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2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2 (44문항) (PDF)
일반 워크북 형태의 문제에서 벗어나 The Makings가 만든 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2
출판사에서 오랫동안 영어 번역과 교정을 하셨던 원어민 선생님과
현직에서 강사를 하고 있는 연구진들이 학생들을 위한 최상의 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2 를 선보입니다.
사고력과 이해력을 요구하는 문제들로 내신 대비 뿐만이 아니라 수능도 한꺼번에 공부하실 수 있는 자료입니다.
중간고사&기말고사 전에 더메이킹스(The Makings)에서 제작한 2025년 고3 3월 전국 연합 모의고사 변형 문제로 마무리 하세요.
The Makings의 2025년 고3 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)
이 파일은 PDF파일이며 가독성에 방해가 전혀 되지 않지만 지적재산권 보호를 위해 워터마크가 희미하게 있습니다.
파일을 원하시는 데로 변형 하고 싶으시면 DOC파일 형태의 상품을 구입하시기 바랍니다.
전체 지문 중에 실제 내신 시험에 출제 할 수 있는 지문을 위주로 출제 되어있습니다.
구매 전 지문을 꼭 확인 하시고 구입하시기 바랍니다.
더메이킹스(The Makings)가 제작한 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2의 지문입니다.
1번 지문(문항 번호 22번)
Good narrative writing is often as much technique as it is talent, sometimes more. The best narrative nonfiction writers often turn to time-honored tools of fiction writers for effect: plot and pacing, character and drama, and, yes, suspense. And they understand that a good story just can't spread out in all directions like a serving of spaghetti. The story needs form, shape, a structure designed to pull the reader from start to finish. "The craftsmanship of the writer is no less beautiful than that of the cabinet maker or the builder of temples or fine violins," writes Jon Franklin. Yes, this may sound grandiose, but the emphasis on craftsmanship is pure pragmatism: a knowledge of the basic structures that narrative science writers use to build an effective story. I think of this approach as journalistic architecture. Once a writer has the story blueprints in hand, so to speak, then he or she can decide which structure best fits the facts of the story ─ and where to slot them into place.
2번 지문(문항 번호 23번)
If you want to bring something into shared reality for the purpose of social coordination, you have to describe it, or at the very least label it. Even the ideally objective pursuit of science is unable to escape the framing effects of language. Like all collective culture, science is constructed on report, reason, debate, negotiation, justification, consensus, and, most important, coordination. And all of these things depend on language. Even something as fundamental as particle physics depends on language in a particular way. I don't mean that particle physics wouldn't exist if we didn't describe it. Particle physics is part of brute reality and so it will carry on independent of any human agreement or understanding of what it is. But consider this remark by Michael I. Jordan, referring to the "infinite potential well" model, which studies how a single particle behaves in a small, enclosed space: "A particle in a potential well is optimizing a function called the Lagrangian function. The particle doesn't know that. There's no algorithm running that does that. It just happens. It's a description mathematically of something that helps us understand as analysts what's happening."
3번 지문(문항 번호 24번)
In fact, humans are known to have the largest and most visible sclera ─ the "whites" of the eyes ─ of any species. This fact intrigues scientists, because it would seem actually to be a considerable obstacle: imagine, for example, the classic war movie scene where the soldier dresses in camouflage and paints his face with green and brown color ─ but can do nothing about his noticeably white sclera, beaming bright against the jungle. There must be some reason humans developed it, despite its obvious costs. In fact, the advantage of visible sclera ─ so goes the "cooperative eye hypothesis" ─ is precisely that it enables humans to see clearly, and from a distance, which direction other humans are looking. Michael Tomasello showed in a 2007 study that chimpanzees, gorillas, and bonobos ─ our nearest cousins ─ follow the direction of each other's heads, whereas human infants follow the direction of each other's eyes. So the value of looking someone in the eye may in fact be something uniquely human.
4번 지문(문항 번호 26번)
Hans Hofmann was one of the most influential art teachers of the 20th century. Born on March 21, 1880 in Germany, he moved to Munich with his family. When he was a teenager, Hofmann produced scientific inventions, including a radar device. In 1904, he moved to Paris, where he was deeply affected by the expressive use of color that distinguished the paintings of Henri Matisse and Robert Delaunay. He opened his first school, the Schule fur Bildende Kunst(School of Fine Art), in Munich in 1915. In 1930 Hofmann moved to the United States, where he taught at the Art Students League in New York City and later opened his own Hans Hofmann School of Fine Arts. By 1939, he was able to break away from the Expressionistic landscapes and still lifes he had painted in the early 1930s. At the age of 85, he was still very active in his studio, and completed approximately 45 paintings.
전자 제품의 관계로 단순 변심에 의한 반품/교환이 불가 합니다.
2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2 (44문항) (PDF)
일반 워크북 형태의 문제에서 벗어나 The Makings가 만든 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2
출판사에서 오랫동안 영어 번역과 교정을 하셨던 원어민 선생님과
현직에서 강사를 하고 있는 연구진들이 학생들을 위한 최상의 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2 를 선보입니다.
사고력과 이해력을 요구하는 문제들로 내신 대비 뿐만이 아니라 수능도 한꺼번에 공부하실 수 있는 자료입니다.
중간고사&기말고사 전에 더메이킹스(The Makings)에서 제작한 2025년 고3 3월 전국 연합 모의고사 변형 문제로 마무리 하세요.
The Makings의 2025년 고3 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)
이 파일은 PDF파일이며 가독성에 방해가 전혀 되지 않지만 지적재산권 보호를 위해 워터마크가 희미하게 있습니다.
파일을 원하시는 데로 변형 하고 싶으시면 DOC파일 형태의 상품을 구입하시기 바랍니다.
전체 지문 중에 실제 내신 시험에 출제 할 수 있는 지문을 위주로 출제 되어있습니다.
구매 전 지문을 꼭 확인 하시고 구입하시기 바랍니다.
더메이킹스(The Makings)가 제작한 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 2의 지문입니다.
1번 지문(문항 번호 22번)
Good narrative writing is often as much technique as it is talent, sometimes more. The best narrative nonfiction writers often turn to time-honored tools of fiction writers for effect: plot and pacing, character and drama, and, yes, suspense. And they understand that a good story just can't spread out in all directions like a serving of spaghetti. The story needs form, shape, a structure designed to pull the reader from start to finish. "The craftsmanship of the writer is no less beautiful than that of the cabinet maker or the builder of temples or fine violins," writes Jon Franklin. Yes, this may sound grandiose, but the emphasis on craftsmanship is pure pragmatism: a knowledge of the basic structures that narrative science writers use to build an effective story. I think of this approach as journalistic architecture. Once a writer has the story blueprints in hand, so to speak, then he or she can decide which structure best fits the facts of the story ─ and where to slot them into place.
2번 지문(문항 번호 23번)
If you want to bring something into shared reality for the purpose of social coordination, you have to describe it, or at the very least label it. Even the ideally objective pursuit of science is unable to escape the framing effects of language. Like all collective culture, science is constructed on report, reason, debate, negotiation, justification, consensus, and, most important, coordination. And all of these things depend on language. Even something as fundamental as particle physics depends on language in a particular way. I don't mean that particle physics wouldn't exist if we didn't describe it. Particle physics is part of brute reality and so it will carry on independent of any human agreement or understanding of what it is. But consider this remark by Michael I. Jordan, referring to the "infinite potential well" model, which studies how a single particle behaves in a small, enclosed space: "A particle in a potential well is optimizing a function called the Lagrangian function. The particle doesn't know that. There's no algorithm running that does that. It just happens. It's a description mathematically of something that helps us understand as analysts what's happening."
3번 지문(문항 번호 24번)
In fact, humans are known to have the largest and most visible sclera ─ the "whites" of the eyes ─ of any species. This fact intrigues scientists, because it would seem actually to be a considerable obstacle: imagine, for example, the classic war movie scene where the soldier dresses in camouflage and paints his face with green and brown color ─ but can do nothing about his noticeably white sclera, beaming bright against the jungle. There must be some reason humans developed it, despite its obvious costs. In fact, the advantage of visible sclera ─ so goes the "cooperative eye hypothesis" ─ is precisely that it enables humans to see clearly, and from a distance, which direction other humans are looking. Michael Tomasello showed in a 2007 study that chimpanzees, gorillas, and bonobos ─ our nearest cousins ─ follow the direction of each other's heads, whereas human infants follow the direction of each other's eyes. So the value of looking someone in the eye may in fact be something uniquely human.
4번 지문(문항 번호 26번)
Hans Hofmann was one of the most influential art teachers of the 20th century. Born on March 21, 1880 in Germany, he moved to Munich with his family. When he was a teenager, Hofmann produced scientific inventions, including a radar device. In 1904, he moved to Paris, where he was deeply affected by the expressive use of color that distinguished the paintings of Henri Matisse and Robert Delaunay. He opened his first school, the Schule fur Bildende Kunst(School of Fine Art), in Munich in 1915. In 1930 Hofmann moved to the United States, where he taught at the Art Students League in New York City and later opened his own Hans Hofmann School of Fine Arts. By 1939, he was able to break away from the Expressionistic landscapes and still lifes he had painted in the early 1930s. At the age of 85, he was still very active in his studio, and completed approximately 45 paintings.
전자 제품의 관계로 단순 변심에 의한 반품/교환이 불가 합니다.