영어 모의고사 (자동 편성)

Whenever someone learns that I spend hours drawing comics that almost nobody else ever sees, they usually ask why I ①bothering, since the work will never be published or praised by a large audience. For a long time, I struggled to answer that question honestly, ②assuming that art only counted as worthwhile once other people recognized it. Watching my younger brother build enormous, pointless block towers purely for the joy of knocking them down, though, ③helped me understand something I had been missing. He never once asked whether his tower was good; he simply needed to build the version of it that existed in his head before he could feel satisfied. Creating something, I now believe, often serves the creator first, ④giving shape to a feeling or idea that would otherwise stay vague and unexpressed. Whether or not anyone else ever sees the result, that private act of shaping an idea into something real still seems ⑤to matter enormously.

Last summer, our neighborhood association ①invited students to help paint a mural on the long wall beside the community center, and nearly forty volunteers with completely different painting abilities showed up on the first day. I worried that combining so many different skill levels would create an ugly, mismatched result, since some volunteers ②had painted for years while others, including me, had never held a large brush before. The project leader solved this by dividing the huge design into small, connected sections and ③assign each volunteer a section matched to their comfort level, from simple solid-color backgrounds to detailed flowers. Beginners filled in wide open skies, while experienced painters ④added fine details like veins on leaves or shadows under birds. When the plastic sheets finally came down, the mural looked remarkably unified, not despite the many different hands involved, but because each hand had ⑤been given a task suited to what it could do well.

When people look back on a multi-day journey, they rarely ①recall every hour with equal clarity; instead, memory tends to compress the entire experience into just a few representative moments. Psychologists have found that two points carry disproportionate weight in this process: the single moment when emotion, whether joy or discomfort, ②reached its highest intensity, and whatever happened right before the experience concluded. Consider two hikers who complete an identical five-day trek. The first finishes with a grueling, rain-soaked final climb, while the second enjoys a calm, scenic descent on the last afternoon despite having ③endure an equally difficult ascent earlier in the trip. Even though both hikers faced comparable hardship overall, the second is far more likely to remember the journey fondly, simply because the trip ④ended pleasantly. This pattern reveals that overall satisfaction is not calculated as an average of every experienced moment; rather, it is shaped disproportionately by whichever moments ⑤felt most intense and by however the experience happened to end.

Safety signs surround us so constantly that most people stop ①consciously reading them soon after learning to drive. This is precisely the outcome that sign designers hope to avoid, since a sign that requires careful thought to interpret in an emergency has already ②succeeded at its purpose. Colors and shapes are chosen deliberately rather than randomly: red almost universally signals danger or prohibition, yellow signals ③caution, and green marks safety, a system consistent enough that a traveler in an unfamiliar country can often guess a sign's meaning without reading a word. Symbols replace text wherever possible for the same reason, allowing a running figure or a flame icon to communicate ④instantly to someone who may not speak the local language. Ignoring a familiar sign because it has become part of the background remains one of the most common and ⑤preventable causes of accidents in public spaces.

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 ①disappointment at not being allowed to buy proper art supplies. Sorting through flattened cardboard, broken umbrella frames, and plastic bottle caps, I initially saw nothing but ②trash. 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 ③feather. 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 ④original results than starting with a blank, expensive canvas. 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 ⑤indifferent to our materials, focusing only on our technique instead.

When people evaluate their personal contribution to water scarcity, they often consider only the water that flows directly from household taps, overlooking a far larger quantity consumed indirectly through the goods they purchase. The water footprint, a concept that extends this narrow view, _______________. Central to this concept is the notion of virtual water, the water embedded invisibly within a product, from irrigating cotton fields to livestock raised for meat. For instance, producing a kilogram of beef can require several thousand liters of water, whereas a kilogram of vegetables typically demands a fraction of that amount. Nations that import water-intensive goods rather than producing them domestically are importing virtual water from regions that may face severe shortages. Critics caution, however, that focusing exclusively on aggregate volume can mislead policymakers, since a liter of water drawn from a region suffering drought carries far greater consequences than one drawn from a water-abundant area.

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. 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. I found this terrifying at first, since improv offers no script to hide behind and no time to plan a clever line in advance. Over several weeks, though, I noticed that _______________. 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. That single lesson, oddly, changed how carefully I listened even in ordinary conversations.

During exam season last year, our school counselor introduced a weekly drop-in session where students could paint freely for thirty minutes without any instructions or grading. I attended mostly out of curiosity, expecting a relaxing but ultimately pointless activity, since I have never considered myself artistically talented. To my surprise, filling a blank page with color, without worrying whether the result looked good, left me noticeably calmer than scrolling through my phone during the same amount of free time. The counselor explained that _______________. Several classmates who initially came only to avoid studying kept returning on their own afterward. None of us left with a masterpiece, but many of us left the room feeling noticeably lighter than when we had walked in.

Émile Durkheim insisted that sociology could become a genuine science only if it identified a distinct subject matter that could not be reduced to individual psychology. (A) Language, currency, legal codes, and religious ritual all qualify as social facts, since a person is born into these systems already fully formed and must conform to them regardless of personal preference. (B) He termed this subject matter social facts, defined as ways of thinking, feeling, and acting that exist outside any single individual yet exert a coercive influence over that individual's behavior. (C) Durkheim insisted that social facts should be studied as things, meaning they must be examined empirically through observable patterns such as statistics.

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.