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2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 3 (66문항) (워드파일/편집가능)
일반 워크북 형태의 문제에서 벗어나 The Makings가 만든 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 3
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 3 을 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 워드파일이며 편집이 가능한 형태의 상품입니다.
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 3의 지문입니다.
1번 지문(문항 번호 29번)
We lack a sufficient vocabulary for making sense of the sources of error. The more scientific knowledge we accumulate, the better we understand that the ignorance over which the knowledge enterprise is built is shockingly deep. For instance, it turned out that psychoanalysis's attempt to delimit the sources of error by categorizing the kinds of mistakes to which humans are subject in light of the therapeutic situation in the talking cure draws on misguided assumptions about the normalcy conditions for subjects. Digging deeper into the structure of the human mind as well as into the specific embodiment of human knowers equipped with a complex nervous system showed that our mental life is filled with illusions on all levels of knowledge acquisition, from sensation to perception, from scientific discourse to the use of technology based on the latest scientific discovery. Yet, once again, we cannot make sense of this picture of ourselves as immersed in the area of ignorance and illusion without at the same time relying on a huge background of shared, objective knowledge that makes our ignorance available to us. Subjectivity and objectivity are interwoven with our fallibility.
2번 지문(문항 번호 30번)
Surely one reason that copies have lost their sense of human connection, abundance, and intimate relation is that modern technology has made copying so easy. The methods of copying available to us have never been more powerfully abundant. This seems true even as a sense of loss has attended our ever more powerful means to reproduce what we care about. Walter Benjamin has famously formulated this loss as an "aura": that which is lost in mechanical reproduction. The aura of a work of art, he suggests, cannot be copied by mechanical technology. By around 1900, he writes, "technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public." The ability to copy mechanically "substituted a plurality of copies for a unique existence," Benjamin argued. In addition to transforming art and the public's relation to it, Benjamin asserted that mechanical reproduction has the power to rend traditions by interfering with the authority of objects "embedded in the fabric of tradition." This threat to tradition was twofold and concerned the presence of objects, Benjamin believed.
3번 지문(문항 번호 31번)
Life is insecure and human well-being is fragile. If we are honest with ourselves, we realize that, despite our best efforts, we often cannot control the vicissitudes of human existence. We go through life in fear and trembling, fearing what may happen, while hoping for the best. Most of us get anxious in the face of an indeterminate or ambiguous situation. We don't handle uncertainty very well. We are easily tempted to settle for quick "solutions," in order to eliminate our anxiety and doubt, even though these quick fixes may not, in the long run, actually be adequate solutions. It is natural, therefore, and even somewhat necessary, for us to seek stability in a sea of change and indeterminacy. We want a fixed star to guide us on our journey through hazardous waters. If only we could have knowledge of what is fixed, unchanging, and ultimately reliable, then, we assume, that would be knowledge most worth having.
4번 지문(문항 번호 32번)
In one of the most famous passages of Being and Nothingness, "The Look," Jean-Paul Sartre describes the peculiar vulnerability that develops when someone goes from seeing (being a self with a perspective on the world) to being seen (having to confront the perspective of another on one's self). He illustrates it with the example of someone looking through a keyhole who suddenly finds himself caught by someone watching him. The look of the other is always unnerving, Sartre argues, not only because we momentarily recognize ourselves in it through our imagination of their judgment of us but also because we don't. We can always step back, challenge our perception of others' perceptions of ourselves, or explain them away ─ but we don't know what these perceptions really are. Others have the distinctive power of making us feel judged in ways we cannot fully control. Social life is all about the fear that accompanies our awareness that we can never access what the other sees. We can only guess.
5번 지문(문항 번호 33번)
Perceived distance of objects that are far away from the observer is often assumed to be subject to some global limitation in the sense that the moon, the stars, and the sun are all perceived at the "sky": that is, at about the same distance. This observation is related to the idea that visual space is not open but ends at visible surfaces or, indeed, the sky. Uexkull and Kriszat (1934) suggested that this is realized as a hard limit, which they call the "farthest plane." If an observed person or object would walk beyond this farthest plane, it would no longer be perceived as moving further away, but rather as shrinking in size. This observation is actually quite common; if looking down from a high tower, for example, cars or even houses on the ground below may appear as if they were toys: that is, shrunk, presumably because they are perceived at the distance of the farthest plane while subtending a visual angle that corresponds to a larger distance. The farthest plane would thus mark the limit of the perception of size constancy.
6번 지문(문항 번호 34번)
In both the arts and the sciences, an aesthetics of simplicity facilitates the precise communication of messages. Both are also fairly systematic. Although many people believe that art is by definition wild and intuitive, while only science is methodologically disciplined, there is a great deal of evidence ─ including from artists talking about their own practices ─ to suggest that art is often created methodically and systematically, and that frameworks and forms permit creativity to flow. Instead of being liberating, freedom without limits is almost paralysing, because without frameworks we end up in a vacuum in which our actions generate no response. As the Danish poet and filmmaker Jorgen Leth has put it many times, 'the rules of the game' are a prerequisite for artistic freedom. They provide a solid form or structure that enables the artist to make use of 'the gifts of chance' (to use Leth's expression), and in which a part of the world can be exhibited in a non-chaotic manner. In order to create beauty, the artist must restrict himor herself.
전자 제품의 관계로 단순 변심에 의한 반품/교환이 불가 합니다.
2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 3 (66문항) (워드파일/편집가능)
일반 워크북 형태의 문제에서 벗어나 The Makings가 만든 2025년 고3 3월 전국 연합 모의고사 변형 문제 Part 3
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 3 을 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 워드파일이며 편집이 가능한 형태의 상품입니다.
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 3의 지문입니다.
1번 지문(문항 번호 29번)
We lack a sufficient vocabulary for making sense of the sources of error. The more scientific knowledge we accumulate, the better we understand that the ignorance over which the knowledge enterprise is built is shockingly deep. For instance, it turned out that psychoanalysis's attempt to delimit the sources of error by categorizing the kinds of mistakes to which humans are subject in light of the therapeutic situation in the talking cure draws on misguided assumptions about the normalcy conditions for subjects. Digging deeper into the structure of the human mind as well as into the specific embodiment of human knowers equipped with a complex nervous system showed that our mental life is filled with illusions on all levels of knowledge acquisition, from sensation to perception, from scientific discourse to the use of technology based on the latest scientific discovery. Yet, once again, we cannot make sense of this picture of ourselves as immersed in the area of ignorance and illusion without at the same time relying on a huge background of shared, objective knowledge that makes our ignorance available to us. Subjectivity and objectivity are interwoven with our fallibility.
2번 지문(문항 번호 30번)
Surely one reason that copies have lost their sense of human connection, abundance, and intimate relation is that modern technology has made copying so easy. The methods of copying available to us have never been more powerfully abundant. This seems true even as a sense of loss has attended our ever more powerful means to reproduce what we care about. Walter Benjamin has famously formulated this loss as an "aura": that which is lost in mechanical reproduction. The aura of a work of art, he suggests, cannot be copied by mechanical technology. By around 1900, he writes, "technical reproduction had reached a standard that not only permitted it to reproduce all transmitted works of art and thus to cause the most profound change in their impact upon the public." The ability to copy mechanically "substituted a plurality of copies for a unique existence," Benjamin argued. In addition to transforming art and the public's relation to it, Benjamin asserted that mechanical reproduction has the power to rend traditions by interfering with the authority of objects "embedded in the fabric of tradition." This threat to tradition was twofold and concerned the presence of objects, Benjamin believed.
3번 지문(문항 번호 31번)
Life is insecure and human well-being is fragile. If we are honest with ourselves, we realize that, despite our best efforts, we often cannot control the vicissitudes of human existence. We go through life in fear and trembling, fearing what may happen, while hoping for the best. Most of us get anxious in the face of an indeterminate or ambiguous situation. We don't handle uncertainty very well. We are easily tempted to settle for quick "solutions," in order to eliminate our anxiety and doubt, even though these quick fixes may not, in the long run, actually be adequate solutions. It is natural, therefore, and even somewhat necessary, for us to seek stability in a sea of change and indeterminacy. We want a fixed star to guide us on our journey through hazardous waters. If only we could have knowledge of what is fixed, unchanging, and ultimately reliable, then, we assume, that would be knowledge most worth having.
4번 지문(문항 번호 32번)
In one of the most famous passages of Being and Nothingness, "The Look," Jean-Paul Sartre describes the peculiar vulnerability that develops when someone goes from seeing (being a self with a perspective on the world) to being seen (having to confront the perspective of another on one's self). He illustrates it with the example of someone looking through a keyhole who suddenly finds himself caught by someone watching him. The look of the other is always unnerving, Sartre argues, not only because we momentarily recognize ourselves in it through our imagination of their judgment of us but also because we don't. We can always step back, challenge our perception of others' perceptions of ourselves, or explain them away ─ but we don't know what these perceptions really are. Others have the distinctive power of making us feel judged in ways we cannot fully control. Social life is all about the fear that accompanies our awareness that we can never access what the other sees. We can only guess.
5번 지문(문항 번호 33번)
Perceived distance of objects that are far away from the observer is often assumed to be subject to some global limitation in the sense that the moon, the stars, and the sun are all perceived at the "sky": that is, at about the same distance. This observation is related to the idea that visual space is not open but ends at visible surfaces or, indeed, the sky. Uexkull and Kriszat (1934) suggested that this is realized as a hard limit, which they call the "farthest plane." If an observed person or object would walk beyond this farthest plane, it would no longer be perceived as moving further away, but rather as shrinking in size. This observation is actually quite common; if looking down from a high tower, for example, cars or even houses on the ground below may appear as if they were toys: that is, shrunk, presumably because they are perceived at the distance of the farthest plane while subtending a visual angle that corresponds to a larger distance. The farthest plane would thus mark the limit of the perception of size constancy.
6번 지문(문항 번호 34번)
In both the arts and the sciences, an aesthetics of simplicity facilitates the precise communication of messages. Both are also fairly systematic. Although many people believe that art is by definition wild and intuitive, while only science is methodologically disciplined, there is a great deal of evidence ─ including from artists talking about their own practices ─ to suggest that art is often created methodically and systematically, and that frameworks and forms permit creativity to flow. Instead of being liberating, freedom without limits is almost paralysing, because without frameworks we end up in a vacuum in which our actions generate no response. As the Danish poet and filmmaker Jorgen Leth has put it many times, 'the rules of the game' are a prerequisite for artistic freedom. They provide a solid form or structure that enables the artist to make use of 'the gifts of chance' (to use Leth's expression), and in which a part of the world can be exhibited in a non-chaotic manner. In order to create beauty, the artist must restrict himor herself.
전자 제품의 관계로 단순 변심에 의한 반품/교환이 불가 합니다.