📘 2026학년도 6월 고2 학평 영어 — 완전 해석 학습지

Humans excel at visual imagery.

Our brains evolved this ability to create an internal mental picture or model of the world in which we can rehearse forthcoming actions, without the risks or the penalties of doing them in the real world.

There are even hints from brain-imaging studies by Harvard University psychologist Steve Kosslyn showing that your brain uses the same regions to imagine a scene as when you actually view one.

But evolution has seen to it that such internally generated representations are never as authentic as the real thing.

This is a wise bit of self-restraint on your genes' part.

If your internal model of the world were a perfect substitute, then anytime you felt hungry you could simply imagine yourself at a banquet, consuming a feast.

You would have no incentive to find real food and would soon starve to death.

As the Bard said, "You cannot cloy the hungry edge of appetite by bare imagination of a feast."

For each objective probability—from one percent to 100 percent—we want to know the subjective probability weight.

When we make decisions, do we treat a one-percent chance just like one percent, or like something else?

Events that could happen but aren't likely—low-probability events—can be defined as probabilities up to about 25 percent.

Low-probability events tend to factor more into decisions than they should.

That is, an event that has an objective one-percent chance of occurring could subjectively seem like it has a five-percent chance of occurring.

We overestimate the likelihood of these low-probability events.

In general, the smaller the probability, the more we overestimate its likelihood.

For example, people who play the lottery are often optimistic about winning.

However, the odds of a single ticket winning the largest, most popular U.S. lotteries are on the order of one in 175 million.

The renowned British philosopher Alfred North Whitehead asserted that "civilization advances by extending the number of operations we can perform without thinking about them."

Take, for example, the "advance" ①offered to civilization by the discount coupon, which allows consumers to assume that they will receive a reduced purchase price by presenting the coupon.

The extent to which we have learned to operate mechanically on that assumption is illustrated in the experience of one automobile-tire company.

Mailed-out coupons that—because of a printing error—offered no savings to recipients ②producing just as much customer response as did error-free coupons that offered substantial savings.

The obvious but instructive point here is ③that we expect discount coupons to do double duty.

Not only ④do we expect them to save us money, we also expect them to save us the time and mental energy required to think about how to do it.

In today's world, we need the first advantage to handle pocketbook strain; but we need the second advantage to handle something ⑤potentially more important—brain strain.

Usually, innovative high-tech products have low price elasticity.

This means that high variation in price, an increase as well as a decrease, does not significantly modify ①demand.

These high-tech products have few substitutes, meaning that the costs to switch to another product are ②high.

Additionally, at the first stage of the technology, buyers—either innovators or forerunners—are ③more sensitive to price than to additional performance; they often have deep pockets or are ready to spend a lot for a new innovative and outstanding product.

For instance, with its new product range, a high-end mobile phone manufacturer is aiming at the 3% of millionaire households with assets of more than $2.5 million; those are customers who are ready to accept the price range the manufacturer has set.

At that stage, the competitors are not interested in ④lowering their price significantly whatsoever, because they are chasing the same categories of customers, not sensitive to price.

Furthermore, the high price of these products is often perceived as a sign of quality and ⑤reinforces a customer's confidence in the company.

The process we go through when we look at a work of art to determine if we recognize and can make sense of its content is not just a visual one.

①It is a mental process as well, largely based on the elements within and about the work we can identify and categorize.

②As we look and think, we may be given clues about what the work means by where it is, when it was made, what culture it came from, who created it, or why it was made.

④Any information we can gather helps us understand the work's context, that is, for what historical, social, personal, political, or scientific reasons the work of art was made.

⑤And then, using all the contextual information we have gathered, we interpret the work of art's content to discover what it means or symbolizes.

For most animals the struggle to survive takes up all their time. Finding food and drink, keeping warm and clean, avoiding predators, migrating and reproducing use up all their energies.

Think about a time when you were startled. Did you come to a sudden stop, freeze all your movements, and hold your breath as you scanned the environment for a threat?

Video gaming is one of the most studied technologies with regard to empathy. ( ① )

Because there have been longstanding concerns about the impact of violent video games on youth, much research has been conducted over the last couple of decades on the topic. ( ② )

While measuring and documenting the impact of video game violence, scientists have formulated credible explanations of how video gaming could affect empathy. ( ③ )

Part of a normal, healthy reaction to witnessing violent events is to feel negative emotions, and to experience physiological arousal that is connected to fear or disgust. ( ④ )

With repeated exposure to violent events—such as what might happen when a person plays violent video games—this normal reaction might become blunted, a phenomenon known as desensitization. ( ⑤ )

A significant body of work shows an association between extensive violent video gaming and reduced empathy in people.

Realising the benefits of differentiation, some brands broadcast their social purpose before they do much actual good. ( ① )

Their marketers are using social purpose to boost the brand's reputation, rather than embracing the purpose itself. ( ② ) ← 삽입 위치!

Otherwise the mission is just window-dressing, or what we call "purpose-washing"—similar to green-washing, where purpose-driven activities serve mainly for publicity purposes. ( ③ )

We end up with what Anand Giridhardas describes in Winners Take All: "social purpose that just furthers the charade of elites disrupting the old order without giving much back". ( ④ )

Purpose-washing brands gain one of the benefits of social purpose, differentiation, but only for a short while. ( ⑤ )

They lose out on positioning for future markets, and they might even make employees feel worse about working for them.

The brain needs to create a model of a constant pulse—a schema—so that we know when the musicians are not conforming to it.

This is similar to variations of a melody: We need to have a mental representation of what the melody is in order to know—and appreciate—when the musician is taking liberties with it.

Metrical extraction, knowing what the pulse is and when we expect it to occur, is a crucial part of musical emotion.

Music communicates to us emotionally through systematic violations of expectations.

These violations can occur in any domain—the domain of pitch, rhythm, tempo, and so on—but occur they must.

Music is organized sound, but the organization has to involve some element of the unexpected or it is emotionally flat and robotic.

Too much organization may technically still be music, but it would be music that no one wants to listen to.