N기출 영어영역 고난도 독해 Level 2
Part 1.1 함축 의미 추론 변형문제
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최상위 수능 기출문제집 N기출 영어영역 고난도 독해 Level 2 Part 1 - 1. 함축 의미 추론(PDF)
최상위 수능 기출문제집 N기출 영어영역 고난도 독해 Level 2 Part 1 - 1. 함축 의미 추론(PDF)은 원어민 선생님과 현직 강사가 제작한 수능 영어 변형문제. 실전 감각을 높이는 고퀄리티 문제로 내신·
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지문 해석
낯설게 하기(strangeness)의 기준은, 타당하다면, 새로움(novelty)의 기준 하에 속할 것이다. Viktor Shklovsky는 예술로서의 기법에 관한 유명한 논문에서 낯설게 하기(defamiliarization)가 문학을 예술로 만드는 기준이라고 주장한다. 일상에서 우리는 사물을 당연하게 여기며 실제로 인식하지 않는 경향이 있고, 일상적 말에서 이를 이야기할 때 수신자가 즉시 이해하는 잘 알려진 단어와 격언 — 클리셰 — 을 사용하여 표현을 절약한다. 낯설고 이상한 단어와 구조를 사용함으로써, 예술은 인식의 과정을 연장하고 자동화를 해제하여 '돌을 다시 돌로 만들려고' — 즉 처음 보는 것처럼 느끼게 하려고 — 시도한다. 낯설게 하기는 독자의 주의를 그가 평소 간과하기 쉬운 현실의 측면으로 이끈다. Shklovsky는 소통 과정의 서로 다른 수준을 구별하지 않으며, 텍스트, 정신적 모형, 행위에서의 낯설게 하기 사례를 제시한다. 낯설게 하기는 통상적인 것에서 벗어나는 무엇이든으로 구성될 수 있다. 예를 들어, 운율이 일반적인 시기에는 무운시가 낯설어지며, 그 반대도 마찬가지다. 메시지의 차원에서, 낯설게 하기는 행위가 어떤 식으로든 독자로 하여금 다르게 생각하도록 강제하는 것을 의미할 것이다.
다음 지문을 읽고 글의 내용과 다른 문장을 고르세요.
The criterion of strangeness, if valid, would belong under the criterion of novelty. In his famous article on art as device, Victor Shklovsky asserts that defamiliarization is the criterion that makes literature art. In everyday life, we tend to take things for granted, not really perceiving them, and when talking about them in everyday speech, we economize expression by using well-known words and sayings ― cliches ― which the receiver understands immediately. By using unfamiliar, strange words and constructions, art tries to prolong and deautomatize the process of perception in order to make 'a stone a stone again' ― make it as if you were seeing it for the first time. Defamiliarization draws the reader's attention to aspects of reality he is otherwise inclined to overlook. Shklovsky does not distinguish between the different levels of the communication process and gives examples of defamiliarization in the text, mental model and action. Defamiliarization may consist in whatever deviates from the usual. For instance, in a period where rhyme is common, rhymeless poetry becomes strange, and vice versa. On the level of the message, defamiliarization would mean that the action would somehow force the reader to think differently.
① Shklovsky claims that defamiliarization is the essential criterion that elevates literature to the status of art.
② In daily communication, people rely on familiar words and cliches to convey meaning efficiently.
③ Shklovsky carefully distinguishes between the various levels at which defamiliarization operates in communication.
④ Defamiliarization can take different forms depending on what is considered conventional in a given period.
⑤ At the level of the message, defamiliarization aims to make the reader perceive or think in a new way.
지문 내용 정리
이 지문의 핵심 구조는 Shklovsky의 "낯설게 하기" 개념을 설명한 뒤, 그의 이론적 한계점을 지적하는 것이다. 지문 중반부에서 저자는 Shklovsky가 소통 과정의 여러 수준을 "구별하지 않는다(does not distinguish)"고 비판적으로 서술한다.
부정어 "not"은 내용불일치 문제에서 가장 빈번하게 활용되는 출제 포인트다. 원문의 부정을 선지에서 긍정으로 바꾸거나, 심지어 "carefully"와 같은 부사를 추가하여 원문과 정반대의 의미를 만들어내는 패턴이다.
전체 선지 분석
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선지
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판정
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근거
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① Shklovsky claims that defamiliarization is the essential criterion that elevates literature to the status of art.
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✅ 일치
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"defamiliarization is the criterion that makes literature art"와 정확히 대응
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② In daily communication, people rely on familiar words and cliches to convey meaning efficiently.
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✅ 일치
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"we economize expression by using well-known words and sayings ― cliches ― which the receiver understands immediately"와 대응
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③ Shklovsky carefully distinguishes between the various levels at which defamiliarization operates in communication.
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❌ 불일치
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원문은 "Shklovsky does not distinguish between the different levels of the communication process"이다. 구별하지 않는다는 것을 구별한다로, 게다가 "carefully"까지 추가하여 완전히 반대로 만들었다.
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④ Defamiliarization can take different forms depending on what is considered conventional in a given period.
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✅ 일치
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"in a period where rhyme is common, rhymeless poetry becomes strange, and vice versa"에서 시대적 관습에 따라 형태가 달라짐을 보여줌
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⑤ At the level of the message, defamiliarization aims to make the reader perceive or think in a new way.
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✅ 일치
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"defamiliarization would mean that the action would somehow force the reader to think differently"와 대응
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핵심 구문 정리
"Shklovsky does not distinguish between the different levels of the communication process" Shklovsky는 소통 과정의 서로 다른 수준을 구별하지 않는다 → ③번은 "carefully distinguishes"로 부정을 긍정으로 뒤집고, 부사까지 덧붙여 이중으로 왜곡
"Defamiliarization may consist in whatever deviates from the usual." 낯설게 하기는 통상적인 것으로부터의 이탈 → 운율 있는 시대에는 무운시가, 무운 시대에는 운율시가 "낯선 것"이 된다
한 줄 요약
Shklovsky는 소통의 여러 수준을 "does not distinguish(구별하지 않는다)"고 했는데, ③번은 "carefully distinguishes(세심하게 구별한다)"로 부정을 긍정으로 뒤집은 전형적인 불일치 선지다.
The Makings의 Part 1 - 1. 함축 의미 추론 변형문제는
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)
더메이킹스(The Makings)가 제작한
최상위 수능 기출문제집 N기출 영어영역 고난도 독해 Level 2
Part 1 - 1. 함축 의미 추론(55문항) 변형문제의 지문입니다.
1번 지문
It is difficult, if not impossible, to define the limits which reason should impose on the desire for wealth; for there is no absolute or definite amount of wealth which will satisfy a man. The amount is always relative, that is to say, just so much as will maintain the proportion between what he wants and what he gets; for to measure a man’s happiness only by what he gets, and not also by what he expects to get, is as pointless as to try and express a fraction which shall have a numerator but no denominator. A man never feels the loss of things which it never occurs to him to ask for; he is just as happy without them; whilst another, who may have a hundred times as much, feels miserable because he has not got the one thing he wants. In fact, every man has a horizon of his own, and he will expect as much as he thinks it is possible for him to get.
2번 지문
In school, there's one curriculum, one right way to study science, and one right formula that spits out the correct answer on a standardized test. Textbooks with grand titles like The Principles of Physics magically reveal "the principles" in three hundred pages. An authority figure then steps up to the lectern to feed us "the truth." As theoretical physicist David Gross explained in his Nobel lecture, textbooks often ignore the many alternate paths that people wandered down, the many false clues they followed, the many misconceptions they had. We learn about Newton's "laws" — as if they arrived by a grand divine visitation or a stroke of genius — but not the years he spent exploring, revising, and changing them. The laws that Newton failed to establish — most notably his experiments in alchemy, which attempted, and spectacularly failed, to turn lead into gold — don't make the cut as part of the one-dimensional story told in physics classrooms. Instead, our education system turns the life stories of these scientists from lead to gold.
3번 지문
Consider how some people, including some young children, enjoy doing jigsaw puzzles for hours. There are no big surprises. (Unless the last piece has been hidden by a sly sibling.) The players know exactly what the end result will look like and are rarely startled midway. But there can still be great satisfaction upon completion. When listening to an interesting story, we can be deeply disappointed if we don't get to hear the ending. When exploring a new place such as a house or a park, we often want to get a clear sense of the overall layout and can be frustrated if we don't know how different locations fit together. Infants, like all of us, strive to achieve closure. They have a need to identify all the toys that are in a box, or explore every room of a new space. They have similar needs for closure in their causal models of how things happen. This constellation of needs for closure often helps drive wonder, especially when there is a need to close an explanatory gap.
4번 지문
Let's consider the way we carry out a conversation. We are leaving a lecture, and I say to you, "I found that speaker a bit boring." Mikhail Bakhtin would call this entry into our conversation an utterance. An utterance could be anything from a single word or sign to a monologue. Now consider, this utterance is also addressed to you. In Bakhtin's terms, it possesses addressivity. Further, after addressing this utterance to you, I anticipate some form of reply (for example, a nod of the head, or perhaps, "Maybe you missed his central idea; it was fascinating."). For Bakhtin, there is answerability. The utterance would not make sense spoken out of the blue to no one. Its sense or meaning depends on its being "for you." As Bakhtin goes on to point out, the particular words I use are also prepared specifically for you. If I said, "Die Rede war langweilig," and you spoke no German, it would lack both addressivity and answerability. In this sense, when I speak to you as a conversational partner, "the speaker becomes the listener."
5번 지문
The criterion of strangeness, if valid, would belong under the criterion of novelty. In his famous article on art as device, Victor Shklovsky asserts that defamiliarization is the criterion that makes literature art. In everyday life, we tend to take things for granted, not really perceiving them, and when talking about them in everyday speech, we economize expression by using well-known words and sayings ― cliches ― which the receiver understands immediately. By using unfamiliar, strange words and constructions, art tries to prolong and deautomatize the process of perception in order to make 'a stone a stone again' ― make it as if you were seeing it for the first time. Defamiliarization draws the reader's attention to aspects of reality he is otherwise inclined to overlook. Shklovsky does not distinguish between the different levels of the communication process and gives examples of defamiliarization in the text, mental model and action. Defamiliarization may consist in whatever deviates from the usual. For instance, in a period where rhyme is common, rhymeless poetry becomes strange, and vice versa. On the level of the message, defamiliarization would mean that the action would somehow force the reader to think differently.