2026 수능특강 영어 13강 변형문제

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

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

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

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

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

He or she is drawn ____ the book.

Pinpointing what individual words or phrases ____ 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 feels ____ to certain characters and shares their emotional responses.

The language becomes ____ — the fiction draws the whole person into its own world.

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

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

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

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

We predict particular astronomical occurrences by means of these ____ 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, eleven, we were all there once — most of us are capable of blind ____ it takes to master some single, obscure skill that we’ve decided is central to our identity.

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

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

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

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

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

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

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

Do another two hundred and you’ll see more ____

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

Innovative value creation is based ____ more 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 ____ allow them to make phone calls 24/7 from wherever they were.

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

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

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

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

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

In a study of mid-level professionals, Gregory Laurence, a professor of management at the University of Michigan-Flint, found that incorporating ____ 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 — ____ 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.