2026 수능특강 영어 13강 변형문제

Literature can be helpful in the language learning ____ because of the personal involvement it fosters in readers.

____ language teaching materials must concentrate on how a language operates both as a rule-based system and as a sociosemantic system.

Very often, the process of learning is essentially analytic, piecemeal, and, at the level of the personality, ____ superficial.

Engaging imaginatively with literature enables learners to shift the focus of their attention beyond the ____ mechanical aspects of the foreign language system.

When a novel, play or ____ story is explored over a period of time, the result is that the reader begins to ‘inhabit’ the text.

He or she is drawn into the ____.

Pinpointing what individual words or phrases may mean becomes less important than pursuing the ____ of the story.

The reader is eager to find out what happens as ____ unfold; he or she feels close to certain characters and shares their emotional responses.

The language becomes ‘transparent’ — the ____ draws the whole person into its own world.

Imagine someone eagerly ____ to explain why it is reasonable to conclude that the sun will rise tomorrow morning because it always has done so in the past.

There may have been a time when primitive man anticipated the dawn with assurance based only upon the fact that he ____ seen dawn follow the blackness of night as long as he could remember, but this primitive state of knowledge, if it ever existed, was unquestionably prescientific.

This kind of reasoning ____ no resemblance to science; in fact, the crude induction exhibits a complete absence of scientific understanding.

Our scientific ____ for believing that the sun will rise tomorrow are of an entirely different kind.

We understand the functioning of the ____ system in terms of the laws of physics.

We predict particular astronomical occurrences by means of these laws in combination with a knowledge of particular ____ conditions that prevail.

Scientific laws and theories have the logical form of general statements, but they are seldom, if ever, simple generalizations from ____.

At a certain ageㅡnine, ten, eleven, we were all there once — most of us are capable of blind devotion it takes to master some single, obscure skill that ____ decided is central to our identity.

Maybe it’s drawing a horse, or ____ a guitar solo, or dribbling a basketball behind our back.

Maybe it’s an ollie, that elementary skateboarding move, a kind of standing ____ where the feet never leave the board.

We don’t need a manual to tell us what to do, and we ____ do it.

Repeatedly. Head-down, nose-to-the-grindstone, just ____ we’ve been told.

A belief in repetition is in the cultural water supply, in every how-to-succeed manual and ____, every sports and business autobiography.

There’s a reason that coaches, music instructors, and ____ teachers often run their students through drills, followed by more drills:

Perform one hundred A-minor scales (or ____ throws, or toe kicks) in an afternoon and you will see progress.

Do another two hundred and you’ll see ____ still.

Designers do not merely solve the problems people face today, they also ____ new meanings, a process also known as design-driven innovation.

Innovative value creation is based on more fundamental insights about people and ____, and is often enabled by advancements in technology.

Consider, for example, the mobile phone. In a classic Dutch television program, people on the street were asked whether they would like to have a device that would allow them to make phone calls ____ from wherever they were.

The typical response was that such a device would not offer any added value and that its ____ would be totally superfluous.

That program was made in 1999 and now, 20 years later, we can simply not imagine a ____ without handheld communication devices.

Design-driven innovation is about translating user insights into propositions — new meanings — that ____ love, but never knew they wanted or needed.

Through the ups and downs of our lives at school and at work, the reassuring stability of meaningful material objects can ____ us manage our moods and emotions.

When we engage in such “environmental self-regulation,” we rely on cues ____ ourselves to maintain the kind of equilibrium inside ourselves that facilitates the pursuit of our goals.

In a study of mid-level professionals, Gregory ____, a professor of management at the University of Michigan-Flint, found that incorporating personal items into their workspaces helped them relieve the “emotional exhaustion” brought on by a stressful job.

Especially for employees whose office settings did not afford much privacy, being able to personalize their work area — with photographs, posters, comic strips, mugs — helped them “carve out their own space, inscribe it with personal meaning, and thus create a kind of sanctuary at ____,” write Laurence and his coauthors.