1. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 것은?

A first step toward establishing a respectful classroom learning community is acceptance of all ideas and answers—regardless of any obvious ①mistakes. 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 ②surface, 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 ③diminish 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 ④agreement or disagreement with any answer. Students look to teachers as the source of correct answers. Part of building a safe learning community is to ⑤shift this source of knowledge to the students, by equipping them to defend the thinking behind their solutions.

① ①
② ②
③ ③
④ ④
⑤ ⑤

2. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 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 ①direct access to or from local streets and transport. These two types of traffic should be kept ②distinct 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 ③different levels. In smaller stations, separate platforms should be used and traffic routed so that the two lines of movement do not ④merge. In some instances, separate stations are in use. Clear and concise direction and routing signs and other means of ⑤guidance are desirable.

① direct
② distinct
③ different
④ merge
⑤ guidance

3. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 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 ①motivation. This might be something very obvious such as a cue required to ②dim 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 ③delicate change in atmosphere over a number of minutes, motivated perhaps by the mention of a sunset or the intention to ④gradually change the feel of the performance from normal to ⑤menacing. 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 ①
② ②
③ ③
④ ④
⑤ ⑤

4. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 것은?

Rooms have their own “sound” because they impose their own ①traits 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 ②different in every acoustical environment. Every room where you set up the loudspeaker will ③alter 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 ④identical in every room and the recorded sound will sound different as the instrument or the microphone is moved. In other words, the room can ⑤significantly shape what we hear and record.

① traits
② different
③ alter
④ identical
⑤ significantly

5. 다음 글의 밑줄 친 단어 중, 문맥상 쓰임이 적절하지 않은 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 ①broadening the focus. As students become deeply absorbed in their research, they may spend less time exploring related fields or acquiring ②abilities outside their immediate area of study. Consequently, this singular focus may limit the ③scope of knowledge and skills developed during the programme, potentially ④impeding students’ ability to adapt to diverse career paths or address ⑤cross-disciplinary 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 broadening
② abilities
③ scope
④ impeding
⑤ cross-disciplinary

6. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 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 ①vacant. However, emotion can sometimes ②disturb 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 ③decline 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 ④terrifying 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 ⑤full. However, when they were left alone with the box they exhibited fear and avoidance of it.

① ①
② ②
③ ③
④ ④
⑤ ⑤

7. 다음 글의 밑줄 친 단어 중, 문맥상 쓰임이 적절하지 않은 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 ①acknowledged, even if ②enhanced 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 ③beginnings 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 ④situated 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 ⑤maintained that “the aesthetic is the clarified and intensified development of traits that belong to every normally complete experience.”

① ①
② ②
③ ③
④ ④
⑤ ⑤

8. 다음 글의 밑줄 친 단어 중, 문맥상 쓰임이 적절하지 않은 것은?

One cannot validly argue that humans are morally ①superior 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 ②shortcomings of the entities being judged, and these merits and deficiencies are all moral ones, that is, ones ③governed by moral standards. One entity is correctly judged morally superior to another if it is the case that, when valid moral standards are ④disregarded to both entities, the first fulfills them to a greater degree than the second. Both entities, therefore, must fall within the ⑤scope 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 ①
② ②
③ ③
④ ④
⑤ ⑤

1번. 다음 글의 주제로 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 value of correcting errors in math discussions
② the challenge of identifying misconceptions in mathematics
③ teacher neutrality in evaluating every student response
④ the role of safe acceptance in student-centered math learning
⑤ effective ways to improve students' mathematical confidence

2. 다음 글의 주제로 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 integration of passenger flows in station design
② the benefits of separating distinct station user flows
③ the need for expanding food services in stations
④ the causes of confusion in urban rail transport
⑤ the role of multilevel platforms at Grand Central

3. 다음 글의 주제로 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 principles for timing motivated lighting changes
② effects of lighting changes on audience attention
③ principles for designing realistic stage environments
④ effective ways to simplify theatrical lighting states
⑤ examples of lighting cues in musical finales

4. 다음 글의 주제로 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 acoustic methods for eliminating room influence
② environmental shaping of sound in reproduction and recording
③ consistency of headphone sound across listening spaces
④ benefits of room acoustics for clearer musical signals
⑤ factors determining microphone quality in music recording

5. 다음 글의 주제로 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 the career advantages of highly specialised doctoral research
② the drawbacks of narrow doctoral training and broader alternatives
③ the need to preserve traditional doctoral research methods
④ the value of seminars and internships in European universities
⑤ the growing demand for interdisciplinary challenges in academia

6. 다음 글의 주제로 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 emotional barriers to children’s reality-imagination distinction
② emotional support for children’s reality-imagination distinction
③ effective ways to reduce children’s fear of monsters
④ preschoolers’ fear responses to imagined monsters in boxes
⑤ the role of everyday objects in children’s pretend play

7. 다음 글의 주제로 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 the philosophical limits of defining art as pure feeling
② the biological roots of artistic genius and cultural expression
③ the historical neglect of aesthetic value in Asian poetry
④ the expansion of aesthetic meaning into ordinary life
⑤ the need to separate art from everyday experience

8. 다음 글의 주제로 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 moral agency as proof of human moral superiority
② limits of moral comparison across unlike beings
③ the need to extend moral standards to nature
④ moral agents as the basis of moral responsibility
⑤ human duties toward animals and plants

1. 다음 글의 내용을 한 문장으로 요약할 때, 빈칸 (A), (B)에 들어갈 말로 가장 알맞은 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.

요약문: A productive math classroom emerges when teachers replace visible judgment with (A) __________, so that error can function as a resource and authority can gradually become (B) __________ among students.

① neutrality …… decentralized
② neutrality …… concealed
③ validation …… decentralized
④ validation …… concealed
⑤ correction …… individualized

2. 다음 글의 요약문으로 가장 알맞은 것을 고르시오.

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.

Stations function best when users with contrasting speeds and needs are given __(A)__ paths, reducing __(B)__ that arises when unlike flows compete for the same space.

① distinct …… friction
② distinct …… isolation
③ convergent …… friction
④ convergent …… delay
⑤ shared …… isolation

3. 다음 글의 요약문으로 가장 알맞은 것을 고르시오.

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.

요약문: In stage lighting, shifts between visual arrangements are not arbitrary effects but responses to dramatic ___(A)___, whether immediate or gradual, so lighting must be planned as a continuous agent of theatrical ___(B)___.

① impulse …… coherence
② impulse …… decoration
③ timing …… coherence
④ timing …… decoration
⑤ contrast …… symbolism

4. 다음 글을 한 문장으로 요약할 때, 빈칸 (A), (B)에 들어갈 말로 가장 알맞은 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.

요약문: Audio remains relatively (A) when the environment is excluded from transmission, but once space becomes an active participant, sonic output turns highly (B) depending on location and setting.

① stable …… contingent
② stable …… uniform
③ isolated …… contingent
④ isolated …… uniform
⑤ fluctuating …… fixed

5. 다음 글의 요약문으로 가장 알맞은 것을 고르시오.

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.

요약문: Doctoral education built around a single research track can produce intellectual (A) while weakening professional (B), so some European universities are redesigning it to cultivate both depth and wider applicability.

① precision …… compliance
② precision …… agility
③ isolation …… agility
④ isolation …… compliance
⑤ specialization …… stability

6. 다음 글의 내용을 한 문장으로 요약할 때, 빈칸 (A), (B)에 들어갈 말로 가장 알맞은 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.

Children’s grasp of the boundary between imagination and reality is generally (A) ______, but fear can make that boundary behaviorally (B) ______ even when it remains cognitively intact.

① stable …… permeable
② stable …… irrelevant
③ fragile …… permeable
④ fragile …… invisible
⑤ intuitive …… invisible

7. 다음 글의 요지로 가장 알맞은 것을 고르시오.

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.”

요약문: Dewey’s view recasts the aesthetic not as a secluded mental luxury but as an (A) of ordinary living, where human beings and their surroundings enter a state of heightened (B).

① outgrowth …… reciprocity
② outgrowth …… detachment
③ byproduct …… reciprocity
④ byproduct …… isolation
⑤ ornament …… isolation

8. 다음 글의 요약문으로 가장 알맞은 것을 고르시오.

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.

요약문: A claim of human moral supremacy collapses because moral ranking presupposes a shared __(A)__ to ethical appraisal; beings outside that domain cannot occupy the __(B)__ side of a comparison.

① eligibility …… subordinate
② eligibility …… exemplary
③ resistance …… subordinate
④ resistance …… exemplary
⑤ neutrality …… reciprocal

1. 다음 글의 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 to hide whether any answer is correct or incorrect
② to record every answer before correcting obvious misconceptions
③ to avoid derogatory comments about students' wrong mathematical ideas
④ to shift the source of correct answers from teachers
⑤ to show no reaction so students evaluate answers themselves

2. 다음 글의 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 to reduce conflict by mixing both passenger flows efficiently
② to prevent conflict when the two passenger streams intersect
③ to ease confusion by delaying commuters near station services
④ to avoid conflict through identical routes for all travelers
⑤ to minimize confusion by adding food and seating areas

3. 다음 글의 lighting cues usually need a motivation이 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 cues should be timed by actors’ movements alone
② each lighting change should be justified by dramatic purpose
③ lighting states must remain stable through every transition
④ actors should motivate lighting by operating visible switches
⑤ subtle atmosphere changes matter more than obvious lighting shifts

4. 다음 글의 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 the room directly shapes the sound reaching the listener
② the room blocks the signal path from the loudspeaker
③ the room keeps the loudspeaker sounding the same everywhere
④ the room becomes easier to ignore in sound playback
⑤ the room changes only the microphone, not the sound

5. 다음 글의 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 reduce exposure to wider knowledge and transferable skills
② deepen knowledge through broader research and academic internships
③ replace thesis research with coursework in related fields
④ improve adaptation by narrowing students’ academic focus further
⑤ develop specialised knowledge for only academic career paths

6. 다음 글의 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 acted as if the imagined monster could still matter emotionally
② proved the box had changed because imagination filled it
③ denied their earlier claim that the box was empty
④ showed that everyday objects are harder to understand than monsters
⑤ confused pretending with reality only when adults were present

7. 다음 글의 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 the self passively observing objects through refined inner feeling
② the aesthetic arising when self and everyday world fully interact
③ the world of objects replacing the self in aesthetic experience
④ the biological basis of art explaining all cultural events
⑤ the self separating art from life to heighten sensation

8. 다음 글의 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 beings that can be assessed by moral criteria
② beings that can create moral standards for others
③ beings that display superior moral capacities to humans
④ beings that deserve protection under shared moral standards
⑤ beings that fail to meet moral standards consistently

1. 다음 글의 제목으로 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 Accepting Errors: The Start of Math Community
② Why Teachers Need a Perfect Blank Face
③ Wrong Answers as Windows into Student Thinking
④ From Teacher Authority to Student Reasoning
⑤ Safe Classrooms, Better Manners, Fewer Harsh Comments

2. 다음 글의 제목으로 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 Separate Station Traffic for Smoother Passenger Flow
② Grand Central's Multi-Level Train Design Success
③ Why Commuters Need Faster Street Access
④ Shared Platforms: The Best Use of Space
⑤ Intercity Travelers and Their Long Station Waits

3. 다음 글의 제목으로 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 States: A Designer’s Basic Toolkit
② Button Cues and Switches on Stage
③ Why Every Lighting Cue Needs Motivation
④ How Lighting Builds Atmosphere Very Slowly
⑤ Scene Transitions: The Heart of Performance Lighting

4. 다음 글의 제목으로 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 Headphones: The Only Way to Hear True Sound
② Why Every Room Becomes Part of Sound
③ Loudspeaker Placement Changes Listening Within One Room
④ Microphones Capture Instruments Differently in Every Room
⑤ Acoustical Environments Make Music Harder to Record

5. 다음 글의 제목으로 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 Coursework and Internships in European Doctorates
② Structured Doctorates: Beyond Narrow Thesis Training
③ Thesis Research: The Best Path to Expertise
④ Why Transferable Skills Matter in Academia
⑤ Europe’s Universities Replace Traditional Doctoral Research

6. 다음 글의 제목으로 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 Empty Boxes Still Frighten Preschool Children
② Emotion Blurs Children’s Reality-Imagination Boundary
③ Monsters Matter More Than Everyday Objects
④ Why Scary Pretend Play Feels Real
⑤ Children Perfectly Separate Fantasy from Reality

7. 다음 글의 제목으로 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 Everyday Aesthetics: Reuniting Art and Life
② Dewey’s Art as Experience Reconsidered Today
③ Everyday Objects as Poets’ Favorite Beauty
④ Aesthetics as Purely Inner Sensation and Feeling
⑤ Why Ordinary Life Rarely Offers Aesthetic Joy

8. 다음 글의 제목으로 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 Moral Agents Alone Admit Moral Comparison
② Human Superiority Through Moral Agency Explained
③ Animals and Plants Outside Moral Standards
④ Can Moral Standards Rank All Living Beings?
⑤ Moral Merits Decide Who Is Better

1. 다음 글의 요지로 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 교사는 오답에도 반응을 드러내지 않는 표정을 익혀야 한다.
② 수학 수업에서는 모든 답을 즉시 검증해 오류를 줄여야 한다.
③ 안전한 교실일수록 학생들은 틀린 답도 더 쉽게 말하게 된다.
④ 교실은 모든 생각을 수용해 학생이 해답 근거를 말하게 해야 한다.
⑤ 교사는 정답의 근원으로서 학생 해설을 최종 판단해야 한다.

2. 다음 글의 요지로 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 대형 역사는 통근객과 장거리 승객용 층을 달리해야 한다.
② 역에서는 안내 표지와 동선 유도를 최대한 단순화해야 한다.
③ 역 설계는 통근객과 장거리 승객의 동선을 분리해야 한다.
④ 통근객은 지역 교통과 연결되는 출입구를 우선 이용해야 한다.
⑤ 장거리 승객은 대기와 수하물 처리를 위한 편의가 필요하다.

3. 다음 글의 요지로 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 조명 큐는 배우의 행동 변화에만 직접 반응해야 한다.
② 조명 상태의 변화는 작품 전체보다 장면에만 맞추면 된다.
③ 조명 큐는 장면 전환마다 강한 시각 효과를 우선해야 한다.
④ 조명은 각 순간과 전환의 극적 기능에 맞게 설계해야 한다.
⑤ 조명 상태는 분위기보다 무대의 현실 재현에 집중해야 한다.

4. 다음 글의 요지로 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 헤드폰 소리는 공간과 무관해 언제나 같게 들린다는 점이 중요하다.
② 실내 음향은 스피커와 마이크 신호에 개입해 소리를 바꾼다.
③ 스피커는 같은 방에서도 위치에 따라 음색 차이가 커질 수 있다.
④ 녹음할 때는 악기보다 마이크의 위치를 먼저 고정해야 한다.
⑤ 음향 환경이 달라도 재생 장비의 성능은 일정하게 유지된다.

5. 다음 글의 요지로 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 박사과정은 논문 연구의 깊이를 유지하되 역량을 넓혀야 한다.
② 박사과정은 특정 주제 연구에 더욱 집중해야 경쟁력이 생긴다.
③ 유럽 대학들은 세미나와 인턴십 확대에 가장 주력하고 있다.
④ 박사과정은 학제 간 도전보다 전공 전문성 확보가 우선이다.
⑤ 박사과정의 진로 적응력은 연구 주제의 일관성에서 나온다.

6. 다음 글의 요지로 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 유아는 상상과 현실의 차이를 일상물에서 더 쉽게 안다.
② 유아는 무서운 대상을 상상하면 빈 상자도 피할 수 있다.
③ 유아는 상상과 현실의 인과관계를 감정 때문에 드러내지 못할 수 있다.
④ 유아는 괴물이 실제 없다는 사실을 반복해 배워야 한다.
⑤ 유아의 두려움은 상상보다 실제 경험에서 더 쉽게 형성된다.

7. 다음 글의 요지로 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 일상 미학은 예술과 삶의 분리를 해체하며 일상 경험 속에서 성립할 수 있다.
② 일상적 사물의 미적 가치는 시인과 소설가의 작품에서만 온전히 드러난다.
③ 듀이의 미학은 감각과 감정의 내면 의식을 미적 경험의 중심으로 본다.
④ 일상 미학의 확산은 현대 철학이 오래전부터 높이 평가한 결과물이다.
⑤ 미적 경험은 생물학적 조건보다 문화적 전통에 의해 우선 결정된다.

8. 다음 글의 요지로 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 도덕적 우월성 판단은 도덕 기준이 적용되는 존재 사이에서만 가능하다.
② 인간은 도덕 행위자이므로 동식물보다 더 큰 책임을 져야 한다.
③ 도덕적 좋고 나쁨은 도덕 행위자에게만 의미 있게 적용될 수 있다.
④ 인간과 동식물의 차이는 도덕 기준이 아니라 생물학으로 설명해야 한다.
⑤ 도덕 기준은 존재의 결함보다 장점을 비교할 때 더 유효한 잣대이다.

1. 다음 글에서 필자가 주장하는 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 교사는 학생들이 풀이 근거를 스스로 방어하게 해야 한다.
② 교사는 학생들의 오답을 즉시 바로잡아 혼란을 막아야 한다.
③ 교사는 수업 중 정답의 기준을 더 분명히 제시해야 한다.
④ 교사는 모든 답을 기록하며 반응을 드러내지 말아야 한다.
⑤ 교사는 학생들끼리 정답을 먼저 합의한 뒤 발표하게 해야 한다.

2. 다음 글에서 필자가 주장하는 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 역은 통근객과 장거리 승객의 동선을 분리해야 한다.
② 역은 통근객과 장거리 승객 모두에게 충분한 좌석을 제공해야 한다.
③ 역은 통근객과 장거리 승객에게 동일한 접근 경로를 마련해야 한다.
④ 역은 대형 역사처럼 승강장을 반드시 복층으로 설계해야 한다.
⑤ 역은 통근객과 장거리 승객에게 더 많은 안내 정보를 제공해야 한다.

3. 다음 글에서 필자가 주장하는 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 조명 연출은 장면마다 분위기 변화를 선명하게 드러내야 한다.
② 조명 연출은 배우의 동선에 맞춰 상태 변화를 최소화해야 한다.
③ 조명 연출은 각 순간과 장면 전환마다 역할을 따져야 한다.
④ 조명 연출은 무대의 사실성을 높이는 효과를 우선해야 한다.
⑤ 조명 연출은 관객의 시선을 집중시키는 장치를 늘려야 한다.

4. 다음 글에서 필자가 주장하는 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 음향 재생과 녹음에서는 방의 영향을 적극 활용해야 한다.
② 음향 재생과 녹음에서는 방의 개입을 반드시 고려해야 한다.
③ 음향 재생과 녹음에서는 헤드폰 사용을 우선해야 한다.
④ 음향 재생과 녹음에서는 스피커 위치를 자주 바꿔야 한다.
⑤ 음향 재생과 녹음에서는 마이크 이동을 최소화해야 한다.

5. 다음 글에서 필자가 주장하는 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 대학은 박사과정생의 연구 주제를 더욱 세분화해야 한다.
② 대학은 박사과정에 현장 실습 기회를 의무화해야 한다.
③ 대학은 박사과정생이 학문 간 이동을 자유롭게 하게 해야 한다.
④ 대학은 박사과정에 교과와 전이 가능 기술 훈련을 포함해야 한다.
⑤ 대학은 박사과정생의 학위 논문 분량 기준을 완화해야 한다.

6. 다음 글에서 필자가 주장하는 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 어른은 아이의 상상을 현실 검증으로 바로잡아야 한다.
② 어른은 아이의 감정이 현실 판단을 흐릴 수 있음을 고려해야 한다.
③ 어른은 아이가 두려운 상상을 자주 말로 표현하게 해야 한다.
④ 어른은 아이가 일상 사물과 괴물을 구별하도록 가르쳐야 한다.
⑤ 어른은 아이가 무서운 대상을 반복 상상하며 익숙해지게 해야 한다.

7. 다음 글에서 필자가 주장하는 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 우리는 일상적 사물과 사건의 미적 가치를 적극 인정해야 한다.
② 우리는 예술과 삶의 경계를 더욱 분명히 구분해야 한다.
③ 우리는 감각과 감정의 내면 인식에만 미를 한정해야 한다.
④ 우리는 낭만주의 시인들의 미학만 중심에 두어야 한다.
⑤ 우리는 생물학적 조건보다 철학 이론을 우선시해야 한다.

8. 다음 글에서 필자가 주장하는 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 인간은 도덕적 행위 능력의 유무로 우월성을 판단해야 한다.
② 인간은 동식물과의 도덕적 차이를 기준으로 책임을 물어야 한다.
③ 인간은 도덕 기준의 적용 대상을 먼저 엄격히 구분해야 한다.
④ 인간은 도덕적 행위자라는 이유만으로 우월하다고 보지 말아야 한다.
⑤ 인간은 동식물보다 더 높은 도덕 기준을 스스로 세워야 한다.