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 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 ①develop mathematically. It is important to model and expect the acceptance of all ideas without ②complimentary comments. As educators we can model this by recording all answers to be considered without giving any verbal or physical expressions that indicate ③agreement or disagreement with any answer. The teacher may need to practice having a ④blank face. 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 direct access to or from local streets and transport. These two types of traffic should be kept ①distinct 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 ②tiers. In smaller stations, separate platforms should be used and traffic routed so that the two lines of movement do not ③intersect. In some instances, separate stations are in use. Clear and concise direction and routing signs and other means of ④dispersion are desirable. Intercity travelers often move ⑤slowly through station areas, unlike hurried commuters.

① distinct
② tiers
③ intersect
④ dispersion
⑤ slowly

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 ③subtle change in atmosphere over a number of minutes, motivated perhaps by the mention of a sunset or the intention to slowly ④alter the feel of the performance from normal to threatening. The question, ‘What will lighting do for this production?’ needs to be asked for each ⑤moment of the production, each dramatic unit or scene, and each transition.

① motivation
② dim
③ subtle
④ alter
⑤ moment

4. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 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 ①dissimilar in every acoustical environment. Every room where you set up the loudspeaker will ②make 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 ③positioned 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 ④obtain at the microphone will be different in every room and the recorded sound will sound different as the instrument or the microphone is ⑤fixed.

① ①
② ②
③ ③
④ ④
⑤ ⑤

5. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 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 interdisciplinary challenges. Some universities in Europe have recognised the ⑤drawbacks of traditional thesis-based doctoral programmes and have started to implement more structured approaches.

① ①
② ②
③ ③
④ ④
⑤ ⑤

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

Research shows that, by age three, children ①grasp 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 ②reinforce 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 ④displaying 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 ⑤agreed that the box was empty. 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 ①broadening 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 ②acknowledged, 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 ③endpoints 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 ④interpenetration of self and the world of objects and events.” Further, Dewey maintained that “the aesthetic is the clarified and ⑤heightened development of traits that belong to every normally complete experience.”

① broadening
② acknowledged
③ endpoints
④ interpenetration
⑤ heightened

8. 다음 글의 밑줄 친 ①~⑤ 중, 문맥상 낱말의 쓰임이 적절하지 않은 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 ①better 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 ②governed by moral standards. One entity is correctly judged morally superior to another if it is the case that, when valid moral standards are ③ignored to both entities, the first fulfills them to a greater degree than the second. Both entities, therefore, must fall within the range of ④application 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 ⑤ethical agents.

① better
② governed
③ ignored
④ application
⑤ ethical agents

1. 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 role of teacher approval in correcting errors
② the value of embracing ideas in safe math classrooms
③ the need for immediate feedback on wrong answers
④ the practice of keeping a blank face in class
⑤ the limits of student-led knowledge in mathematics

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 efficient integration of commuter and intercity passenger flows
② principles for separating distinct passenger movements in stations
③ benefits of direct street access for daily rail commuters
④ challenges caused by combining waiting areas and platforms
⑤ the role of clear signs in large terminal design

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 planning lighting equipment for each stage transition
② the dramatic function of motivated lighting changes
③ effective ways to intensify dance finales with lighting
④ the limitations of lighting cues in shaping atmosphere
⑤ balancing actors and lighting in stage performance

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 the influence of room acoustics on perceived sound
② the influence of audio devices on room acoustics
③ the limits of controlling sound through room acoustics
④ the consistent sound quality of headphone playback everywhere
⑤ the importance of microphone placement 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 specialised doctoral research
② the risks of narrow doctoral training and reform
③ the effectiveness of internships in doctoral education
④ the need for deeper focus in doctoral programmes
⑤ the decline of academic careers in European universities

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 factors weakening children’s reality judgments
② emotional factors strengthening children’s reality judgments
③ effective ways to reduce children’s fear of monsters
④ preschoolers’ fear and avoidance of an empty box
⑤ developmental changes in children’s imaginative 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 everyday aesthetic theory
② the artistic superiority of ordinary objects and events
③ the integration of aesthetic experience into ordinary life
④ Dewey’s rejection of sensation in artistic appreciation
⑤ the influence of Romantic poets on modern aesthetics

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 standards as grounds for human superiority
② limits of claiming moral rank across species
③ the necessity of moral agency in ethics
④ how humans differ morally from animals and plants
⑤ moral excellence achieved by responsible human agents

1번. 다음 글을 읽고, 요약문의 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 mathematically productive classroom emerges when the teacher withholds immediate judgment, creating ___(A)___ for imperfect thinking and gradually relocating intellectual ___(B)___ from the instructor to the learners themselves.

① sanctuary …… ownership
② sanctuary …… compliance
③ hierarchy …… ownership
④ hierarchy …… compliance
⑤ neutrality …… dependence

2. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 가장 알맞은 말을 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.

요약문:

A station functions best when it treats travelers not as a single stream but as groups with different levels of ___(A)___ and ___(B)___, designing circulation so their paths do not interfere.

① urgency …… self-sufficiency
② urgency …… visibility
③ predictability …… self-sufficiency
④ predictability …… visibility
⑤ uniformity …… accessibility

3. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 말로 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:

Stage lighting should not be treated as a mere sequence of technical adjustments; instead, every shift must serve a dramatic ___(A)___, whether it produces an immediate visual payoff or gradually reshapes the audience’s ___(B)___.

① impulse …… timetable
② rationale …… perception
③ rationale …… timetable
④ ornament …… perception
⑤ ornament …… timetable

4. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 말로 가장 알맞은 것을 고르시오.

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 ___(A)___ only when the surrounding space is excluded from transmission, but once that space becomes an active participant, what is heard is continually ___(B)___ by location and movement.

① stable …… reconfigured
② stable …… insulated
③ transparent …… reconfigured
④ transparent …… insulated
⑤ incidental …… fragmented

5. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 말로 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:
A doctoral education built around only one research track may trade intellectual ___(A)___ for depth, whereas more structured models try to restore ___(B)___ by blending scholarship with wider professional preparation.

① range …… versatility
② range …… conformity
③ precision …… versatility
④ precision …… conformity
⑤ isolation …… uniformity

6. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 말로 가장 알맞은 것을 고르시오.

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.

요약문:
Young children can usually keep make-believe from the real world, but when feeling is strongly engaged, that cognitive boundary may become ___(A)___ in behavior, making known falsehoods seem ___(B)___ enough to avoid.

① porous …… threatening
② porous …… irrelevant
③ rigid …… threatening
④ rigid …… harmless
⑤ stable …… irrelevant

7. 다음 글의 요약문으로 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 legacy lies in recasting beauty not as a rarefied response sealed off within the mind, but as a form of ___(A)___ woven into ordinary living, where common experience becomes more ___(B)___ rather than fundamentally different.

① continuity …… vivid
② continuity …… peripheral
③ isolation …… vivid
④ isolation …… peripheral
⑤ transcendence …… decorative

8. 다음 글을 읽고, 요약문의 빈칸 (A), (B)에 들어갈 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 superiority collapses because moral ranking presupposes a shared domain of ___(A)___; beings outside that domain may differ in kind, but they cannot be placed in a ___(B)___ order by standards that do not apply to them.

① accountability …… hierarchical
② accountability …… biological
③ sentience …… hierarchical
④ sentience …… biological
⑤ instinct …… functional

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 have students judge which answers please the teacher most
② let students justify their solutions instead of relying on teachers
③ encourage students to hide misconceptions behind polished explanations
④ make teachers the final source of students’ mathematical knowledge
⑤ train students to record all answers without discussing errors

2. 다음 글의 the two lines of movement do not cross가 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 commuter and intercity passenger flows should never intersect
② commuter and intercity trains should run at matching times
③ passengers should cross platforms quickly to reduce confusion
④ local streets and transport should connect both routes equally
⑤ separate platforms should shorten waits for delayed trains

3. 다음 글의 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 support the production’s purpose at every point
② lighting should remain unchanged through each scene and transition
③ lighting should mainly display technical skill in dramatic moments
④ lighting should follow actors rather than shape each scene’s mood
⑤ lighting should become brightest whenever the production turns threatening

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 outside noise from the playback signal
③ the listener becomes part of the signal path instead
④ the room makes headphones change sound in each place
⑤ the microphone alone determines the room’s sound character

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 making students rely only on academic career paths
② reducing students’ readiness for varied careers and cross-field problems
③ encouraging students to explore related fields more actively
④ helping students build transferable skills through research alone
⑤ broadening students’ knowledge through structured doctoral coursework

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 trouble showing that imagined monsters cannot affect reality
② confidence that scary imagination changes what is inside
③ ability to treat empty boxes as truly dangerous places
④ fear of pretending because monsters become real at night
⑤ awareness that everyday objects come alive through imagination

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 an intense fusion of the self with everyday surroundings
② a heightened awareness of one’s private sensations and feelings
③ a cultural separation between art objects and daily life
④ a biological explanation for why poets value ordinary objects
⑤ an intensified experience limited to artworks and special events

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 both beings must be assessable by the same moral standards
② both beings must possess equally developed capacities as moral agents
③ moral standards should favor humans over animals and plants
④ only humans can define and apply valid moral standards
⑤ moral agents must avoid judging nonmoral beings too harshly

1번. 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 Mathematical Safety
② Why Teachers Need a Perfect Blank Face
③ Correct Answers Still Lead Classroom Discussion Best
④ Misconceptions: Hidden Barriers to Student Confidence
⑤ Recording Every Answer Without Any Judgment

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 Flows, Smoother Passenger Movement
② Grand Central: A Model of Split Levels
③ Station Signs: The Key to All Routing
④ Why Commuters Need Faster Street Access
⑤ Mixing Intercity and Commuter Traffic Efficiently

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: Building Looks for Every Scene
② Why Every Lighting Cue Needs Motivation
③ Button Cues: Ending Dance Numbers with Impact
④ Lighting Design Beyond Brightness and Atmosphere
⑤ Sunset on Stage: Creating Mood Minute by Minute

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 Sound the Same in Every Room
② Why Rooms Become Part of Sound Paths
③ Loudspeaker Placement Changes Sound Within One Room
④ Microphones Capture Instruments Differently in Each Room
⑤ Different Rooms, Different Sounds: The Room Matters

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 Structured Doctorates: Broadening Skills Beyond Research
② Coursework in Europe’s Doctoral Programmes Expands Rapidly
③ Thesis-Based Study: The Best Route to Expertise
④ Transferable Skills: A New Core of Academia
⑤ Internships and Seminars in Modern PhD Training

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 Monsters in Boxes: A Preschool Fear Study
② Why Scary Imagination Overrules What Children Know
③ Children Easily Separate Imagination from Reality
④ Empty Boxes and Pencils in Young Minds
⑤ How Pretend Play Strengthens Reality Judgments

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: Art Rejoining the Flow of Life
② Dewey’s Art as Experience: A Modern Starting Point
③ Everyday Objects as Dismissed by Philosophical Theory
④ Aesthetic Experience as Pure Inner Sensation Alone
⑤ Why Novelists Celebrated Ordinary Beauty First

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 over Animals Reconsidered
③ Moral Standards Define Human Moral Greatness
④ Why Plants Escape Moral Judgment Entirely
⑤ Comparing Moral Agents: A Fair Standard?

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 정답 판단을 드러내지 말고 모든 답을 기록해야 한다.
② 수학 성장을 위해 학생은 틀린 답도 안전하게 공유해야 한다.
③ 교실에서는 오류보다 정답 중심의 토론 문화를 세워야 한다.
④ 안전한 학습공동체는 모든 생각을 수용해 학생이 근거를 말하게 해야 한다.
⑤ 교사는 학생 오개념을 빨리 수정하도록 즉시 정답을 제시해야 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 역 이용객의 이동 속도 차이를 고려해 동선을 구분해야 한다.
② 대형 역사는 통근객과 장거리객의 승강장을 층별로 나눠야 한다.
③ 통근객은 지역 교통과 연결되는 빠른 접근로를 우선 써야 한다.
④ 역 안내 표지는 간결할수록 모든 승객의 혼란을 줄일 수 있다.
⑤ 장거리 승객은 대기 시간이 길어 편의시설을 늘려야 한다.

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 장면마다 분명한 동기 속에서 설계되어야 한다.
② 조명 상태의 변화는 배우의 동작에 정확히 맞추어야 한다.
③ 조명은 분위기 변화를 위해 장시간 서서히 전환해야 한다.
④ 조명 설계는 장면 전환보다 각 장면의 밝기 확보가 우선이다.
⑤ 조명 큐는 무대의 사실성을 높이는 효과에 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 스피커 소리는 방의 위치 변화에 따라 달라질 수 있다.
② 헤드폰 소리는 어떤 음향 환경에서도 거의 동일하다.
③ 방은 스피커와 녹음 음향의 일부로 작용해 소리를 바꾼다.
④ 마이크와 악기 위치를 조절하면 녹음 음질을 높일 수 있다.
⑤ 같은 방에서도 청취자 이동에 따라 음향 차이가 생긴다.

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 박사과정에서는 한 주제를 깊이 연구하는 집중력이 가장 중요하다.
② 유럽 대학들은 박사과정에 현장실습 기회를 확대해야 한다.
③ 구조화된 박사과정은 폭넓은 역량과 진로 적응력을 높일 수 있다.
④ 전통적 박사과정은 학문 간 도전에 더 효과적으로 대응한다.
⑤ 박사과정생은 연구 외 분야 탐색보다 전공 심화에 전념해야 한다.

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 아동은 공포를 상상할 때 현실 판단을 행동으로 드러내기 어렵다.
② 아동은 일상 사물을 상상해도 그것이 실제가 아님을 안다.
③ 아동은 상상과 현실의 인과관계를 반복 학습해야 한다.
④ 아동의 두려움은 비현실적 대상에도 쉽게 일반화된다.
⑤ 아동은 괴물을 상상하면 빈 상자도 위험한 것으로 여긴다.

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 시인과 소설가들에 의해 꾸준히 계승되어야 한다.
② 미적 경험은 감각의 내면화보다 세계와의 상호침투에 있다.
③ 예술은 삶과 분리된 고유 영역으로 보존되어야 한다.
④ 일상적 사물의 미적 가치도 철학적으로 재평가되어야 한다.
⑤ 미적 경험은 인간 삶의 조건 속 일상 경험에서 심화될 수 있다.

8. 다음 글의 요지로 가장 적절한 것은?

인간이 도덕적 행위자의 능력을 지니고 다른 존재들은 그것을 결여한다는 이유만으로 인간이 도덕적으로 더 우월하다고 타당하게 주장할 수는 없다. 도덕 기준과 관련해서는 도덕적 행위자의 능력을 지닌 존재만이 도덕적으로 선하거나 악하다고 의미 있게 말해질 수 있기 때문이다. 오직 도덕적 행위자만이 다른 존재보다 도덕적으로 더 낫거나 못하다고 판단될 수 있으며, 여기서 비교 대상이 되는 다른 존재들 역시 도덕적 행위자여야 한다. 도덕적 우월성에 대한 판단은 판단 대상들의 비교 가능한 장점이나 결함에 근거하며, 이러한 장점과 결함은 모두 도덕 기준에 의해 결정되는 도덕적인 것이다. 어떤 존재가 다른 존재보다 도덕적으로 우월하다고 올바르게 판단되려면, 타당한 도덕 기준을 두 존재 모두에 적용했을 때 전자가 후자보다 그것을 더 높은 정도로 충족해야 한다. 따라서 두 존재 모두 도덕 기준의 적용 범위 안에 있어야 한다. 그러나 인간을 동물이나 식물보다 우월하다고 판단하는 경우에는 후자들이 도덕적 행위자가 아니므로 이에 해당하지 않는다.

① 도덕적 우월성 판단은 같은 도덕 주체끼리만 가능하다.
② 인간의 도덕성은 동식물과 비교해 더 높게 평가된다.
③ 도덕 기준은 인간과 비도덕 행위자 모두에 적용되어야 한다.
④ 도덕적 행위자는 선악 판단의 직접 대상이 될 수 있다.
⑤ 인간은 도덕 능력 덕분에 타 존재보다 우월할 수 있다.

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 옹호하게 해야 한다.
② 교사는 학생들의 오답 원인을 즉시 설명해 주어야 한다.
③ 교사는 학생들의 모든 답을 기록하며 중립을 보여야 한다.
④ 교사는 학생들의 토론 규칙을 먼저 엄격히 정해야 한다.
⑤ 교사는 학생들의 정답 판단 기준을 분명히 제시해야 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 역 설계에서는 장거리객과 통근객 동선을 분리해야 한다.
② 역 설계에서는 장거리객을 위한 대기 공간을 늘려야 한다.
③ 역 설계에서는 통근객의 거리 접근성을 높여야 한다.
④ 역 설계에서는 대형역에 복층 승강장을 우선 도입해야 한다.
⑤ 역 설계에서는 안내 표지를 더욱 상세하게 설치해야 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 공연 조명은 장면마다 밝기 변화를 분명하게 대비시켜야 한다.
② 공연 조명은 매 순간과 장면 전환마다 기능을 점검해야 한다.
③ 공연 조명은 배우의 동작에 맞춰 상태 변화를 최소화해야 한다.
④ 공연 조명은 분위기 변화보다 무대 장치의 가시성을 우선해야 한다.
⑤ 공연 조명은 객관적 장면 전환 신호에만 반응하도록 구성해야 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 음향을 재생하거나 녹음할 때 공간의 영향을 함께 고려해야 한다.
② 음향을 재생하거나 녹음할 때 장비의 성능만 우선 점검해야 한다.
③ 음향을 재생하거나 녹음할 때 스피커 위치를 항상 중앙에 둬야 한다.
④ 음향을 재생하거나 녹음할 때 헤드폰을 표준 장비로만 써야 한다.
⑤ 음향을 재생하거나 녹음할 때 마이크 감도를 먼저 높여야 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 전공 연구 집중도를 더욱 높여야 한다.
② 대학은 박사과정에 연구 성과 평가를 더 자주 도입해야 한다.
③ 대학은 박사과정생에게 논문 외 현장실습을 의무화해야 한다.
④ 대학은 박사과정에 구조화된 훈련 요소를 확대해야 한다.
⑤ 대학은 박사과정생의 세부 전공 선택을 더 일찍 확정해야 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 아이의 감정이 상상을 현실처럼 느끼게 함을 고려해야 한다.
② 아이의 상상 놀이를 통해 현실 판단 능력을 적극 길러야 한다.
③ 아이의 두려움 반응을 줄이도록 방 환경을 먼저 바꿔야 한다.
④ 아이의 괴물 상상을 없애기 위해 사실 설명을 반복해야 한다.
⑤ 아이의 빈 상자 회피는 현실 인식 부족의 증거로 봐야 한다.

7. 다음 글에서 필자가 주장하는 바로 가장 적절한 것은?

해방되고 확장된 미적 경험에서 나온 가장 잘 알려진 전개는 일상생활의 미학일 것이다. 현재 일상 미학에 관한 연구가 활발하지만, 일상적 사물과 사건에서의 미적 만족 가능성은 오래전부터 인식되어 왔으며, 비록 지배적인 철학 이론에 의해 격하되고 배척되기도 했다. 특히 낭만주의 시인들과 아시아 전통의 시인들에게 널리 중시되었고, 소설가들 또한 일상적 상황에서의 미적인 것을 인정해 왔다. 그러나 그 현대적 지적 기원은 존 듀이의 『경험으로서의 예술』에서 찾는 것이 가장 편리할 수 있다. 그 책에서 듀이는 인간 삶의 생물학적·문화적 조건에 미적 경험의 기반을 둠으로써 예술과 삶의 분리를 반대했다. 그는 미적인 것을 감각과 감정에 대한 내면화된 자각이 아니라 “자아와 사물 및 사건의 세계가 완전히 상호 침투하는 것”에서 찾았다. 더 나아가 듀이는 “미적인 것은 모든 정상적으로 완전한 경험에 속하는 특성이 분명해지고 강화되어 발달한 것”이라고 주장했다.

① 예술은 삶과 분리된 감각의 영역으로 한정해야 한다.
② 미적 경험은 일상의 완전한 경험 속에서 찾아야 한다.
③ 일상 미학은 시와 소설의 전통 안에서만 다루어야 한다.
④ 미적 만족은 철학 이론의 엄밀성으로만 판단해야 한다.
⑤ 미적인 것은 개인의 내면적 감정 자각에만 집중해야 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 도덕 행위자라는 이유로 동식물보다 우월하다고 보아야 한다.
② 인간은 도덕 기준을 동식물에게도 동일하게 적용해야 한다.
③ 인간은 도덕적 우월성 판단을 도덕 행위자 사이에만 해야 한다.
④ 인간은 도덕 기준의 충족 정도를 종 전체의 기준으로 삼아야 한다.
⑤ 인간은 도덕 행위 능력을 가진 존재를 더 엄격히 평가해야 한다.