employees

Part 3. The passage below contains 10 mistakes. Underline the mistakes and
correct them in the space provided in the column on right. (0) has been done as
an example. (10 pts)

Lin Mistake Correction Lin Mistake Correction

e e
1 slightly slight 6 young younger
2 certainly likely 8 changed exchanged
3 chased followed 9 embarrassing embarrassed
4 on to 10 appropriate inappropriate

2
 5 relate related 11 so but

C. READING (50 points)

Part 1. Read the following passage and choose the best answer A, B, C or D for
each question. Write your answers in the space provided. (10 pts)
1.C 2. A 3. A 4. C 5. D
6. A 7. C 8. A 9. B 10. D
Part 2. Read the passage carefully and fill in each gap with a suitable word. (10
pts)
1. teachers 2. schools 3. better 4. museums
5. talks/lecture 6. studying 7. happen
8. offices/workplace 9. computers 10. nearby
Part 3. Read the following passage and mark the letter A, B, C or D on your
answer sheet to indicate the correct answer to each of the questions. (10 points)
1. B 2. D 3. C 4. A 5. A 6. B 7. A 8. D 9. A 10. B

Part 4. Read the following passage and do the tasks that follow. (10pts)
1. xii 2. x 3. xi 4. iv 5. viii
6. reflex mechanisms/ reflexes
7. in harmony/ harmoniously
8. eliminated
9. requirements/ disability
10. a challenge/ challenging
D. WRITING (60 pts)
Part 1. Summarizing an extract (10points)
Requirements: Good summary with enough content and clear, logical
information.
1. Completion: (0.2 points)
- The writting is complete
- Neither too long nor too short
2. Content: (0.8 points)
3
- Cover the main information in the extract yet not go into too much detail.
- The summary should include the following information:
+ Stems are suport structure for a plant’s buds and leaves.
+ Concentric ring within the stem transport nutrients downward from the source to
the plant’s roots through the pressure-flow mechanism.
+ Water evaporates from the leaves, which attracts more water molecules upward
from the roots.

+ This process creates tention in the interior of the stem for continuous water
movement. More water enters through the roots from the soil, sustaining the life of
the plant.

Part 2. Describing the graph (20 points)

The writing is complete.

1. Completion: 2pts
The writing is neither too long nor too short.
Cover the main information of the table yet not go into
2. Content: 6 pts too much detail.
Make general remarks and effective comparisons.
The ideas are well-organized.
3. Organization: 5pts
The description is sensibly divided into paragraphs.
Use a wide range of vocabulary and structures.
4. Language: 5pts
Good use and control of grammatical structures.
5. Handwriting,
Intelligible handwriting.
punctuation and
Good punctuation and no spelling mistakes.
spelling: 2pts

Part 3. Essay (30 points)

The writing is complete.

1. Completion: 3pts
The writing is neither too long nor too short.
2. Content: 9 pts Provide relevant and convincing ideas about the topic.

4
 Supported by specific example and/or reasonable
justifications.
Present the right form of an essay.
Ideas are well organized and presented with unity,
3. Organization: 8pts
cohesion and coherence.
The writing is sensibly divided into paragraphs.
Use a wide range of vocabulary and structures.
4. Language: 7 pts
Good use and control of grammatical structures.
5. Handwriting,
Intelligible handwriting.
punctuation and
Good punctuation and no spelling mistakes.
spelling: 3pts

-------------------------Hết-------------------------

5
TAPESCRIPTS
PART 1.
Good day, ladies and gentlemen. I have been asked today to talk to you about the urban landscape.
There are two major areas that I will focus on in my talk: how vegetation can
have a significant effect on urban climate, and how we can better plan our cities using trees to
provide a more comfortable environment for us to live in.

Trees can have a significant impact on our cities. They can make a city, as a whole, a bit
less windyor a bit more windy, if that's what you want. They can make it a bit cooler if it's a hot
summer day in an Australian city, or they can make it a bit more humid if it's a dry inland city. On
the local scale - that is, in particular areas within the city - trees can make the local area
more shady, cooler, more humid and much less windy. In fact trees and planting of various kinds
can be used to make city streets actually less dangerous in particular areas. How do trees do all
that, you ask?

Well, the main difference between a tree and a building is a tree has got an internal mechanism to
keep the temperature regulated. It evaporates water through its leaves and that means that the
temperature of the leaves is never very far from our own body temperature. The temperature of a
building surface on a hot sunny day can easily be twenty degrees more than our temperature.
Trees, on the other hand, remain cooler than buildings because they sweat. This means that they
can humidify the air and cool it - a property which can be exploited to improve the local climate.

Trees can also help break the force of winds. The reason that high buildings make it windier at
ground level is that, as the wind goes higher and higher, it goes faster and faster. When the wind
hits the building, it has to go somewhere. Some of it goes over the top and some goes around the
sides of the building, forcing those high level winds down to ground level.
That doesn't happen when you have trees. Trees filter the wind and considerably reduce it,
preventing those very large strong gusts that you so often find around tall buildings.

Another problem in built-up areas is that traffic noise is intensified by tall buildings. By planting a
belt of trees at the side of the road, you can make things a little quieter, but much of the vehicle
noise still goes through the trees. Trees can also help reduce the amount of noise in the
surroundings, although the effect is not as large as people like to think. Low-frequency noise, in
particular, just goes through the trees as though they aren't there.

Although trees can significantly improve the local climate, they do however take up a lot of space.
There are root systems to consider and branches blocking windows and so on. It may therefore be
difficult to fit trees into the local landscape. There is not a great deal you can do if you have what
we call a street canyon - a whole set of high-rises enclosed in a narrow street. Trees need water to
grow. They also need some sunlight to grow and you need room to put them. If you have the
chance of knocking buildings down and replacing them, then suddenly you can start looking at
different ways to design the streets and to introduce ...
(fade out)
Part 2.
Tim: I'm Tim Cole, and as an experienced travel writer, I'm here to tell you not to believe
everything you read in guidebooks because following some of the recommendations they give can
result in the most bizarre situations. I'll never forget the night I arrived in Sydney, for example. I'd
turned up at the address of what I thought was a budget hotel given in the guidebook at 1 a.m.,
6
exhausted and looking forward to a few hours' rest, but instead found myself at a comedy club,
which at the time I didn't find at all funny.

The problem is that too many travellers are too trusting of their guidebooks and don't bother to
research even the most basic facts before they set off. Some guidebooks are only updated every
couple of years, so it's no wonder many things have moved on by the time you get there. The most
important thing when choosing a guidebook is to check the publication date; if it's not within the
last twelve months, don't buy it.

Then the other thing to think about is who the guidebook is aimed at. If you're into the history and
culture of a place, don't buy a guidebook full of information on the alternative nightlife scene. But
my pet hate, and something I'm always extremely wary of, are the restaurant suggestions. So often
I've turned up somewhere and the menu, price and décor bear no relation to the place I've been
reading about – if they haven't already gone out of business and shut down, that is.

Other things to look out for in a guidebook are the maps. These need to be detailed but not so
small you can't read them. You don't want to have to carry a magnifying glass around with you.
Books that include unnecessary information are another thing I find annoying – like photos of
famous places, for example. We already know what the Eiffel tower looks like! Why not include
more background information instead?

Of course, most guidebooks are also now available in a digital format and many travellers prefer
using these because they're obviously not heavy to carry, so you can download as many as you
like. But I don't find them easy to use at all because navigation is much harder than flicking
through the index at the back of a book. Life's just too short and you can never guarantee you'll
have wifi access anyway. Until I can get a digital travel guide which is tailor-made for my
individual trip, I'm happy to stick with the traditional form of guidebook.

However, on my trip to Hawaii last summer I experimented with a new way of getting good travel
advice: Twitter tourism. Instead of using a guidebook, I decided to rely on the advice of locals and
visitors alike – and let them choose what I should visit, where I should stay and what I should eat.
I didn’t mind as long as their advice was based on a recent experience. It actually worked out
really well and it felt like a real adventure. Without the Twitter travel tips I'd never have visited
the Ukulele Festival or eaten spam sushi. One thing I'd never imagined doing – and I'm so grateful
for the advice – was a ten-kilometre kayak expedition along the coast for a night time swim with
manta rays in a huge cave. A truly magnificent sight. And my top tip for anyone visiting Hawaii!
Part 3.
Presenter: …I’m joined on the line now by social psychologist David Macintosh. David, is it
natural for our behaviour to change when we’re in a crowd environment?
Psychologist: Well…yes… it’s natural in the sense that people typically do that. I mean, one very
simple example is that you very rarely laugh by yourself but when you’re in a crowd of people,
say at some funny film, play or whatever …um…it’s very common to find yourself laughing out
loud.
Presenter: So what sorts of behaviour do you find in a crowd environment, then?
Psychologist: A number of things. I mean, what generally one can say is that people have needs to
be with people for various reasons – family, friends, activities, and thay also, um, get things out of
simply being in a large crowd. Sometimes it’s just a sense of being, er, somewhat more
anonymous. They sometimes also get an amplification of feelings. I mean, for example at concerts
…er…in football crowds, feelings seem to get heightened and sometimes there’s something really
nice about getting a strong sense of being part of a large group.
Presenter: Why should we become disruptive in some sorts of crowd environments, then, why
should there sometimes be that element of aggression?
7
Psychologist: A couple of possibilities. One is the thing that crowds very often seem to amplify
feelings and so they can amplify bad as well as good feelings. Um, the other is…what’s often been
suggested is, that we have a number of kind of identities. I mean, one, which is the predominant
one, is our everyday one but there are others and what happens in crowds is that we can
sometimes shift, if you like, our identity and what a crowd picks up on are other aspects of
ourselves, which might sometimes be the less pleasant ones, the more destructive ones.
Presenter: Now if we focus on the animal kingdom, does the same thing happen there?
Psychologist: Um, you get something like that. What you get with some animals of course, is that
you get examples of very coordinated groups, like small fish schooling so that they look like a
large fish to possible predators and …um…you get large groups of animals like…um…ants and
bees and so on who act in a very hhighly structured wats, which is much less typical of humans
except in odd circumstances like armies. But they sometimes also have disruptive tendencies –
you get packs of animals scattering in panic, too.
Presenter: So this feeling of amplification when we’re in a crowd can lead us to act in an
uncharacteristic way then, from what you’re saying?
Psychologist: Uncharacteristic in the sense that it’s what we don’t normally do but it’s not, as it
were, not ours. The behaviour is there, only it’s usually kept under control.
Presenter: Now the group situation, rather than the crowd, that’s very different again, isn’t it?
Psychologist: It is rather, I mean, in a group you’re focused in, you’re looking inwards, you’re not
worried about people outside. What’s very clear is there’s a very strong sense of being a member
of a group of a very defined little set, it’s us versus them.
Presenter: And it gives you a sense of security presummably?
Psychologist: It does. It’s familiar, it’s comfortable and it also reinforces, if you like, your sense of
yourself because you’re very aware of yourself as a member of that group, as being a person
among friends. And that also helps you relax in various ways, you’re comfortable about your
behaviour, you’re defined as a friend among friends and therefore you don’t have to worry how
you apear so much.
Presenter: Does your behaviour still change slightly? You’ve talked about a crowd\s effect on an
individual, surely still a small group will change you in some way sometimes?
Psychologist: Oh tha’s true. As I’ve said, we have a number of identities and our identity varies
depending on the kind of group we’re in. In a particular group we have a particular kind of
identity with certain behaviour, so that when you’re with a group of friends you relax, laugh, play
the fool, but there are other groups you’re members of where you behave differently, groups of
workmates for example, um…more formal groups. And so in a sense you have different roles
depending on what group you happen to be in at a given time. I think most of us are aware that
this happens, that we are different kinds of people in different kinds of situations.
Presenter: David Macintosh, thanks very much for talking to us.
Part 4.
Interviewer: I’m sitting here, rather uncomfortably, with designer Lucy Collett. Lucy, you’re an
architect really, but an architect with a difference.
Lucy Collet: Yes, I specialise in small buildings.
Interviewer: And we’re in one of your buildings now. It’s a tree-house, and we’re perched on
child-size seats, two or three metres above the ground.
Lucy Collet: In fact, I was commissioned to design this house by my neighbours for their children.
I don’t like heights, but I loved the challenge of weaving the house in amongst the branches [15].
You can see there are several storeys with stairways between them.
Interviewer: I’d have given anything for a house like this when I was a child. What started you off
on this type of design?
Lucy Collet: I’ve always had a passion for small buildings. Play houses, of course, when I was a
little girl. Then I found a book about historical telephone boxes, which fascinated me. When the
telephone was an amazing new invention, money was poured into the designs of public phone
boxes. They were all sizes and styles. There were some that looked like rustic cottages, with
8
thatched roofs; others like Chinese pagodas; one like a sort of Greek temple. Some were quite
luxurious, with chairs, and people used to go in there to play cards [16]. But it didn’t last long;
they had to be standardised and made more practical.
Interviewer: You went to architecture school. Did you know you were going to work on this small
scale?
Lucy Collet: Yes, my final year project was on small buildings in an industrial context. If you look
at major building sites, they’re dotted around with huts and temporary buildings. You think, ‘They
put up these tin boxes for the workers to drink their tea and read their newspapers in. What is there
to that?’ Well, they’ve all got to conform to safety standards, and why shouldn’t they have some
style as well? I designed them to look better, and also to be put up and dismantled more quickly
[17]. I worked on durability of materials, comfort and so on.
Interviewer: Where did you get your inventiveness from?
Lucy Collet: I don’t know. I think I’m more practical than inventive. My parents were market stall
holders. They had a really cumbersome stall which took them forever to put up. All the market
people started setting up about four o’clock in the morning. It was freezing, back-breaking work,
and it drove me mad when I had to help them. I was visiting some clients abroad a few years ago,
and saw some brilliant stalls in their local market. They were little metal folding houses,
completely waterproof and enclosed, with plenty of display room [18]. At the end of the day you
could lock them up with the goods safe inside, or you could fold them flat and cart them off to the
next town. I did drawings of them and made one when I got home. But I haven’t sold it.
Interviewer: What have you done that you’re most proud of?
Lucy Collet: I suppose everything I’ve done is a variation on a theme, so it’s hard to pick
anything out. But I did get an award. The Newspaper Sellers’ Association gave me a prize for a
design I did for street corner kiosks – you know, those cute little buildings with display windows
on three sides. Mine were in strong steel, painted, with domed roofs and lots of decorative detail. I
must admit, I was particularly pleased with the fancy work [19], and the newspaper people loved
it.
Interviewer: Have you ever done any phone box designs, since that was what started you off?
Lucy Collet: Funnily enough, that’s what I’ve just been doing. For an international hotel chain.
They’d stopped putting public phone booths in their hotel lobbies because of mobile phones, but
there were complaints from a few countries where mobiles hadn’t really caught on yet [20]. So the
hotel decided to make a big feature of lobby phone boxes. I did these sort of glass bird-cage
designs, with brass work and over-the-top telephones. Now the company’s putting them in all their
hotels, and people are going into them to make calls on their mobiles. It’s sort of retro-style lobby
furniture.
Interviewer: And tree-houses?
Lucy Collet: No, this is a one-off. I’ve told you, I’m scared of heights.
Interviewer: Okay. Shall we let down the ladder and go home? Thank you, Lucy