수능 기출 영어 지문 읽기
전체지문
There have been psychological studies in which subjects were shown photographs of people’s faces and asked to identify the expression or state of mind evinced.
The results are invariably very mixed.
In the 17th century the French painter and theorist Charles Le Brun drew a series of faces illustrating the various emotions that painters could be called upon to represent.
What is striking about them is that any number of them could be substituted for one another without loss.
What is missing in all this is any setting or context to make the emotion determinate.
We must know who this person is, who these other people are, what their relationship is, what is at stake in the scene, and the like.
In real life as well as in painting we do not come across just faces; we encounter people in particular situations and our understanding of people cannot somehow be precipitated and held isolated from the social and human circumstances in which they, and we, live and breathe and have our being.
수능 기출 영어 지문 쓰기
피실험자에게 사람들의 얼굴 사진을 보여주고 분명히 나타나는 표정이나 마음 상태를 파악하도록 요청하는 심리학 연구가 있었다.
T____ h___ b___ p____________ s______ i_ w____ s_______ w___ s____ p__________ o_ p_____’_ f____ a__ a____ t_ i_______ t__ e_________ o_ s____ o_ m___ e______.
보기
There have been psychological studies in which subjects were shown photographs of people’s faces and asked to identify the expression or state of mind evinced.
그 결과는 언제나 매우 엇갈린다.
T__ r______ a__ i_________ v___ m____.
보기
The results are invariably very mixed.
17세기에 프랑스의 화가이자 이론가인 Charles Le Brun은 화가가 표현해 달라고 요청받을 수 있는 다양한 감정을 분명히 보여주는 일련의 얼굴 그림을 그렸다.
I_ t__ 17t_ c______ t__ F_____ p______ a__ t_______ Charles Le Brun d___ a s_____ o_ f____ i___________ t__ v______ e_______ t___ p_______ c____ b_ c_____ u___ t_ r________.
보기
In the 17th century the French painter and theorist Charles Le Brun drew a series of faces illustrating the various emotions that painters could be called upon to represent.
그 그림들에서 놀라운 점은 어떤 수의 얼굴 그림이든 손실 없이 서로 대체될 수 있었다는 것이다.
W___ i_ s_______ a____ t___ i_ t___ a__ n_____ o_ t___ c____ b_ s__________ f__ o__ a______ w______ l___.
보기
What is striking about them is that any number of them could be substituted for one another without loss.
이 모든 것에서 빠진 것은 감정을 확정적인 것으로 만드는 어떤 환경이나 맥락이다.
W___ i_ m______ i_ a__ t___ i_ a__ s______ o_ c______ t_ m___ t__ e______ d__________.
보기
What is missing in all this is any setting or context to make the emotion determinate.
우리는 이 사람이 누구인지, 다른 이 사람들이 누구인지, 그들은 어떤 관계인지, 그 장면에서 관건이 무엇인지 등을 알아야 한다.
W_ m___ k___ w__ t___ p_____ i_, w__ t____ o____ p_____ a__, w___ t____ r___________ i_, w___ i_ a_ s____ i_ t__ s____, a__ t__ l___.
보기
We must know who this person is, who these other people are, what their relationship is, what is at stake in the scene, and the like.
그림에서뿐만 아니라 실생활에서도 우리는 단지 얼굴만 우연히 마주치는 것이 아니며, 우리는 특정한 상황에서 사람들을 마주치고, 사람들에 대한 우리의 이해는 그들과 우리가 살아 숨 쉬고 존재하는 사회적, 인간적 상황으로부터 괴리된 채 그럭저럭 촉발되어 보유될 수는 없다.
I_ r___ l___ a_ w___ a_ i_ p_______ w_ d_ n__ c___ a_____ j___ f____; w_ e________ p_____ i_ p_________ s_________ a__ o__ u____________ o_ p_____ c_____ s______ b_ p___________ a__ h___ i_______ f___ t__ s_____ a__ h____ c____________ i_ w____ t___, a__ w_, l___ a__ b______ a__ h___ o__ b____.
보기
In real life as well as in painting we do not come across just faces; we encounter people in particular situations and our understanding of people cannot somehow be precipitated and held isolated from the social and human circumstances in which they, and we, live and breathe and have our being.