1. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

A first step toward establishing a respectful classroom learning community is acceptance of all ideas and answers—regardless of any obvious errors. Rich mathematical discussions cannot occur if this expectation is not in place. We must remember that wrong answers are often rooted in misconceptions, and unless these ideas are allowed to be brought to the forefront, we cannot help students confront their thinking. Students who are in safe learning environments are willing to risk sharing an incorrect answer with their peers in order to grow mathematically. It is important to model and expect the acceptance of all ideas without derogatory comments. As educators we can model this by recording all answers to be considered without giving any verbal or physical expressions that indicate agreement or disagreement with any answer. The teacher may need to practice having a “blank face”. Students look to teachers as the source of correct answers. Part of building a safe learning community is to shift this source of knowledge to the students, by equipping them to defend the thinking behind their solutions.

① the teacher should hide all emotions so that students feel less pressure in class
② the teacher should avoid signaling judgment so that students examine ideas themselves
③ the teacher should remain silent because students already know which answers are correct
④ the teacher should make students depend less on peer discussion and more on teacher approval
⑤ the teacher should treat every answer as equally correct to protect students from criticism

2. 다음 글에서 the two lines of movement do not cross가 함축하는 바로 가장 적절한 것은?

The usual intercity traveler moves slowly through the station area. The passenger may not be familiar with the routine, have baggage to handle and check or retrieve, have a long wait for connections or delayed trains, and may require information, food, and a comfortable place to sit. Commuters, on the other hand, are familiar with the route through the station, have little or no luggage, and are usually in a hurry. They want direct access to or from local streets and transport. These two types of traffic should be kept separate to avoid conflict and confusion. In some large stations such as Grand Central Terminal in New York City, commuter and intercity trains arrive and depart on different levels. In smaller stations, separate platforms should be used and traffic routed so that the two lines of movement do not cross. In some instances, separate stations are in use. Clear and concise direction and routing signs and other means of channelization are desirable.

① the two groups should meet often to exchange route information
② station users should be guided through different paths without intersecting
③ all passengers should share one central passage for easier supervision
④ train services should be reduced when station traffic becomes confusing
⑤ local streets and transport should be moved inside the station building

3. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

Most performance lighting is made up of a number of different looks which we have called lighting states. Each lighting cue triggers a change to a new state. Like actors, lighting cues usually need a motivation. This might be something very obvious such as a cue required to brighten a room setting when an actor turns on a light switch or the rapid increase in intensity at the end of a dance number in a traditional musical (known as a button cue). At other times we will need a cue to provide a subtle change in atmosphere over a number of minutes, motivated perhaps by the mention of a sunset or the intention to slowly change the feel of the performance from normal to threatening. The question, ‘What will lighting do for this production?’ needs to be asked for each moment of the production, each dramatic unit or scene, and each transition.

① lighting should remain technically consistent throughout the whole production
② lighting should copy the actors’ actions as directly as possible
③ each part of the performance requires a purposeful lighting choice
④ each scene should contain as many visible cues as the audience can notice
⑤ lighting should mainly be used to mark the beginning and end of scenes

4. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

Rooms have their own “sound” because they impose their own characteristics on audio signals contained within them. It’s actually kind of remarkable. Sound such as music coming from headphones will sound the same everywhere. No matter what acoustical environment we are in, the headphones sound the same. That’s because the room is not part of that playback signal path. But sound such as music from a loudspeaker will sound different in every acoustical environment. Every room where you set up the loudspeaker will cause the sound you hear to be different—sometimes dramatically different; that is because the room is now part of the signal path. Also, in the same room, the loudspeaker will sound different when it is placed in different locations in the room and it will sound different as you move around the room. Similarly, when you are recording a musical instrument, the sound you receive at the microphone will be different in every room and the recorded sound will sound different as the instrument or the microphone is moved.

① a room physically contains sounds without changing them
② a room directly adds its acoustic influence to heard or recorded sound
③ a room prevents audio signals from reaching listeners in the same way
④ a room gives all speakers and microphones a fixed acoustic identity
⑤ a room matters only when headphones and loudspeakers are used together

5. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

In a thesis-based doctoral programme, students typically spend a significant amount of time and effort researching a specific topic. While this deep dive into a particular area allows for thorough exploration and understanding, it can also result in narrowing the focus. As students become deeply absorbed in their research, they may spend less time exploring related fields or acquiring skills outside their immediate area of study. Consequently, this singular focus may limit the breadth of knowledge and skills developed during the programme, potentially hindering students’ ability to adapt to diverse career paths or address interdisciplinary challenges. Some universities in Europe have recognised the limitations of traditional thesis-based doctoral programmes and have started to implement more structured approaches. These structured programmes often combine research with coursework and training in transferable skills. By incorporating coursework, seminars, workshops and internships into the curriculum, they aim to provide students with a broader skill set and better prepare them for a variety of career paths beyond academia.

① students keep their attention on one research area and develop fewer wider abilities
② students examine many academic fields and build several practical skills at once
③ students reduce the amount of time needed to complete their main research project
④ students avoid detailed study because they give priority to coursework and internships
⑤ students gain stronger academic expertise and therefore face fewer career limits later

6. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

Research shows that, by age three, children understand that imaginary objects do not come to life. This is especially clear with respect to everyday objects—children know that even though they imagine a pencil in an empty box, the box will remain empty. However, emotion can sometimes disrupt this understanding, or at least its expression. That is, even though a child knows that monsters are not real, the thought of a monster under a bed might be enough to make a child refuse to go into his room at night. Indeed, research shows that children have a more difficult time displaying their understanding of the causal relations between imagination and reality when they are asked to pretend or imagine scary things, like monsters. In one study, preschool children were shown an empty box and were asked to imagine a monster inside. All children agreed that the box was empty. However, when they were left alone with the box they exhibited fear and avoidance of it.

① they believed that ordinary objects could easily turn into living things
② they forgot that the box had been empty from the beginning
③ they reacted emotionally despite knowing that the imagined creature was unreal
④ they became unable to distinguish all imagined objects from real ones
⑤ they decided that pretending was more important than checking reality

7. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

Perhaps the best-known development to emerge from the liberation and expansion of aesthetic experience is the aesthetics of everyday life. Although there is presently a flowering of work on everyday aesthetics, the possibility of aesthetic gratification in ordinary objects and events has long been recognized, even if degraded and dismissed by prevalent philosophical theory. Widely valued by poets, especially Romantic poets and those in Asian traditions, the aesthetic in everyday situations has also been recognized by novelists. It may be most convenient, though, to locate its contemporary intellectual origins in John Dewey’s Art as Experience. In that book Dewey argued against the separation of art from life by basing aesthetic experience on the biological and cultural conditions of human life. He located the aesthetic, not in an internalized awareness of sensation and feeling but in a complete interpenetration of self and the world of objects and events. Further, Dewey maintained that “the aesthetic is the clarified and intensified development of traits that belong to every normally complete experience.”

① aesthetic value arises when art is kept apart from ordinary human situations
② aesthetic experience occurs when a person withdraws into private sensation and feeling
③ the aesthetic is produced only by poets and novelists who describe daily life
④ aesthetic experience comes from an active unity between the self and the surrounding world
⑤ the aesthetic should be limited to unusually intense moments beyond common experience

8. 다음 글에서 밑줄 친 부분이 의미하는 바로 가장 적절한 것은?

One cannot validly argue that humans are morally superior beings on the ground that they possess, while others lack, the capacities of a moral agent. The reason is that, as far as moral standards are concerned, only beings that have the capacities of a moral agent can meaningfully be said to be either morally good or morally bad. Only moral agents can be judged to be morally better or worse than others, and the others in question must be moral agents themselves. Judgments of moral superiority are based on the comparative merits or deficiencies of the entities being judged, and these merits and deficiencies are all moral ones, that is, ones determined by moral standards. One entity is correctly judged morally superior to another if it is the case that, when valid moral standards are applied to both entities, the first fulfills them to a greater degree than the second. Both entities, therefore, must fall within the range of application of moral standards. This would not be the case, however, if humans were being judged superior to animals and plants, since the latter are not moral agents.

① both beings must receive equal moral rights in every case
② both beings must be capable of being assessed by moral criteria
③ humans must apply moral rules more strictly to themselves than to animals
④ moral standards must protect weaker living things from stronger ones
⑤ animals and plants must share the same duties as human moral agents