2021년 고2 3월 전국 연합 모의고사 변형 문제2

 

2021년 고2 3월 전국 연합 모의고사

변형 문제2

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2021년 고2 3월 전국 연합 모의고사 변형 문제2

일반 워크북 형태의 문제에서 벗어나 The Makings가 만든

 2021년 고2 3월 전국 연합 모의고사 변형 문제 2는

출판사에서 오랫동안 영어 번역과 교정을 하셨던 원어민 선생님과

현직에서 강사를 하고 있는 연구진들이 학생들을 위한 최상의  

2021년 고2 3월 전국 연합 모의고사 변형 문제 2를 선보입니다.

사고력과 이해력을 요구하는 문제들로 내신 대비 뿐만이 아니라

수능도 한꺼번에 공부하실 수 있는 자료입니다.

중간고사&기말고사 전에 더메이킹스(The Makings)에서 제작한

2021년 고2 3월 전국 연합 모의고사 변형 문제로 마무리 하세요.

 

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https://themakings.co.kr/78/?idx=598

2021년 고2 3월 전국 연합 모의고사 변형 문제

 

 

themakings.co.kr

2021년 고2 3월 전국 연합 모의고사 변형 문제2

The Makings의 2021년 고2 3월 전국 연합 모의고사 변형 문제는

총 11개의 유형으로 구성되어 있습니다.

1. 빈칸 채우기(객관식)

2. 글의 내용 일치/불일치(객관식/한글 선택지)

3. 글의 내용 일치/불일치(객관식/영어 선택지)

4. 글 끼어 넣기(객관식)

5. 어법(서술형)

6. 어휘(서술형)

7. 주제문(객관식/영어 선택지)

8. 어휘 빈칸 채우기(서술형)

9. 영작(서술형)

10. 요약문 완성하기(서술형)

11. 문단 재배열 하기(객관식)

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더메이킹스(The Makings)가 제작한  2021년 고2

3월 전국 연합 모의고사 변형 문제 2의 지문입니다.

 

1번 지문(문항 번호 24번)

Some beginning researchers mistakenly believe that a good hypothesis is one that is guaranteed to be right (e.g., alcohol will slow down reaction time). However, if we already know your hypothesis is true before you test it, testing your hypothesis won’t tell us anything new. Remember, research is supposed to produce new knowledge. To get new knowledge, you, as a researcher­explorer, need to leave the safety of the shore (established facts) and venture into uncharted waters (as Einstein said, “If we knew what we were doing, it would not be called research, would it?”). If your predictions about what will happen in these uncharted waters are wrong, that’s okay: Scientists are allowed to make mistakes (as Bates said, “Research is the process of going up alleys to see if they are blind”). Indeed, scientists often learn more from predictions that do not turn out than from those that do.

 

2번 지문(문항 번호 28번)

Ingrid Bergman was born in Stockholm, Sweden on August29, 1915. Her mother was German and her father Swedish. Her mother died when she was three, and her father passed away when she was 12. Eventually she was brought up by her Uncle Otto and Aunt Hulda. She was interested in acting from an early age. When she was 17, she attended the Royal Dramatic Theater School in Stockholm. She made her debut on the stage but was more interested in working in films. In the early 1940s, she gained star status in Hollywood, playing many roles as the heroine of the film. Bergman was considered to have tremendous acting talent, an angelic natural beauty and the willingness to work hard to get the best out of films. She was fluent in five languages and appeared in a range of films, plays and TV productions.

 

3번 지문(문항 번호 29번)

While reflecting on the needs of organizations, leaders, and families today, we realize that one of the unique characteristics is inclusivity. Why? Because inclusivity supports what everyone ultimately wants from their relationships: collaboration. Yet the majority of leaders, organizations, and families are still using the language of the old paradigm in which one person —typically the oldest, most educated, and/or wealthiest —makes all the decisions, and their decisions rule with little discussion or inclusion of others, resulting in exclusivity. Today, this person could be a director, CEO, or other senior leader of an organization. There is no need for others to present their ideas because they are considered inadequate. Yet research shows that exclusivity in problem solving, even with a genius, is not as effective as inclusivity, where everyone's ideas are heard and a solution is developed through collaboration.

 

4번 지문(문항 번호 30번)

The objective point of view is illustrated by John Ford's "philosophy of camera." Ford considered the camera to be a window and the audience to be outside the window viewing the people and events within. We are asked to watch the actions as if they were taking place at a distance, and we are not asked to participate. The objective point of view employs a static camera as much as possible in order to produce this window effect, and it concentrates on the actors and the action without drawing attention to the camera. The objective camera suggests an emotional distance between camera and subject; the camera seems simply to be recording, as straightforwardly as possible, the characters and actions of the story. For the most part, the director uses natural, normal types of camera positioning and camera angles. The objective camera does not comment on or interpret the action but merely records it, letting it unfold. We see the action from the viewpoint of an impersonal observer. If the camera moves, it does so unnoticeably, calling as little attention to itself as possible.