영어 모의고사 (자동 편성)

Child safety experts now argue that this advice is too simple ①to be useful, since most children will inevitably need to interact with unfamiliar adults, whether asking a store employee for help or greeting a new neighbor. A more effective approach focuses on specific situations rather than people in general, ②teaching children to recognize behavior that feels wrong, such as an adult asking a child to keep a secret from parents. Role-playing these scenarios in advance ③helps children respond quickly under pressure, rather than freezing because the situation feels unfamiliar and confusing. Experts also emphasize that children should be taught they will never get in trouble for ④refusing an adult's request or for loudly saying no in public, since hesitation ⑤causing by politeness can cost precious seconds in a genuine emergency.

My cousin, who has never taken a single music lesson, recently used a composing app on her phone to write a short song for her friend's birthday video. Watching her work, I realized the app ①worsened much of the technical difficulty that used to stop beginners from composing at all, automatically keeping her melody in key and suggesting chords that matched the mood she selected. What the app could not do, however, was decide which four notes actually felt right for the opening line, or when a ②pause said more than another note would have. She spent nearly an hour ③adjusting a single short phrase until it matched the feeling she wanted to capture, deleting and replaying it dozens of times. Watching her patient trial and error, I understood that these tools ④lower the technical barrier to making music, but they do not remove the very human task of deciding what a piece of music is actually trying to ⑤say.

Consider a large heap containing ten thousand grains of sand. Nearly everyone agrees that removing a single grain from such a heap leaves another heap behind; surely one grain could never make the difference between a heap and a non-heap. Yet if this principle is applied repeatedly, grain by grain, the heap eventually shrinks to a single lonely grain, or even to no grains at all, and logic alone seems to force us to accept that this final result still counts as a heap. Something has clearly gone wrong along the way, since no reasonable person would call one grain of sand a heap, but pinpointing exactly which single removal transformed a heap into a non-heap seems impossible. The puzzle exposes a deep discomfort with vague terms like "heap," "tall," or "bald," concepts that seem to admit no sharp boundary yet are used confidently in everyday language. Some philosophers conclude that _______________.

When consumers compare two products and assume that the one labeled "eco-friendly" is automatically the more sustainable choice, they often overlook the complexity involved in verifying such a claim. Life cycle assessment, commonly abbreviated as LCA, _______________. This method examines raw material extraction, manufacturing, transportation, use, and disposal, compiling data on energy consumption and emissions generated at each stage. By tracing a product from its origin to its disposal, this approach reveals impacts that might otherwise remain hidden from consumers who see only the finished item on a shelf. For example, an electric vehicle may produce no emissions while being driven, yet the mining of metals for its battery can generate substantial environmental costs elsewhere. Without accounting for these earlier stages, a superficial comparison could mistakenly present the vehicle as entirely emission-free. Therefore, researchers increasingly rely on life cycle assessment to make informed decisions rather than trusting labels alone.

Students often groan when a classic novel appears on their reading list, complaining that the language feels old-fashioned and the plot moves too slowly. It is true that classic literature can be harder to read than a modern bestseller. Yet this very difficulty is part of why classics remain valuable for young readers today, because _______________. Beyond language training, classic novels also explore themes such as jealousy, ambition, and loss that have not changed much across centuries.

Anyone who has tried to name the ink color of a word like red printed in blue letters knows how surprisingly difficult the task can feel. This everyday struggle, known as the Stroop effect, deserves more attention than casual curiosity grants it, because it reveals something fundamental about how the mind allocates its limited resources. Reading a familiar word is an automatic process practiced so extensively since childhood that it proceeds almost involuntarily, whereas naming a color requires deliberate, controlled attention. When these two processes point toward conflicting answers, _______________. Educators should not dismiss this delay as a trivial curiosity confined to laboratories, since the same competition between habit and intention underlies far more consequential situations, such as a driver's struggle to resist checking a phone despite knowing the danger. Recognizing how automatic responses can hijack conscious intentions is essential for designing environments, from classrooms to highways, that support rather than undermine our efforts at self-control.

Walking through the old industrial district downtown, I noticed that a gray concrete wall had been transformed overnight into a wild swirl of color, letters, and cartoon figures. Some residents complained to the city office, calling it vandalism and demanding that workers paint over it immediately. Others argued that the same wall had been an ugly, forgotten eyesore for years, and that the graffiti artist had simply given it a voice no one else bothered to give it. This disagreement reveals a tension at the heart of street art: _______________. The line between vandalism and art, it seems, often depends less on the paint itself than on who gave permission to use the wall.

Working memory refers to the mental workspace in which information is temporarily held and manipulated while a person performs a cognitive task. Such tasks include solving an arithmetic problem, following a rapid conversation, or holding a phone number in mind before dialing it. (A) Subsequent research, however, revealed that Miller's estimate was somewhat generous, since it failed to account for the complexity of the material being remembered. Nelson Cowan later argued that when rehearsal strategies are prevented and attention is tightly controlled, genuine capacity hovers closer to four items rather than seven. (B) This discrepancy suggests that what earlier studies had measured was not raw storage capacity itself but a hybrid quantity inflated by clever strategies. Contemporary psychologists therefore distinguish between the fixed limit of working memory and the flexible techniques that allow individuals to transcend that limit. (C) In the mid-twentieth century, the psychologist George Miller proposed that this workspace could accommodate roughly seven discrete items. His claim proved so influential that it became widely known as the magic number seven.

For many years, comic books and graphic novels were seen as a lazy alternative to real reading. (A) Recent research, however, tells a more complicated story, since graphic novels actually require readers to combine written text with visual clues. (B) Parents and teachers often worried that pictures did the work that words should do, leaving young readers with weaker vocabulary and imagination. (C) Rather than replacing traditional reading, graphic novels appear to work best as a bridge that leads students toward it.

Even the strangest idea, however small, had to be treated as completely real. On the first day of our improv theater workshop, the instructor gave us a rule that seemed impossible to follow: never say no to whatever another performer suggests. ( ① ) If a scene partner claimed the empty classroom was actually a submarine, our job was to accept that fact instantly and build on it, rather than correcting or rejecting the idea. ( ② ) I found this terrifying at first, since improv offers no script to hide behind and no time to plan a clever line in advance. ( ③ ) Over several weeks, though, I noticed that the students who worried most about saying something wrong were usually the ones who froze on stage, while those who simply accepted whatever happened and reacted honestly created the funniest, most memorable scenes. ( ④ ) The instructor explained that improv is not really about being naturally quick-witted, but about trusting a partner's idea enough to build on it rather than protecting your own. ( ⑤ )