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 reactions so that students can examine and justify their own reasoning
② the teacher should avoid checking wrong answers because criticism may weaken students’ confidence
③ the teacher should present no facial expression because mathematical discussion depends mainly on silence
④ the teacher should stop serving as a guide and let students decide correctness without any teacher support
⑤ the teacher should remain neutral only until students produce the single correct answer expected by the teacher

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 encouraged to share the same routes for convenience
② station design should guide different passenger flows along distinct paths
③ passengers should spend more time in station areas before boarding trains
④ local streets and transport should replace signs inside station buildings
⑤ large stations should place all trains on one level to simplify movement

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 regardless of the actors’ actions
② lighting should be planned in relation to every dramatic point on stage
③ lighting should change only when a clearly visible event directly causes it
④ lighting should mainly aim to display a wide range of separate visual states
⑤ lighting should avoid gradual shifts and produce immediate effects instead

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 rooms create sounds that replace the original source completely
② rooms make reproduced or recorded sounds change according to the space
③ rooms keep headphone sound from reaching listeners in a stable way
④ rooms produce the same speaker sound as long as the source stays unchanged
⑤ rooms determine all musical quality no matter how the equipment is used

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 avoid studying one clearly defined subject
② students gain practical skills through outside training
③ students become less willing to continue academic research
④ students develop knowledge in a more limited range
⑤ students move more easily into several different careers

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 imagined objects usually become real in familiar situations
② they treated an unreal idea as behaviorally threatening despite knowing it was unreal
③ they thought that empty boxes often hide real creatures from adults at night
④ they lost the ability to distinguish ordinary objects from imaginary ones altogether
⑤ they proved that fear always prevents children from understanding reality correctly

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 only when people withdraw from ordinary life into inner feeling
② aesthetic value appears when art is kept apart from daily objects and common events
③ aesthetic experience arises when a person fully engages with the surrounding world in lived experience
④ aesthetic judgment depends mainly on poets and novelists who describe ordinary situations beautifully
⑤ aesthetic pleasure should be limited to exceptional works rather than extended to everyday 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 can be physically controlled by human rules
② both beings can be assessed by the same moral criteria
③ humans alone can define standards for all living things
④ moral judgments always rank every form of life completely
⑤ nonhuman life can prove itself morally better than humans