2026 수능특강 영어 13강 변형문제

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

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

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

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

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

He or she is drawn into the ____.

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

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

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

Imagine someone eagerly attempting to explain why it is reasonable to conclude that the ____ 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 had seen dawn follow the blackness of night as long as he could remember, but this primitive state of knowledge, if it ever existed, was ____ prescientific.

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

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

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

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

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

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

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

Maybe it’s an ollie, that elementary skateboarding move, a kind of standing jump where the feet ____ leave the board.

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

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

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

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

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

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

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

Innovative value creation is based on ____ fundamental insights about people and society, 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 24/7 ____ wherever they were.

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

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

Design-driven innovation is ____ translating user insights into propositions — new meanings — that people 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 ____ help us manage our moods and emotions.

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

In a study of mid-level professionals, Gregory Laurence, a ____ 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 ____ 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 work,” write Laurence and his coauthors.