1. 다음 글의 밑줄 친 부분 중 어법상 틀린 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 ①to 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 ②having 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 ③defending the thinking behind their solutions. ④unless these ideas are allowed to be brought to the forefront, we cannot help students confront their thinking. Wrong answers are often ⑤rooted in misconceptions.

① to risk
② having
③ defending
④ unless
⑤ rooted

2. 다음 글의 밑줄 친 부분 중 어법상 틀린 것은?

The usual intercity traveler ① 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 ② crosses. In some instances, separate stations are in use. Clear and concise direction and routing signs and other means of channelization are ③ desirable.

① moves
② crosses
③ desirable
④ routed
⑤ to avoid

3. 다음 글의 밑줄 친 부분 중 어법상 틀린 것은?

Most performance lighting ① 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 ② known as a button cue. At other times we will need a cue ③ providing 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?’ ④ needs to be asked for each moment of the production, each dramatic unit or scene, and each transition.

① is made up of
② known
③ providing
④ needs
⑤ to be asked

4. 다음 글의 밑줄 친 부분 중 어법상 틀린 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 ① 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 ② 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 ③ is moved. In addition, sound from headphones ④ are unaffected by changes in room placement because the room is not part of the playback path, while loudspeaker sound changes with location. This contrast ⑤ shows how strongly a room can shape what we hear.

① to be
② it is placed
③ is moved
④ are
⑤ shows

5. 다음 글의 밑줄 친 부분 중 어법상 틀린 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 ① exploring related fields or ② acquiring skills outside their immediate area of study. Consequently, this singular focus may limit the breadth of knowledge and skills ③ 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 ④ implementing 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 exploring
② acquiring
③ developed
④ implementing
⑤ aim

6. 다음 글의 밑줄 친 부분 중 어법상 틀린 것은?

Research shows that, by age three, children understand ① 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 ② 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 ③ 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 ④ pretending 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 ⑤ it.

① that
② disrupt
③ to make
④ pretending
⑤ it

7. 다음 글의 밑줄 친 부분 중 어법상 틀린 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 ① degraded and dismissed by prevalent philosophical theory. Widely valued by poets, especially Romantic poets and those ② in Asian traditions, the aesthetic in everyday situations has also been recognized by novelists. It may be most convenient, though, ③ 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 ④ are the clarified and intensified development of traits ⑤ that belong to every normally complete experience.”

① degraded
② in Asian traditions
③ to locate
④ are
⑤ that

8. 다음 글의 밑줄 친 부분 중 어법상 틀린 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 ① be said to be either morally good or morally bad. Only moral agents can ② 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 ③ determining 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, ④ 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 ⑤ are not moral agents.

① be said
② be judged
③ determining
④ must fall
⑤ are