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 emotional involvement in classroom learning
② the teacher should avoid signaling which answer is correct at once
③ the teacher should refuse to react when students make repeated mistakes
④ the teacher should let students decide whether every answer is acceptable
⑤ the teacher should remain passive so that discussion can continue naturally

2. 다음 글에서 밑줄 친 부분이 의미하는 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 station users should be allowed to choose any route freely
② stations should direct the two passenger flows along different paths
③ commuters should spend more time in station areas for safety
④ intercity travelers should use local streets before entering platforms
⑤ all passengers should wait together where information is provided

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 mainly follow fixed technical rules throughout a production
② lighting changes should be used only when the audience can notice them at once
③ lighting should respond to the dramatic purpose of each stage moment
④ lighting cues should copy the actors' movements as closely as possible
⑤ lighting designers should keep one atmosphere unchanged within each scene

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 every sound without changing it
② a room acoustically alters the audio that passes through it
③ a room prevents speakers from sending signals into it
④ a room makes headphone playback depend on where we move
⑤ a room always produces the same effect in every location

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.

밑줄 친 this singular focus may limit the breadth of knowledge and skills developed during the programme의 함축적 의미로 가장 적절한 것은?

① students can gain a balanced range of abilities only through one narrow research area
② students may become less prepared for different kinds of work because their training is too narrowly concentrated
③ students are encouraged to avoid related fields in order to deepen their main research topic
④ students can solve interdisciplinary problems better when they remain within a single academic field
⑤ students should replace research with internships if they want careers outside academia

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 emotions make children believe that imagined objects physically appear in all situations
② emotions can keep children from acting on what they already know is real
③ emotions help children explain more clearly how imagination changes reality
④ emotions show that children cannot tell empty boxes from ordinary objects
⑤ emotions always erase children's knowledge that monsters are imaginary

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 experience occurs when people turn away from ordinary events and focus only on inward feeling
② aesthetic value appears only after ordinary life is separated from biological and cultural conditions
③ aesthetic experience arises when a person and surrounding things are fully engaged with each other
④ aesthetic judgment belongs mainly to poets and novelists rather than to common daily experience
⑤ aesthetic pleasure should be limited to exceptional works because common objects weaken artistic value

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 humans deserve moral praise because they can judge nonmoral life forms
② humans can be ranked above animals and plants by standards that apply only to humans
③ humans can rightly be called morally better only in comparison with other moral agents
④ humans have moral duties because they alone possess the capacities of moral agency
⑤ humans should extend moral standards equally to every living being without exception