2019수능특강 영어 Test1 본문

 

수능특강 영어 test1.docx

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1

For many communities, the tree pruning cycle runs over the course of many years. Our city staff is focused on large tree removals and mature trees that need specialized equipment to reach and prune. Smaller trees, however, can be pruned from the ground level by citizen volunteers. To become a volunteer, you will first learn information about pruning, safety, and how to make proper pruning cuts. The pruning training takes roughly 3-4 hours of class time, then you head out to the field to practice your pruning skills with a group. Any amount of pruning time you can offer lends a great deal of help to the community to ensure a healthier urban forest. If you are interested and want to join the mailing list for updates on upcoming trainings and events, go to www.mntreesource.org. Go to the ‘Communities‘ tab and click on ‘Maple Grove’ to access the sign-up form.

 

2

One day, my father and I were working in the orchard, when the sky turned midnight pitch black at noontime. My father advised that we take the fruit and return to the house. Just as we got home, the wind began to blow so hard that we couldn’t see anything but debris blowing around outside the house. We heard a cracking noise and decided to take shelter in the cellar. Shortly after we arrived in the cellar, it grew deathly quiet and the rain came down in sheets. We discovered after the storm that the whole roof of our big shed had been lifted off and destroyed by the storm, carrying everything in the shed out into the fields, including my father’s tools! Before we could gather them up again, people came in droves, even our neighbors, and stole the tools. There were so many thieves that we couldn’t stop them or prove that the tools were ours.

 

3

As a parent, can you get through to your kids? Visualize the job of the professional communicator who is trying to get through to millions at the same time. Is it any wonder that children’s commercials appear so simpleminded? The communicator, without a sharp focus on which group he or she is addressing, risks going over the heads of the younger ones or appearing dumb to the older ones. In commercials, where brevity is essential, omissions of certain details appear deliberately dishonest and the inclusion of too many details is both awkward and confusing to the younger part of the group. I am convinced that any critic of children’s commercials should try to write one. They would develop a greater understanding of the problem. It is a difficult and perplexing art at best.

 

4

Success obviously adds to our enjoyment of games and work. However, contrary to the rhetoric of coaches and inspirational leaders, this does not mean that we have to “win” all the time. A few years ago, there was an advertisement on television featuring basketball player Michael Jordan. In the ad, Jordan explained that from elementary school through his career in the NBA, he had played in 4,900 games. Thirty-nine times he had been in a position to win the game with the last shot—and missed. Was basketball fun for him even though he missed those shots and his team lost those games? I have no doubt that it is more fun to win the game than to lose. However, I believe the biggest source of joy to Jordan and other athletes—as well as to people in the workplace—is the opportunity to use their abilities when it really counts. From the perspective of the individual working person, the key to a great workplace is feeling wanted and important.

 

5

In a New York Times interview with Gary Smith, the CEO of telecommunications company Ciena, he emphasizes the value of “soft skills”: “Relationships really matter, and you need to get that right, both for your career as an individual and as a future leader. I think a lot of people pay attention to the technical stuff and the hard stuff. But it’s the softer side that will get you every time if you’re not paying attention to it. It’s probably the biggest determinant of whether you’re going to be successful.” We most often use the term “soft skills” in relationship to emotional intelligence, or EQ. These skills are the social graces and interpersonal skills that are less easily defined or quantified than hard skills, but which often factor as key differentiators.

 

6

Biologists report that many birds and sea mammals have the ability to sleep with only one hemisphere of the brain at a time. Whales, dolphins, and seals cannot afford to shut down consciousness altogether because they are conscious breathers; when it is time to rest, they float on the surface of the water like logs or paddle in circles, keeping one half of their brains awake while the other half sleeps. Then they roll over or switch directions to give the other side a rest. Migratory birds employ a variety of half-asleep, half-awake states in order to cover great distances quickly. Even more sedentary birds, like mallard ducks, can sleep one hemisphere at a time. Since they typically sleep in rows, the ducks at the ends of the lines keep one eye open to watch for predators. Periodically, these guards turn around and switch places so the other half of their brains and bodies can sleep.

 

10

In the 1940s, when he was a student at the California Institute of Technology, John McCarthy attended a lecture by Hungarian-American mathematician John von Neumann about “self-replicating automata,” or machines that could make copies of themselves. (No such machines existed. Von Neumann’s idea was just a theory.) After the lecture, McCarthy reasoned that a machine that could reproduce itself might be able to attain some form of intelligence. The idea stuck in his mind. In 1964 McCarthy joined the faculty of Stanford University in California and founded the school’s AI (Artificial Intelligence) lab. At that time, he was optimistic that scientists could create an AI system within ten years. In later life, McCarthy had a more realistic view. Writing for the Journal of the Association for Computing Machinery in 2003, he set the odds of achieving artificial intelligence at “0.5 probability in the next 49 years, but a 0.25 probability that 49 years from now, the problems will be just as confusing as they are today.”

 

11

Integrators uncover opportunities by combining contrasting ideas. Merging opposites can yield breakthrough discoveries. Although no one formula exists, novelty through integration is a phenomenon studied by creativity researchers. Thomas Ward, a psychology professor at the University of Alabama, analyzed the processes that uncover new ideas and found that atypical combinations yield the greatest number of emergent properties. In 2002, Ward conducted research in which college students interpreted various types of adjective-noun combinations and were told to “think of a single meaning that best describes the pair.” His most notable finding was that unusual combinations, such as “undressed enemy” or “entertaining delay,” and pairs of words with opposing meanings, such as “healthy illness” or “painful joy” prompted the most creative responses.

 

12

Notation was more than a practical method for preserving an expanding repertoire of music. It changed the nature of the art itself. To write something down means that people far away in space and time can recreate it. At the same time, there are downsides. Written notes freeze the music rather than allowing it to develop in the hands of individuals, and it discourages improvisation. Partly because of notation, modern classical performance lacks the depth of nuance that is part of aural tradition. Before notation arrived, in all history music was largely carried on as an aural tradition. Most world music is still basically aural, including sophisticated musical traditions such as Indian and Balinese. Most jazz musicians can read music but often don’t bother, and their art is much involved with improvisation. Many modern pop musicians, one example being Paul McCartney, can’t read music at all.

 

13

Anna Margolin was eighteen and a half when she went to America for the first time, in 1906. Her Aunt Lena welcomed her as her own child. She got her own room in the spacious house on Rodney Street, in Williamsburg, and was dressed and cared for as a daughter. A tutor was soon hired who came to the house every evening to teach her English. In the house were her aunt’s own two children, one of whom later became a prominent doctor. They were both, it seems, younger than she and very respectful of her. For several weeks, Anna Margolin felt that her aunt’s house was a paradise. Her aunt and uncle would leave the house soon after breakfast to go to their business. The children were away at school, and she was left in the house by herself. She had nothing to say to the maid, and besides, the maid was busy with her work. The few books that Anna Margolin found in her aunt’s house she quickly read. She began to grow bored.

 

14

The brain’s memory store has revealed itself to be far more flexible than anyone ever imagined. John Ratey cites the example of a brilliant young American violinist called Martha Curtis. As she grew up, Martha suffered such disturbing epileptic seizures that doctors decided they had to remove the part of her brain responsible for her seizures. The problem was that the part involved was that identified with musical skill. Surgeons cut away a little at first, fearing Martha would lose her musical gift. Eventually they had to remove the whole area in order to stop the seizures. Remarkably, the surgery, though stopping her fits, had no effect on her musicianship at all—she played as beautifully as ever. It turned out that when she had learned the violin as a child, her brain had simply rewired itself and sent the memories of her skill to another, undamaged region of the brain.

 

15

There is a real investment made by many of us today in the idea that artistic practice was liberated when judgments of both taste and politics ceased to be the criterion for (good) art. But there has been a price, and it is artists who pay it—although the opposite might at first appear to be the case. The contemporary art world values artists, not art. No art objects are necessary. No social or political usefulness is required. Artistic practices have been deregulated. They are strategies chosen by artists themselves as an expression of their individual and uncensored freedom. Artists are iconic embodiments, almost advertisements, for the slogan (if not the reality) of “freedom of speech.” I say not the reality, because to a significant degree it is the museum, the curatorial decision, and the biennials that legitimate the artists, on which they (un-freely) depend.

 

16

In the twenty-first century, biotechnology could be used in many different ways. On the one hand, we could use it to design cows, pigs, and chickens who grow faster and produce more meat, without any thought about the suffering we inflict on these animals. On the other hand, we could use biotechnology to create clean meat—real meat that is grown from animal cells, without any need of raising and slaughtering entire creatures. If we follow that path, biotechnology may well be transformed from the nemesis of farm animals into their salvation. It could produce the meat so many humans crave without taking such an enormous toll on the planet, since growing meat is much more efficient than raising animals to later turn into that same meat.

 

17

Whereas characters’ names are rarely changed in the translation of adult fiction, translators writing for children often adapt them, for example by using equivalents in the target language such as Hans/John/Jean, William/Guillermo/Guillaume, Alice/Alicia. This issue causes a lot of disagreement, however, since names are a powerful signal of social and cultural context. If left untranslated, names constantly remind young readers that they are reading a story set in another country, whereas the use of an equivalent name or an alternative in the target language may lead to an incongruous relationship between names and setting. Nonetheless, editors and translators fear that children might struggle with foreign names, thus giving rise to a dilemma that Anthea Bell cites in her ‘Translator’s notebook’: “The idea behind all this is to avoid putting young readers off by presenting them with an impenetrable-looking set of foreign names the moment they open a book. It’s the kind of problem that constantly challenges a translator of children’s literature.”

 

18

In developing countries, maintaining the actual food production capacity for the current generation is likely to be more of an issue. In such contexts, the experiences of older industrialized countries in trying to protect their agricultural land resource base are instructive. This experience tells us that reserving areas for agricultural production, however strict, provides no guarantee of continued agricultural production. This depends more on the continued possibility for farmers and their families to continue to earn a decent income and support a decent standard of living. This is why some programs are also associated with other measures such as tax reduction schemes, tools to help farmers market their produce more effectively, and the provision of sound advice on production practices near urban zones.

 

19

In the case of perfume and odours emitted from non-food sources, people believed they were intuitively able to differentiate between ‘naturally-occurring’ and ‘synthetic’ odours by the nature of the source. ‘Synthetic’ is defined in the Oxford English Dictionary as ‘a substance made by chemical synthesis, especially to imitate a natural product’. Perfumes, for example, were generally described as synthetic, whereas leather was considered to have its own natural odour. However, the distinction between naturally-occurring odours and those of synthetic origin is not as straightforward as it might seem; the odour of leather, for example, comes about as a result of tanning, which is itself a chemically-dependent process. Also, synthetic odours of leather are frequently used in product manufacturing processes in order to provide an illusion of leather and an association with quality and newness, as is the case when these odours are sprayed into some new cars. Furthermore, some odours of perfume are produced by combinations or extractions of naturally occurring products. The line between natural and unnatural, genuine and synthetic is therefore highly blurred with respect to the perception of smell, with distinctions varying between people.

 

20

I had broken my leg skiing last winter—first time down the hill—and had received some money from a school insurance policy designed to reward unfortunate, clumsy children. I purchased a cassette recorder with the proceeds. My dad suggested that I sit on the back lawn, record the wren’s song, play it back, and watch what happened. So, I went out into the bright spring sunlight and taped a few minutes of the wren laying furious claim to his territory with song. Then I let him hear his own voice. That little bird, one-third the size of a sparrow, began to dive-bomb me and my cassette recorder, attacking back and forth, inches from the speaker. We saw a lot of that sort of behaviour, even in the absence of the tape recorder. If a larger bird ever dared to sit and rest in any of the trees near our birdhouse there was a good chance he would get knocked off his perch by a diving wren.

 

21

Some people have defined wildlife damage management as the science and management of overabundant species, but this definition is too narrow. All wildlife species act in ways that harm human interests. Thus, all species cause wildlife damage, not just overabundant ones. One interesting example of this involves endangered peregrine falcons in California, which prey on another endangered species, the California least tern. Certainly, we would not consider peregrine falcons as being overabundant, but we wish that they would not feed on an endangered species. In this case, one of the negative values associated with a peregrine falcon population is that its predation reduces the population of another endangered species. The goal of wildlife damage management in this case would be to stop the falcons from eating the terns without harming the falcons.

 

22

Computers are extremely poor at making inferences and deducing relationships. Computer programmers, Jeff Hawkins argues, take the wrong approach in trying to make machines do these things. They write programs that carry out top-down analysis, trying to match objects against predefined taxonomies. The brain, on the other hand, makes inferences and deduces relationships very quickly and efficiently. It does this by comparing an unknown object to the nearest match to it that it can find in its neural circuitry. For example, an unfamiliar breed of dog is quickly recognized as a dog because the brain’s neural representation of dogness is the nearest match to its shape. The brain can quickly find matches and near-matches because its neurons are massively interconnected.

 

23

It may seem odd to suggest that numbers are a human invention. After all, some might say, regardless of whether humans ever existed, there would still be predictable numbers in nature, be it eight (octopus legs), four (seasons), twenty-nine (days in a lunar cycle), and so on. Strictly speaking, however, these are simply regularly occurring quantities. Quantities and correspondences between quantities might be said to exist apart from the human mental experience. Octopus legs would occur in regular groups even if we were unable to perceive that regularity. Numbers, though, are the words and other symbolic representations we use to differentiate quantities. Much as color terms create clearer mental boundaries between colors along adjacent portions of the visible light spectrum, numbers create conceptual boundaries between quantities. Those boundaries may reflect a real division between quantities in the physical world, but these divisions are generally inaccessible to the human mind without numbers.

 

24-25

The mind has a remarkable facility for categorizing new experiences into learned patterns largely shared within a culture. This process transforms the new into the familiar and allows us to make sense of the new sounds and images we encounter every day. So, no matter how musically open-minded we try to be, our experiences can lead us to expect music to exhibit certain common elements in certain contexts. For example, a person growing up in the United States is inclined to expect harmony as a standard musical trait. Harmony, several notes occurring at the same time to form a chord, is found in virtually everything we hear on the radio and in music videos, film scores, classical music concerts, and church choirs. But this musical element, at least in the familiar chords of the West, is a European invention. Thus, we may find music without harmony strangely thin and find ourselves missing what’s not there instead of listening to what is there—to other dimensions of sound and to nuances of melodic variation and pitch, for instance. Furthermore, sound is not the only dimension that shapes our musical expectations. We also understand musical experiences through their place in our social lives, through their context. Much of the music making that we hear in Western culture comes from professionals who are paid to entertain. At a party, few nonprofessionals would feel comfortable singing a song for others. But in many areas of traditional Africa, where not singing is like not talking, everybody sings as a natural social function.

 

26-28

There was once a tribe of people who lived in a cave high on a hillside. There they hunted for food, gathered the fruits that the earth yielded, cared for their children, listened to the wisdom of the elders, struggled, loved, and laughed together. They thought they were the only people on earth. They had no fears. They had no enemies. It happened that one day some people from a different tribe came through the valley. They too were looking for a cave to make into a home. All they desired was a place to hunt and gather food. Their whole ambition was to live and love and laugh together, raise their children and honour the elders. The world, after all, was a very big place. When the first group of cave-dwellers saw these unexpected arrivals, they began to wonder: who are these people? Can we trust them? And then, just in case these newcomers should prove to be hostile, they began to build a pile of stones with which to defend themselves. The new arrivals, in their turn, looked across the valley and there on the opposite hillside they saw the growing pile of stones. The people here seemed to be very warlike. Were they intending to attack them with those stones? How should they defend themselves if they did? So they too began to build up a pile of stones. And the people of the first tribe began to mutter to each other, “See, didn’t we know it? These newcomers are hostile. They are piling up stones to attack us. We should build our pile of stones even higher.” And so it went on, each group adding more and more stones to their pile, their mutual distrust growing greater every day. Until eventually the piles of stones were so high that neither tribe could see the faces of their neighbours any longer. All they could see was an enemy.