영어 모의고사 (자동 편성)

Consider a village green shared freely by every herder in the community, where each individual may graze as many animals as they wish without ①paying any fee. From the perspective of any single herder, adding one more animal to the shared pasture ②brings a clear personal benefit, since the extra income belongs entirely to that herder alone. The cost of the additional grazing, however, is spread thinly across every herder who uses the green, so no single individual ③bears more than a tiny fraction of the damage. Because this calculation favors adding more animals for every rational herder, the shared pasture is gradually overgrazed until it can no longer ④support any animals at all, harming the very community whose rational members caused the collapse. Philosophers use this scenario to illustrate a troubling gap between what benefits an individual in the short term and what preserves a shared resource in the long term, a gap that voluntary self-restraint alone rarely ⑤closing.

When I finally got the chance to interview a professional webtoon artist for our school newspaper, I expected her to describe drawing as the ①easiest part of her job. Instead, she told me that writing the story comes first, often taking longer than the artwork itself. She sketches rough thumbnails for an entire chapter before touching a single detailed panel, testing whether the pacing keeps readers ②scrolling instead of losing interest halfway through. She also reads every comment section carefully, not to copy what fans suggest, but to understand which moments made readers feel something ③real. What surprised me most was learning that a single weekly episode, which takes only a few minutes to read, usually takes her nearly forty hours to ④complete from script to finished color. Her honesty made me realize that the smooth, effortless feeling of a good webtoon is actually the product of countless ⑤invisible decisions.

A shocking headline can spread across social media within minutes, long before anyone checks whether it is actually true. Studies show that false stories often travel ①slower than accurate ones, partly because surprising or emotional claims get shared more quickly than careful, balanced reporting. To handle this flood of information, students today need a skill that previous generations rarely had to practice: checking a source before believing it. Simple habits can make a ②real difference, such as looking for the original source of a claim, checking the date an article was published, and searching to see whether other trustworthy outlets are reporting the same story. Media literacy classes now teach students to ③pause before they share anything, asking who wrote it and why. This small pause, teachers say, is often the only thing standing between a curious reader and a piece of ④convincing misinformation, protecting not only the reader but everyone in their online ⑤network.

A growing number of teenagers are joining book clubs that exist only on their phones. These apps let users track pages, write short reviews, and join group chats about a chosen book. The apps also use gentle reminders and reading streaks to keep members motivated. However, a few teachers worry that constant notifications from a reading app can pull attention away from the book itself. Despite this concern, many students report that _______________.

Students who read many books across many different subjects often develop a habit that quieter learners sometimes lack: the habit of comparing new information with what they already know. A student who has read about ancient wars, ocean ecosystems, and modern economics can more easily notice when two different subjects share a similar pattern. This kind of connection-making is closely related to what psychologists call critical thinking, since _______________. Extensive reading also builds a large mental library of examples, which makes it easier to evaluate whether a new claim sounds reasonable or exaggerated.

The sunk cost fallacy also complicates decisions in personal relationships and long-term commitments. (A) A person who has invested years in a career path that no longer brings satisfaction may nonetheless continue along that path, reluctant to treat those years as time that cannot be reclaimed regardless of future choices. (B) This reluctance often stems less from genuine hope for improvement than from an unwillingness to admit that the time and effort already invested failed to produce the desired outcome. (C) Recognizing this pattern requires distinguishing between a decision genuinely worth continuing and one being sustained merely to justify past commitment, a distinction that is often uncomfortable to draw honestly.

On the first day of the club fair, the gym was filled with noise and color. Every table had a banner, and members called out to new first-graders like me. (A) She showed me a sketchbook filled with simple drawings by first-year members. Her gentle voice made me feel relaxed for the first time that day. Without much thought, I wrote my name on the sign-up sheet before leaving. Walking out of the gym, I finally felt that I belonged in this new school. (B) My friend Somin dragged me toward the robotics club, insisting it would suit me. However, the long list of coding projects looked too complicated for a beginner. (C) Just then, I noticed a quiet table where students were sketching posters together. A calm senior named Jian explained that the art club welcomed complete beginners.

Last year our art club received a set of digital drawing tablets, and I assumed switching from paper would feel like cheating, since a screen seemed to remove the physical struggle of real drawing. (A) What the tablet does offer is the freedom to undo a mistake instantly and experiment with colors without wasting paper, which encourages artists to take risks. Several members who once avoided painting now try bold new styles daily. (B) After a few weeks of practice, though, I noticed the tablet demanded a different kind of skill rather than an easier one. (C) Because there is no paper texture to guide the pen, beginners often press too hard or draw shaky lines until their hand adjusts to the smooth glass surface.

That small imperfection, more than anything, was proof of how much I had actually learned that day. For my birthday, my older sister took me to a small pottery studio where visitors can shape their own bowl or cup on a spinning wheel. ( ① ) I expected the wheel to do most of the difficult work automatically, since it was already spinning quickly by the time I sat down. ( ② ) My first attempt collapsed into a shapeless lump within seconds, because I had not realized how much steady, centered pressure the clay actually requires before it can be shaped at all. ( ③ ) The instructor explained that beginners almost always press too hard on one side, which throws the entire piece off balance no matter how fast or slow the wheel spins. ( ④ ) After nearly a dozen failed attempts, I finally produced a lopsided but recognizable cup, and the small imperfection along its rim somehow made me prouder of it than a perfectly smooth, machine-made mug ever could have. ( ⑤ ) Clay, I learned that afternoon, rewards patience far more generously than it rewards force.

None of it looked like anything worth keeping, let alone displaying in an art show. For our club's spring project, we were told to create a sculpture using only materials collected from the school's recycling bins, and my first reaction was disappointment at not being allowed to buy proper art supplies. ( ① ) Sorting through flattened cardboard, broken umbrella frames, and plastic bottle caps, I initially saw nothing but trash. ( ② ) My perspective shifted once a senior member showed me a piece she had built the previous year, a bird made entirely of bent bicycle spokes and bottle caps, each cap functioning as a single feather. ( ③ ) She explained that upcycling art forces a creator to notice a material's natural shape and texture rather than simply painting over it, which often produces more original results than starting with a blank, expensive canvas. ( ④ ) By the end of the project, our team had built a small forest of figures using nothing that anyone had paid for, and the exhibit visitors seemed more curious about our materials than about any technique we had used. ( ⑤ )