✍ 2027 수능완성 영어 2강 문장별 빈칸

Here is a fundamental quality of ____.

Note ____ repeat because of a perceptual phenomenon that corresponds to the doubling and halving of frequencies.

When we double or halve a frequency, we end up with a note that sounds remarkably similar to the ____ we started out with.

This relationship, a frequency ____ of 2:1 or 1:2, is called the octave.

It is so important that, in spite of the large differences that exist between musical cultures, every culture we know of has the octave as the ____ for its music, even if it has little else in common with other musical traditions.

This phenomenon leads to the notion of circularity in pitch ____, and is similar to circularity in colors.

Although red and violet fall at opposite ends of the continuum of visible frequencies of electromagnetic energy, we see ____ as perceptually similar.

The same is true in music, and music is often described as having two dimensions, one that accounts for tones going up in frequency and another that accounts for the perceptual sense that we've come back home ____ each time we double a tone's frequency.

Each ____ in a story should contribute in some way.

Sometimes ____ are just fillers.

Can they be cut or ____ with another?

First-time writers often have twins, or two brothers, who can be reduced to one, with double the complexity; by ____ more than one function or role into a character, it's possible to make them that much more interesting.

Each person should ____ some universally found quality that provides the reader with a shock of recognition (think Miss Havisham in Charles Dickens's Great Expectations, or Sethe, the tormented mother of Toni Morrison's Beloved), but the most successful characters should not be predictable, and it can pay to have a person run against the personality traits he or she has been given.

This is particularly true of the most sympathetic, heroic ____: They need that little drop of poison that the bee puts into honey to stop it going bad.

A brand is a ____ of experiences that make up a persona in your mind, and familiarity breeds liking.

Imagine ____ are set up on a blind date.

How critical are you of that person's ____?

Everything they say and do is being ____ and tallied.

An annoying slurp of the soup could be enough to place this otherwise wonderful person into the reject pile ____.

____ imagine you're married, and your partner makes a similarly annoying soup slurp...is it time to file for divorce?

____ not.

____ the same thing with brands.

When you first meet them, you are on high ____ — your defenses are high, and you are ready for them to do something that will allow you to categorize them as a hero or a zero.

During this ____, your brain is using a combination of subconscious and conscious techniques to evaluate the brand.

Once they've passed the evaluation phase and transitioned to a known — or ____ better, a favorite — brand, they might "slurp the soup" from time to time and still be a ten.

A portrait is a ____ of representation.

What the patron demands is a ____ likeness; and that is what the painter aims, and successfully, if he is a competent painter, at producing.

It is not a difficult thing to do, and we may reasonably assume that in portraits by great painters ____ as Raphael, Titian, Velazquez, or Rembrandt, it has been done.

But, however reasonable the assumption ____ be, it is an assumption and nothing more.

The sitters are dead and gone, and we cannot ____ the likeness for ourselves.

If, therefore, the only kind of merit a portrait could have were its likeness to the sitter, we could not possibly distinguish, except where the sitter is still alive and ____, between a good portrait and a bad one.

I knew a wealthy art-collector who would never collect portraits, for this ____ reason.

He maintained that since the business of a portrait-painter was to produce a ____, there was no way of distinguishing a good portrait from a bad one once the sitter was dead.

He was a very good ____.

Not surprisingly, the "right to be forgotten" has ____ intense controversy.

Some argue that information should be widely available about everyone, once it has entered ____ space such as a website.

It may be difficult to decide when information is sufficiently embarrassing, or when it has lost contemporary relevance, these critics of delisting say; information about a gentleman's old debts might be very useful for someone contemplating offering ____ new credit.

Critics are especially concerned that delisting decisions are made by private companies operating search engines, which ____ have interests very different from those of the public in accessing information or those of individuals in protecting it.

Such critics, who would prefer that the Internet facilitate the open ____ of information, sometimes invoke the image of the Internet as a "Swiss cheese" full of holes.

In the ____ States, it is likely that attempts to assert the right to be forgotten would come into conflict with arguments for freedom of speech, including commercial speech.

There is a practice inspired by Yoda, the wise Jedi master from the Star Wars ____, who represents ultimate wisdom, truth, and insight — all the answers we need in one entity.

I believe the wisdom of Yoda is in every team but not in ____ one of us alone.

Only by drawing out of everyone their point of ____ can we achieve the best, boldest answers.

The problem is that most ____ don't have the courage to speak up.

So, you're going to make Yoda the "safe word" for ____.

To begin, ____ can appoint a few Yodas in any meeting or group conversation, though it is particularly useful in potentially difficult or volatile situations.

By giving the Yodas explicit permission to raise their hand and call a "____ moment," and say the hard things or act as a referee between competing perspectives, you are making it safe for others to do the same.

Taking time to introduce the Yoda concept and to select some Yodas for the role goes a long way to diffusing ____ in challenging conversations before it hinders frankness and ultimately your business results.