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( 2022 ) 6-5, ,, , - , ( )
( 2022 ) 6-5, ,, , - , ( )
푸는 법
1. 주장. 요지부터 풀어라 (한글 선지)
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역접 반복되는 어구 (다양한 방식으로)
- But, However, Yet, Nevertheless, Still, Even so, Though, - 같은 단어/문장 반복 or 다양한 방식으로 반복
Although, Rather, not A but B, no longer A but B
접속사가 없어도 예시 구조
중요 표현 (important, essential, significant,
- , , , , , critical, vital, crucial, necessary 등)
Consider, Imagine, Picture ( ) ( ) - 중요 표현이 들어간 문장은 핵심 내용을 가질 가능성이 매우
높다. 또한 요구, 요청, 필요 등을 표현하는 require, ask,
if~, when~ need to도 중요하다.
질문/답변, 문제/해결
열거 - 평가원의 모든 글은 통일성과 완결성, 응집성을 가진다. 지문
- Furthermore, Moreover, In addition, Besides, 전개 과정에서 질문을 던지면 답변을 준다. 그 답변이 지문의
Likewise, Plus, Also, And, Another N 핵심 내용인 경우가 매우 많다. 마찬가지로, 글의 전개 과정에
서 문제점을 던지면 해결책을 제시한다. 그 해결책이 지문의
핵심 내용인 경우가 많다. 간혹, 풀리지 않는 문제 자체가
핵심 내용인 경우도 있다.
오답 선지 When/If/By/To ~, +/-
- 내용과 무관, 일부 관련 있지만 지엽적or일반적 - 부사절(조건절)을 주의하자. When/If ~ (한다면),
By ~(함으로써), TO ~ (하기 위하여) 등 조건절 뒤 주절에
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비교/대조
The tragic heroes in Shakespeare’s plays have free
will. They possess their own defects of character that
bring their downfalls. Macbeth is ambitious but weak;
Othello is jealous; Hamlet cannot make up his mind but
all three might have made themselves into better human
beings. Nothing outside themselves prevents them from
- While, Whereas, Otherwise, Unlike, Meanwhile, taking the right path as opposed to the wrong, or tragic,
On the other hand, On the contrary path. On the other hand, for the heroes in Greek
tragedies where fate embodied in the oracles prevails,
there is no free will. The gods control a man’s destiny,
접속사가 없어도 비교/대조 구조 and one cannot fight the gods. Regardless of their
strength or wisdom, the heroes cannot control their own
future. That is why the heroes in Greek tragedies can be
compared to fish in the net.
- compare with(to), in comparison with, contrary to
In contrast, contrastively, differently, dissimilarly, apart
Types of Heroes in Shakespearean Tragedies
as against, in a different way, distinctively, separately Lack of Moral Messages in Western Tragedies
Some (people) ~. Other (people) ~ Influence of Greek Tragedies on Shakespearean Plays
Conflict Between Gods and Heroes in Greek Tragedies
Difference Between Shakespearean and Greek Tragic Heroes
[ ] There are two thing(case) ~
- A ( )
/ ( )
- B ( )
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Twin sirens hide in the sea of history, tempting those From an evolutionary perspective, fear has contributed to
seeking to understand and appreciate the past onto the reefs of both fostering and limiting change, and to preserving the
misunderstanding and misinterpretation. These twin dangers species. We are programmed to be afraid. It is a survival need,
are temporocentrism and ethnocentrism. Temporocentrism is as is stability, which is another force of nature that can limit
the belief that your times are the best of all possible times. All the capacity to change. Stable patterns are necessary lest we
other times are thus inferior. Ethnocentrism is the belief that live in chaos; however, they make it difficult to abandon
your culture is the best of all possible cultures. All other entrenched behaviors, even those that are no longer useful,
cultures are thus inferior. Temporocentrism and ethnocentrism constructive, or health creating. And fear can keep you from
unite to cause individuals and cultures to judge all other changing when you don’t want to risk a step into unknown
individuals and cultures by the “superior” standards of their territory; for example, some people choose not to leave an
current culture. This leads to a total lack of perspective when unfulfilling job or a failing relationship because they fear the
dealing with past and / or foreign cultures and a resultant unknown more than the known. On the other hand, fear can
misunderstanding and misappreciation of them. Temporocentrism also motivate change in order to avoid something you’re afraid
and ethnocentrism tempt moderns into unjustified criticisms of, such as dying young as one of your parents might have.
of the peoples of the past.
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The film director, as compared to the theater director, has
as his material, the finished, recorded celluloid. This material
from which his final work is composed consists not of living
men or real landscapes, not of real, actual stage-sets, but only Any learning environment that deals with only the database
of their images, recorded on separate strips that can be instincts or only the improvisatory instincts ignores one half of
shortened, altered, and assembled according to his will. The our ability. It is bound to fail. It makes me think of jazz
elements of reality are fixed on these pieces; by combining guitarists: They’re not going to make it if they know a lot
them in his selected sequence, shortening and lengthening about music theory but don’t know how to jam in a live
them according to his desire, the director builds up his own concert. Some schools and workplaces emphasize a stable,
“filmic” time and “filmic” space. He does not adapt reality, rote-learned database. They ignore the improvisatory instincts
but uses it for the creation of a new reality, and the most drilled into us for millions of years. Creativity suffers. Others
characteristic and important aspect of this process is that, in it, emphasize creative usage of a database, without installing a
fund of knowledge in the first place. They ignore our need to
laws of space and time invariable and inescapable in work
obtain a deep understanding of a subject, which includes
with actuality become obedient. The film assembles from
memorizing and storing a richly structured database. You get
them a new reality proper only to itself.
people who are great improvisers but don’t have depth of
knowledge. You may know someone like this where you
work. They may look like jazz musicians and have the
A Reality in the Film Director’s Hands
appearance of jamming, but in the end they know nothing.
The Director’s Reality Never Changes
They’re playing intellectual air guitar.
Innovative Technology in Film Editing
A Filmic World: Lost in Time and Space
Film Making: Exploration into the Unknown
acquiring necessary experience to enhance their creativity
exhibiting artistic talent coupled with solid knowledge of music
posing as experts by demonstrating their in-depth knowledge
performing musical pieces to attract a highly educated audience
displaying seemingly creative ability not rooted in firm knowledge
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- 정답
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