Want to improve your Korean writing? Writing is an essential tool that will help you adjust to Korean university life. The Ha-Rang Writing Center offers a free tutoring program open to all international students at our university. We encourage you to take advantage of this. The program has always been very popular among international students. Registration opens from November 28 for three days only. Once you are registered, we will match you with a perfect tutor and contact you to arrange your schedule. We are sure that you will be satisfied with our well-experienced tutors. Don’t miss this great opportunity to improve your Korean writing. For more information, feel free to email Jiyung Yoon, HRWC Director, at jyoon@hrwc.org

All smiling, Breaden, a cute three-year-old boy, was walking along the aisle of snacks, bars, and sweets. It was the aisle of all kinds of temptation for him. “Wow!” he exclaimed. Right in front of his eyes were rows of delicious-looking chocolate bars waiting to be touched. His mom was holding his hand. Breaden, her only child, had always been the focus of her attention and she was cautious not to lose him in the market. Suddenly, she stopped to say hello to her friends. Breaden stopped, too. With his eyes wide open and his mouth watering, Breaden stretched out his arm and was about to grab a bar when he felt a tight grip on his hand. He looked up. “Breaden, not today!” He knew what that meant. “Okay, Mommy,” he sighed. His shoulders fell.

Many present efforts to guard and maintain human progress, to meet human needs, and to realize human ambitions are simply unsustainable ─ in both the rich and poor nations. They draw too heavily, too quickly, on already overdrawn environmental resource accounts to be affordable far into the future without bankrupting those accounts. They may show profit on the balance sheets of our generation, but our children will inherit the losses. We borrow environmental capital from future generations with no intention or prospect of repaying. They may blame us for our wasteful ways, but they can never collect on our debt to them. We act as we do because we can get away with it: future generations do not vote; they have no political or financial power; they cannot challenge our decisions.

The precision of the lines on the map, the consistency with which symbols are used, the grid and/or projection system, the apparent certainty with which place names are written and placed, and the legend and scale information all give the map an aura of scientific accuracy and objectivity. Although subjective interpretation goes into the construction of these cartographic elements, the finished map appears to express an authoritative truth about the world, separate from any interests and influences. The very trust that this apparent objectivity inspires is what makes maps such powerful carriers of ideology. However unnoticeably, maps do indeed reflect the world views of either their makers or, more probably, the supporters of their makers, in addition to the political and social conditions under which they were made. Some of the simple ideological messages that maps can convey include: This land is and has long been ours; here is the center of the universe; if we do not claim this land, the enemies you most fear will.

* aura: 기운, 분위기 ** cartographic: 지도 제작(법)의

As a system for transmitting specific factual information without any distortion or ambiguity, the sign system of honey-bees would probably win easily over human language every time. However, language offers something more valuable than mere information exchange. Because the meanings of words are not invariable and because understanding always involves interpretation, the act of communicating is always a joint, creative effort. Words can carry meanings beyond those consciously intended by speakers or writers because listeners or readers bring their own perspectives to the language they encounter. Ideas expressed imprecisely may be more intellectually stimulating for listeners or readers than simple facts. The fact that language is not always reliable for causing precise meanings to be generated in someone else’s mind is a reflection of its powerful strength as a medium for creating new understanding. It is the inherent ambiguity and adaptability of language as a meaning-making system that makes the relationship between language and thinking so special.

* distortion: 왜곡, 곡해

The film director, as compared to the theater director, has as his material, the finished, recorded celluloid. This material from which his final work is composed consists not of living men or real landscapes, not of real, actual stage-sets, but only of their images, recorded on separate strips that can be shortened, altered, and assembled according to his will. The elements of reality are fixed on these pieces; by combining them in his selected sequence, shortening and lengthening them according to his desire, the director builds up his own “filmic” time and “filmic” space. He does not adapt reality, but uses it for the creation of a new reality, and the most characteristic and important aspect of this process is that, in it, laws of space and time invariable and inescapable in work with actuality become obedient. The film assembles from them a new reality proper only to itself.

The two pie charts above show how much of the information found using search engines is considered to be accurate or trustworthy by two groups of respondents (AP & NWP teachers and U.S. adult search users) in 2012. ① As for AP & NWP teachers, five percent say that “All / Almost all” of the information found using search engines is accurate or trustworthy, while 28 percent of U.S. adult search users say the same. ② The largest percentage of both AP & NWP teachers and U.S. adult search users answer that “Most” of the information is accurate or trustworthy. ③ In addition, 40 percent of AP & NWP teachers say that “Some” of the information is accurate or trustworthy, and more than 30 percent of U.S. adult search users respond the same. ④ U.S. adult search users saying that “Very little / None” of the information found using search engines is accurate or trustworthy account for less than five percent. ⑤ The percentage of U.S. adult search users who answer “Don’t know” is only one percent.

Even though he won many Academy Awards, Miloš Forman was not a U.S. born filmmaker. Forman grew up in a small town near Prague. Orphaned when his parents died during World War II, he was raised by his relatives. In the 1950s, Forman studied film at the film school of the University of Prague. Throughout the late 1950s and early 1960s, Forman acted as either writer or assistant director on several films. Later, he emigrated to the U.S. and continued to make films. In 1975, he directed One Flew over the Cuckoo’s Nest, which became only the second film in history to win Oscars in all the five major categories. Afterward, the movie Amadeus, a celebration of the genius of Mozart, which he also directed, swept eight Oscars including one for best director. With Jan Novák, Forman wrote his autobiography, Turnaround: A Memoir, which was published in 1994.

Fremont Art Collegeʼs 7th Annual
ART EXHIBITION

November 21－27
3rd Floor Gallery in the Student Union

Hours: 10:00 a.m.－5:00 p.m. (Monday － Friday)
11:00 a.m.－3:00 p.m. (Saturday & Sunday)

• Fremont Art College will be hosting its 7th Annual Art Exhibition for one week.
• Paintings, ceramic works, and photographs submitted by students will be exhibited. All exhibits are for sale, and all money raised will be donated to charity.
• The exhibition is free to all.
• Taking photos is allowed inside the exhibition hall.
• Free snacks will be available at the cafeteria.

For more information, please visit our website at www.fremontart.edu.

Fall Festival at Forest Botanic Gardens
October 1－October 31

◈ Morning Walk
－ The number of participants is limited to 20.
－ The walk will be cancelled in the event of rain.

◈ Fun Activities
－ Enjoy exciting activities such as kite flying and sandcastle building for free.
－ Spend a day or two camping.

◈ Tips for Your Visit
－ Sitting on lawns is not permitted.
－ Audio devices may only be used with headphones.

◈ Parking
－ The parking lot is open from 8 a.m. to 9 p.m. every day.
－ The parking fee is $10 a day.

◈ For more information, visit www.fffbg.com.

When people face real adversity ─ disease, unemployment, or the disabilities of age ─ affection from a pet takes on new meaning. A pet’s continuing affection becomes crucially important for ① those enduring hardship because it reassures them that their core essence has not been damaged. Thus pets are important in the treatment of ② depressed or chronically ill patients. In addition, pets are ③ used to great advantage with the institutionalized aged. In such institutions it is difficult for the staff to retain optimism when all the patients are declining in health. Children who visit cannot help but remember ④ what their parents or grandparents once were and be depressed by their incapacities. Animals, however, have no expectations about mental capacity. They do not worship youth. They have no memories about what the aged once ⑤ was and greet them as if they were children. An old man holding a puppy can relive a childhood moment with complete accuracy. His joy and the animal’s response are the same.

When teachers work in isolation, they tend to see the world through one set of eyes ─ their own. The fact that there might be someone somewhere in the same building or district who may be more successful at teaching this or that subject or lesson is (A) based / lost on teachers who close the door and work their way through the school calendar virtually alone. In the absence of a process that (B) allows / forbids them to benchmark those who do things better or at least differently, teachers are left with that one perspective ─ their own. I taught various subjects under the social studies umbrella and had very little idea of how my peers who taught the same subject did what they did. The idea of meeting regularly to compare notes, plan common assessments, and share what we did well (C) mostly / never occurred to us. Rather, we spent much time in the social studies office complaining about a lack of time and playing the blame game.

Dr. Paul Odland and his friend Bob travel frequently to South America, where they provide free medical treatment for disabled children of poor families. One day, they went to a local marketplace. Paul wanted to buy some souvenirs, and ① he spotted a carving that he liked. The non-English speaking seller was asking 500 pesos for the carving. With Bob acting as interpreter, Paul offered 300 and ② his opponent proposed 450. The bargaining in the noisy market became spirited, even intense, with Paul stepping up ③ his price slightly and the seller going down slowly. The pace increased so fast that Bob could not keep up with the back-and-forth interpretation. Meanwhile, observing the seller carefully, Paul sensed something wrong in Bob’s interpretation. In fact, the seller had gone below Paul’s last offer. When Paul raised his doubt, Bob instantly recognized the error and corrected ④ hisinterpretation. At length, they settled the deal, and ⑤ he was delighted to purchase the carving at a reasonable price and thanked Bob.

The creativity that children possess needs to be cultivated throughout their development. Research suggests that overstructuring the child’s environment may actually limit creative and academic development. This is a central problem with much of science instruction. The exercises or activities are devised to eliminate different options and to focus on predetermined results. The answers are structured to fit the course assessments, and the wonder of science is lost along with cognitive intrigue. We define cognitive intrigue as the wonder that stimulates and intrinsically motivates an individual to voluntarily engage in an activity. The loss of cognitive intrigue may be initiated by the sole use of play items with predetermined conclusions and reinforced by rote instruction in school. This is exemplified by toys, games, and lessons that are a(n) ________ in and of themselves and require little of the individual other than to master the planned objective.

* rote: 기계적인 암기

Temporal resolution is particularly interesting in the context of satellite remote sensing. The temporal density of remotely sensed imagery is large, impressive, and growing. Satellites are collecting a great deal of imagery as you read this sentence. However, most applications in geography and environmental studies do not require extremely fine-grained temporal resolution. Meteorologists may require visible, infrared, and radar information at sub-hourly temporal resolution; urban planners might require imagery at monthly or annual resolution; and transportation planners may not need any time series information at all for some applications. Again, the temporal resolution of imagery used should _______________________________________. Sometimes researchers have to search archives of aerial photographs to get information from that past that pre-date the collection of satellite imagery.

* meteorologist: 기상학자 ** infrared: 적외선의

Grief is unpleasant. Would one not then be better off without it altogether? Why accept it even when the loss is real? Perhaps we should say of it what Spinoza said of regret: that whoever feels it is “twice unhappy or twice helpless.” Laurence Thomas has suggested that the utility of “negative sentiments” (emotions like grief, guilt, resentment, and anger, which there is seemingly a reason to believe we might be better off without) lies in their providing a kind of guarantee of authenticity for such dispositional sentiments as love and respect. No occurrent feelings of love and respect need to be present throughout the period in which it is true that one loves or respects. One might therefore sometimes suspect, in the absence of the positive occurrent feelings, that _______________________________________. At such times, negative emotions like grief offer a kind of testimonial to the authenticity of love or respect.

* dispositional: 성향적인 ** testimonial: 증거

Over a period of time the buildings which housed social, legal, religious, and other rituals evolved into forms that we subsequently have come ________________________________. This is a two-way process; the building provides the physical environment and setting for a particular social ritual such as traveling by train or going to the theater, as well as the symbolic setting. The meaning of buildings evolves and becomes established by experience and we in turn read our experience into buildings. Buildings arouse an empathetic reaction in us through these projected experiences, and the strength of these reactions is determined by our culture, our beliefs, and our expectations. They tell stories, for their form and spatial organization give us hints about how they should be used. Their physical layout encourages some uses and inhibits others; we do not go backstage in a theater unless especially invited. Inside a law court the precise location of those involved in the legal process is an integral part of the design and an essential part of ensuring that the law is upheld.

* empathetic: 공감할 수 있는

Most often, you will find or meet people who introduce themselves in terms of their work or by what they spend time on. These people introduce themselves as a salesman or an executive. ① There is nothing criminal in doing this, but psychologically, we become what we believe. ② Identifying what we can do in the workplace serves to enhance the quality of our professional career. ③ People who follow this practice tend to lose their individuality and begin to live with the notion that they are recognized by the job they do. ④ However, jobs may not be permanent, and you may lose your job for countless reasons, some of which you may not even be responsible for. ⑤ In such a case, these people suffer from an inevitable social and mental trauma, leading to emotional stress and a feeling that all of a sudden they have been disassociated from what once was their identity

Interestingly, being observed has two quite distinct effects on performance. In some cases, performance is decreased, even to the point of non-existence. The extreme of this is stage fright, the sudden fear of public performance.

(A) So, if you are learning to play a new sport, it is better to begin it alone, but when you become skilled at it, then you will probably perform better with an audience.

(B) There are many instances of well-known actors who, in mid-career, develop stage fright and simply cannot perform. The other extreme is that being observed enhances performance, people doing whatever it might be better when they know that others are watching.

(C) The general rule seems to be that if one is doing something new or for the first time, then being observed while doing it decreases performance. On the other hand, being observed while doing some task or engaging in some activity that is well known or well practiced tends to enhance performance.

Evolution works to maximize the number of descendants that an animal leaves behind. Where the risk of death from fishing increases as an animal grows, evolution favors those that grow slowly, mature younger and smaller, and reproduce earlier.
(A) Surely these adaptations are good news for species hard-pressed by excessive fishing? Not exactly. Young fish produce many fewer eggs than large-bodied animals, and many industrial fisheries are now so intensive that few animals survive more than a couple of years beyond the age of maturity.
(B) This is exactly what we now see in the wild. Cod in Canada’s Gulf of St. Lawrence begin to reproduce at around four today; forty years ago they had to wait until six or seven to reach maturity. Sole in the North Sea mature at half the body weight they did in 1950.
(C) Together this means there are fewer eggs and larvae to secure future generations. In some cases the amount of young produced today is a hundred or even a thousand times less than in the past, putting the survival of species, and the fisheries dependent on them, at grave risk.

Most readers of reports and papers are reading the documents because they are interested in, and know something about, the subject.

What is the best order for a report, paper or other technical document? Of course, it must be logical; but that means simply that the paper must have connection and sequence, and a variety of orders is possible under this heading. Too many writers interpret the term logical to mean chronological, and it has become habitual to begin reports and papers with careful reviews of previous work. ( ① ) Usually, this is tactically weak. ( ② ) Therefore, to rehearse to them the findings of previous work is simply to bore them with unnecessary reminders. ( ③ ) The interesting thing for them is the new information ─ the new findings and conclusions. ( ④ ) So it is usually best to start with those pieces of
information. ( ⑤ ) To give a long chronological account of work or procedures is normally appropriate only when the essential point of the paper is the chronological sequence.

* chronological: 연대순의

Rather, they will happen only through state intervention, based on parliamentary decision.

I expect that global society will increase annual investments from 24% today to 36% of the GDP in 2052. Much of this investment will be in energy-efficient goods that are more expensive than old-fashioned stuff designed for an era of cheap energy. ( ① ) Another share will be invested in the shift from coal to more expensive fuels, like conventional gas. ( ② )Some will go into the construction of new renewable energy supply, even during the years before it becomes competitive. ( ③ ) And a lot will go into repair of climate damage or adaptation to future climate damage ─ for example, investing in new protective walls along the coast to keep the rising ocean back. ( ④ ) These huge increases in investment would not come about if investment was left to the market. ( ⑤ ) It will be either direct, when the government invests the tax dollars in whatever capacity it considers to be most necessary, or indirect, when the government passes legislation that makes the desired activity more profitable.

The impacts of tourism on the environment are evident to scientists, but not all residents attribute environmental damage to tourism. Residents commonly have positive views on the economic and some sociocultural influences of tourism on quality of life, but their reactions to environmental impacts are mixed. Some residents feel tourism provides more parks and recreation areas, improves the quality of the roads and public facilities, and does not contribute to ecological decline. Many do not blame tourism for traffic problems, overcrowded outdoor recreation, or the disturbance of peace and tranquility of parks. Alternatively, some residents express concern that tourists overcrowd the local fishing, hunting, and other recreation areas or may cause traffic and pedestrian congestion. Some studies suggest that variations in residents’ feelings about tourism’s relationship to environmental damage are related to the type of tourism, the extent to which residents feel the natural environment needs to be protected, and the distance residents live from the tourist attractions.

* tranquility: 고요함 ** congestion: 혼잡

Residents do not ___(A)___ tourism’s environmental influences identically since they take ___(B)___ postures based on factors such as the type of tourism, opinions on the degree of protection, and their distance from an attraction.

Duration refers to the time that events last. If we think of tempo as the speed of events, then duration is the speed of the clock itself. For the physicist, the duration of a “second” is precise and unambiguous: it is equal to 9,192,631,770 cycles of the frequency associated with the transition between two energy levels of the isotope cesium-133. In the realm of psychological experience, however, quantifying units of time is a considerably clumsier operation. When people are removed from the cues of “real” time ─ be it the sun, bodily fatigue, or timepieces themselves ─ it doesn’t take long before their time sense breaks down. And it is this usually ___(A)___ psychological clock, as opposed to the time on one’s watch, that creates the perception of duration that people experience.
Theoretically, a person who mentally stretches the duration
of time should experience a slower tempo. Imagine, for
example, that baseballs are pitched to two different batters.
The balls are thrown every 5 seconds for 50 seconds, so a
total of 10 balls are thrown. We now ask both batters how
much time has passed. Let’s say that batter number one (who
loves hitting) feels the duration to be 40 seconds. Batter
number two (bored by baseball) believes it to be 60 seconds.
Psychologically, then, the first person has experienced
baseballs approaching every four seconds while the second
sees it as every six seconds. The perceived tempo, in other
words, is ___(B)___ for batter number one.

* isotope: 동위원소 ** clumsy: 서투른.

Duration refers to the time that events last. If we think of tempo as the speed of events, then duration is the speed of the clock itself. For the physicist, the duration of a “second” is precise and unambiguous: it is equal to 9,192,631,770 cycles of the frequency associated with the transition between two energy levels of the isotope cesium-133. In the realm of psychological experience, however, quantifying units of time is a considerably clumsier operation. When people are removed from the cues of “real” time ─ be it the sun, bodily fatigue, or timepieces themselves ─ it doesn’t take long before their time sense breaks down. And it is this usually ___(A)___ psychological clock, as opposed to the time on one’s watch, that creates the perception of duration that people experience.
Theoretically, a person who mentally stretches the duration
of time should experience a slower tempo. Imagine, for
example, that baseballs are pitched to two different batters.
The balls are thrown every 5 seconds for 50 seconds, so a
total of 10 balls are thrown. We now ask both batters how
much time has passed. Let’s say that batter number one (who
loves hitting) feels the duration to be 40 seconds. Batter
number two (bored by baseball) believes it to be 60 seconds.
Psychologically, then, the first person has experienced
baseballs approaching every four seconds while the second
sees it as every six seconds. The perceived tempo, in other
words, is ___(B)___ for batter number one.

* isotope: 동위원소 ** clumsy: 서투른.

(A)
A seventeen-year-old German boy named Erik Brandes stepped out onto the empty vast stage of the Cologne Opera House. It was the most exciting day of Erik’s life. (a) The youngest concert promoter in Germany had persuaded the Opera House to host a late-night concert of improvised jazz by the American pianist Keith Jarrett. The concert was a sellout, and later that evening, Keith would sit down at the piano and play.

* improvise: 즉흥적으로 연주하다

(B)
When Keith began to play, everybody immediately knew this was magic. Erik too was deeply touched. Keith was unexpectedly producing the performance of a lifetime despite the shortcomings of the piano. (b) His left hand produced thundering, repetitive bass riffs as a way of covering up the piano’s lack of resonance. Keith really had to play that piano very hard to get enough volume to get to the balconies. Standing up and sitting down, Keith played the unplayable piano to produce something unique. It wasn’t the music that he ever imagined playing. But faced with a challenge, he accepted it and flew high.

* bass riff: 저음 반복 악절 ** resonance: 울림, 반향

(C)
Understandably, Keith didn’t want to perform. He left and went to wait in his car, leaving Erik to anticipate the arrival of soon-to-be furious concert-goers. Desperate, (c) the German teenager caught up with Keith and begged the jazz pianist to play. The pianist looked out at him standing in the rain, completely soaked, and took pity on him. “Never forget,” Keith said. “Only for (d) you.” A few hours later, Keith walked out to the unplayable piano in front of a packed concert hall.

(D)
But when Erik introduced Keith and his producer Manfred to the piano on the stage that afternoon, it didn’t go well. Keith and Manfred played a few notes. Then after a long silence, Manfred came to (e) him and said, “Erik, if you don’t get another piano, Keith can’t play tonight.” Erik knew that Keith had requested a specific instrument, which the Opera House had agreed to provide. What he hadn’t realized was that the administrative staff hadn’t been able to find the requested Bösendorfer piano, and they had instead installed a tiny little Bösendorfer that was in poor condition.

(A)
A seventeen-year-old German boy named Erik Brandes stepped out onto the empty vast stage of the Cologne Opera House. It was the most exciting day of Erik’s life. (a) The youngest concert promoter in Germany had persuaded the Opera House to host a late-night concert of improvised jazz by the American pianist Keith Jarrett. The concert was a sellout, and later that evening, Keith would sit down at the piano and play.

* improvise: 즉흥적으로 연주하다

(B)
When Keith began to play, everybody immediately knew this was magic. Erik too was deeply touched. Keith was unexpectedly producing the performance of a lifetime despite the shortcomings of the piano. (b) His left hand produced thundering, repetitive bass riffs as a way of covering up the piano’s lack of resonance. Keith really had to play that piano very hard to get enough volume to get to the balconies. Standing up and sitting down, Keith played the unplayable piano to produce something unique. It wasn’t the music that he ever imagined playing. But faced with a challenge, he accepted it and flew high.

* bass riff: 저음 반복 악절 ** resonance: 울림, 반향

(C)
Understandably, Keith didn’t want to perform. He left and went to wait in his car, leaving Erik to anticipate the arrival of soon-to-be furious concert-goers. Desperate, (c) the German teenager caught up with Keith and begged the jazz pianist to play. The pianist looked out at him standing in the rain, completely soaked, and took pity on him. “Never forget,” Keith said. “Only for (d) you.” A few hours later, Keith walked out to the unplayable piano in front of a packed concert hall.

(D)
But when Erik introduced Keith and his producer Manfred to the piano on the stage that afternoon, it didn’t go well. Keith and Manfred played a few notes. Then after a long silence, Manfred came to (e) him and said, “Erik, if you don’t get another piano, Keith can’t play tonight.” Erik knew that Keith had requested a specific instrument, which the Opera House had agreed to provide. What he hadn’t realized was that the administrative staff hadn’t been able to find the requested Bösendorfer piano, and they had instead installed a tiny little Bösendorfer that was in poor condition.

(A)
A seventeen-year-old German boy named Erik Brandes stepped out onto the empty vast stage of the Cologne Opera House. It was the most exciting day of Erik’s life. (a) The youngest concert promoter in Germany had persuaded the Opera House to host a late-night concert of improvised jazz by the American pianist Keith Jarrett. The concert was a sellout, and later that evening, Keith would sit down at the piano and play.

* improvise: 즉흥적으로 연주하다

(B)
When Keith began to play, everybody immediately knew this was magic. Erik too was deeply touched. Keith was unexpectedly producing the performance of a lifetime despite the shortcomings of the piano. (b) His left hand produced thundering, repetitive bass riffs as a way of covering up the piano’s lack of resonance. Keith really had to play that piano very hard to get enough volume to get to the balconies. Standing up and sitting down, Keith played the unplayable piano to produce something unique. It wasn’t the music that he ever imagined playing. But faced with a challenge, he accepted it and flew high.

* bass riff: 저음 반복 악절 ** resonance: 울림, 반향

(C)
Understandably, Keith didn’t want to perform. He left and went to wait in his car, leaving Erik to anticipate the arrival of soon-to-be furious concert-goers. Desperate, (c) the German teenager caught up with Keith and begged the jazz pianist to play. The pianist looked out at him standing in the rain, completely soaked, and took pity on him. “Never forget,” Keith said. “Only for (d) you.” A few hours later, Keith walked out to the unplayable piano in front of a packed concert hall.

(D)
But when Erik introduced Keith and his producer Manfred to the piano on the stage that afternoon, it didn’t go well. Keith and Manfred played a few notes. Then after a long silence, Manfred came to (e) him and said, “Erik, if you don’t get another piano, Keith can’t play tonight.” Erik knew that Keith had requested a specific instrument, which the Opera House had agreed to provide. What he hadn’t realized was that the administrative staff hadn’t been able to find the requested Bösendorfer piano, and they had instead installed a tiny little Bösendorfer that was in poor condition.