영어 모의고사 (자동 편성)

Philosopher Robert Nozick asked his readers ①to imagine a machine capable of producing any experience they desired, from writing a great novel to falling in love, all indistinguishable from reality once they were plugged in. Neuroscientists would simply stimulate the brain to generate a lifetime of perfectly satisfying experiences, and the person floating in the tank would have no memory of ever ②choose to enter it. If pleasure and the avoidance of pain were truly all that mattered, as classical hedonism claims, then everyone ③should rush to connect themselves permanently to such a machine. Yet when people actually consider the offer, most hesitate, and many refuse outright. Nozick took this reluctance as evidence ④that human beings care about more than the quality of their internal sensations. People also want to actually be a certain kind of person, and to ⑤maintain genuine contact with a reality beyond their own mind.

Psychologists have long wondered whether reading fiction can change how people treat others in real life. Several studies suggest that novels which describe a character's inner thoughts in detail can ①trains readers to imagine what other people are feeling, a skill closely related to empathy. When readers follow a character through difficult choices, they practice ②stepping into someone else's perspective without any real risk to themselves. This kind of mental practice, researchers argue, can carry over into everyday situations, making readers more likely ③to notice a classmate's hidden sadness or understand a stranger's unusual behavior. Stories that stay focused only on fast action, with little attention to characters' inner lives, appear ④to build empathy far less than stories that slow down to explore emotion. For this reason, some psychologists now recommend that young readers ⑤balance fast-paced adventure novels with quieter stories about ordinary people and their feelings.

Earthquakes strike without any warning, which is exactly why the seconds immediately after the shaking begins ①matters more than any other moment in an emergency. Safety experts consistently teach the same three steps: drop to the ground, take cover under sturdy furniture, and hold on until the shaking ②stops. Many people instinctively want to run outside during a quake, ③imagining that open space is always safer than a building. Furniture that seems merely inconvenient during a fire drill, such as a heavy desk, becomes a lifesaving shield when the ceiling above begins ④to crack. After the shaking stops, experts warn that the greatest remaining danger is often a damaged structure rather than a second earthquake, so calmly checking for hazards before moving is just as important as ⑤reacting quickly at the first tremor.

Before a single line of dialogue is written for many animated shows, a character designer has already ①spending weeks deciding how that character should look, move, and be recognized at a glance. A visiting illustrator who spoke at our school explained that a truly successful design should be identifiable even as a plain black silhouette, since audiences often ②notice a character's outline before they notice any facial detail. She showed us early sketches of a now-famous cartoon hero, in which the same personality had ③been tested through dozens of different body shapes, from short and round to tall and angular, before the final version was chosen. Small choices, she added, carry surprising weight: rounded shapes tend to feel friendly and safe, while sharp angles ④suggest danger or power, even to viewers who have never studied design. I left the talk realizing that a character's personality ⑤is communicated through its silhouette long before it ever speaks a single word.

When people encounter an individual ①who appears to memorize enormous quantities of specialized information effortlessly, they often assume that person possesses an innate gift. Cognitive psychologists, however, contend that such feats rarely stem from raw talent alone. Instead, such feats arise from a learned skill known as chunking, ②whereby scattered pieces of information are consolidated into larger, meaningful units. A landmark study of chess players demonstrated this principle. When shown a board arranged according to plausible game positions, grandmasters ③reproduced the layout perfect. Yet when the same pieces were scattered randomly, their performance collapsed to the level of novices. This pattern reveals that expert memory is not larger in raw capacity but is instead organized around patterns ④accumulated through years of deliberate practice. If chunking, rather than innate aptitude, underlies expert performance, then educators should stop treating talent as fixed and destiny-bound. Curricula ought to be redesigned to cultivate pattern recognition explicitly, ⑤since doing so would grant far more students access to expertise once presumed reserved for the naturally gifted.

A small bakery once sold a basic loaf of bread for three dollars and a premium loaf for six dollars, and most customers, uncertain about the added value of the pricier option, simply bought the ①cheaper one. The owner then introduced a third option: a slightly larger premium loaf priced at seven dollars, one that was clearly ②inferior to the six-dollar loaf in terms of value for money. Almost nobody chose the new seven-dollar loaf, yet sales of the six-dollar loaf ③fell sharply, because it now appeared to be an obvious bargain when placed beside the inferior newcomer. This pattern, confirmed across countless pricing experiments in other markets, demonstrates that people ④rarely judge options in isolation; instead, they evaluate choices relative to whatever alternatives happen to be nearby. Businesses have since learned to design such decoys deliberately, not expecting them to be purchased at all, but hoping they will make a specific target option look far more ⑤attractive by comparison.

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.

It is often assumed that memory operates independently of bodily context, yet research suggests that this assumption deserves reconsideration. (A) Critics might argue that such effects are minor and inconsistent, yet accumulated evidence across pharmacological and emotional studies is difficult to dismiss. Policymakers designing assessments should therefore weigh not only content difficulty but also the physiological continuity between preparation and examination, since ignoring this dimension risks underestimating certain students' actual knowledge. (B) This finding should prompt educators to reconsider the assumption that a single optimal testing environment exists for every learner, since matching internal states across encoding and retrieval provides retrieval cues that a mismatched state cannot supply. (C) When information is learned under a particular physiological or emotional condition, retrieval tends to improve if that same condition is reinstated at recall, a phenomenon researchers call state-dependent memory. Individuals who study while mildly anxious, for instance, often recall material more accurately when tested under similarly anxious conditions than when tested while calm, even though calmness is typically considered more conducive to concentration.

주어진 문장: This apparent immunity to forgetting seemed to set flashbulb memories apart from every other category of recollection. When people recall precisely where they were and what they were doing at the moment they learned of some momentous public event, the resulting memory often feels extraordinarily vivid, as though it had been etched into the mind with photographic precision; researchers have termed such recollections flashbulb memories. ( ① ) Proponents of this concept once argued that the emotional intensity and surprise accompanying such events trigger a distinct neural mechanism that preserves details with unusual fidelity, effectively exempting them from the gradual decay that afflicts ordinary memories. ( ② ) Subsequent longitudinal studies, however, have complicated this picture considerably: when researchers compared accounts gathered within days of an event to accounts gathered years later, they discovered that details had frequently been altered, omitted, or even fabricated, ( ③ ) even though the individuals reporting them expressed unwavering confidence in their accuracy. ( ④ ) This persistent mismatch between subjective certainty and objective consistency implies that flashbulb memories, far from being flawless recordings, are reconstructed narratives shaped by rehearsal, media exposure, and the passage of time. ( ⑤ )

That simple shift in attitude, from comparison to curiosity, was what finally allowed me to enjoy the exhibition. Every spring, our school holds an art exhibition in the main hallway, and this year I finally submitted a painting of my own. ( ① ) For weeks, I compared my work to my classmates' drawings and felt sure that mine was not good enough to hang beside theirs. ( ② ) My art teacher noticed my hesitation and said something I did not expect: an exhibition is not a contest to find the single best picture, but a chance to show how differently people see the same world. ( ③ ) On the morning the paintings went up, I walked past dozens of styles, from careful realistic portraits to messy, colorful abstractions, and none of them looked like mine. ( ④ ) Instead of feeling embarrassed, I found myself curious about why each artist had made certain choices. ( ⑤ ) Standing in that crowded hallway, I finally understood that the exhibition's real purpose was not to rank the paintings, but to let students discover how many different perspectives could exist in a single shared space.