Задание 14 ЕГЭ 2027 по английскому языку: Чтение: значение слова в контексте

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1. Задание 1 из 4

   Our new flat had enormous windows and no curtains. On the first evening the city looked too close: offices blinked across the road, buses breathed at the traffic lights, and strangers could have counted every box in our rooms. I asked when we were going home. My parents answered too cheerfully. They praised the view, the warm floors and the shop downstairs. Their list of advantages made the place sound like a hotel chosen by somebody else. I slept in my clothes with the blanket pulled over my head. Before dawn I woke to the smell of cardamom. My grandmother, who had come to help us unpack, was crushing the pods with the handle of a knife because the mortar was still in a box. The sharp, sweet scent belonged to winter mornings in her old kitchen. Nothing in the room had changed: bare windows, towers of books, an unfamiliar ceiling. Yet the smell crossed these differences without denying them. It did not make the flat resemble our old house; it made room for something known inside a place that was not known yet. We drank tea from camping cups. Outside, the offices went dark one by one. When my mother asked which box to open next, I pointed to the one marked CURTAINS.

   Прочитайте текст. Какова мысль автора в абзацах 3 и 4? Выберите один вариант. 1) Знакомый запах способен изменить отношение к новому месту, связав его с чувством дома. 2) Ребёнок быстрее привыкает к переезду, если новая квартира похожа на прежнюю. 3) Родителям не следует скрывать тревогу при переезде, иначе ребёнок перестанет им доверять. 4) Домашняя еда помогает забыть прежний дом и больше не возвращаться к воспоминаниям о нём.

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2. Задание 2 из 4

   At two in the morning the glassworks looked less like a factory than a ship under repair. Pools of orange light lay on the floor, and every open furnace breathed with a low, regular sound. I had expected noise. Instead, the workers spoke quietly, as if a raised voice might disturb the molten glass. Marta, the shift supervisor, had learned the trade from her father. He judged temperature by the colour inside the furnace and could notice a change before any alarm sounded. Marta respected that skill, but she also carried a small notebook. Every hour she wrote down the air temperature, the colour of the flame and the number of flawed bottles. At first, some colleagues laughed at the notebook. They said a glassmaker needed eyes, not columns of figures. Then Marta found a pattern: tiny bubbles appeared more often after cold air entered through the loading door, even when the furnace display showed no change. The instrument measured one point; the workers felt the whole room. Neither source of knowledge was enough by itself. The team altered the timing of deliveries and added a screen near the door. Waste fell, though not dramatically, and Marta refused to call the change a revolution. Her notes had not defeated experience; they had made experience easier to test and share. A new worker could now ask why a certain flame colour mattered and receive more than the answer, ‘You will know it when you see it.’ Near dawn, a bottle rolled from the line with a silver thread trapped in its wall. Marta held it up, admired it for a second and placed it in the reject box. Beautiful mistakes, she told me, were still mistakes. Then she opened the notebook again.

   Read the text. What idea does the author express in paragraphs 3 and 4? Choose one answer. 1. Skilled workers should rely on instinct and avoid written records. 2. Careful observation and recorded evidence can improve a craft without replacing experience. 3. Modern instruments make traditional knowledge unnecessary. 4. The quality of glass depends mainly on keeping the furnace at a constant temperature.

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3. Задание 3 из 4

   The clock arrived wrapped in a woollen scarf. It had not run for twenty years, but its owner carried it as if the ticking might startle it awake. The case was scratched beside the keyhole, and one corner had darkened where generations of hands had steadied it while winding. My apprenticeship had trained me to notice faults in a strict order. I checked the spring, the gears and the worn holes in the brass plate. The mechanism needed real work. The case, however, raised a harder question: how much of its age should a repair remove? A new brass plate would have been quicker than closing the worn holes and drilling them again. It would also have erased the small adjustments made by earlier repairers. My master chose the slower method. ‘Strengthen what must carry weight,’ she said, ‘but keep what can still tell the truth.’ We followed the same rule outside. Dirt came away; the dark patch near the keyhole remained. The scratch was softened so it would not catch a cloth, but we did not disguise it under fresh varnish. The clock had to survive daily use without pretending that daily use had never happened. When the owner returned, she listened to the first minute of ticking with her eyes closed. Then she touched the dark patch and smiled. I had spent days concentrating on parts she could not see. Her finger found the part of the repair that we had decided not to perform.

   Read the text. What idea does the author express in paragraphs 3 and 4? Choose one answer. 1. Apprentices learn fastest when masters hide the reasons behind each movement. 2. Repairing an old object requires replacing every part that shows wear. 3. Good repair balances technical strength with respect for evidence of the object’s past use. 4. Visible marks of repair always reduce an object’s historical value.

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4. Задание 4 из 4

   A violinist used to practise in the flat below ours. I never saw him, but at bedtime I heard the same four rising notes, a pause, and then a collapse into noise. As a child I thought he was trying to open a door with music and failing. The notes frightened me because they always stopped before anything was settled. I would wait for the fifth note, holding my breath under the blanket. It never came. Years after we moved away, I could still produce that unfinished phrase in my head. At university a friend played me a recording of a difficult study for violin. Halfway through it, the four notes appeared. This time they continued into a swift, balanced passage, and I laughed aloud from the shock of recognition. The sound had been faithfully stored, but its meaning had not. What I had remembered as helpless repetition was part of disciplined work; what had seemed like failure was a musician stopping to correct a movement. My later knowledge did not erase the child's fear. It placed another voice beside it. I eventually met the violinist by chance. He remembered the old building and the thin walls, though not the study. I did not ask him to play it. The missing fifth note had already arrived.

   Прочитайте текст. Какой вывод объединяет аргументы абзацев 2–4? Выберите один вариант. 1) Детские воспоминания о звуках ненадёжны, потому что ребёнок не знает названий музыкальных инструментов. 2) Повторное переживание полностью восстанавливает прошлое в первоначальном виде. 3) Память сохраняет точную последовательность событий, даже если чувства, связанные с ними, меняются. 4) Возвращение знакомого звука показывает одновременно устойчивость памяти и то, как новый опыт меняет её смысл.

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