찰스 온라인 클리닉 - SAT/ACT/SSAT/어드미션 에세이

2016년 4월 3일 일요일

ACT 영어 comma 사용 (with 이름/제목) 핵심 점검 사항

ACT 시험을 보는 학생들은 comma 의 사용에 대해 꼭 스터디한 후 시험에 임해야겠습니다.

Incorrect : Jamaica Kincaid published the novel, Annie John in 1983.

Incorrect : The controversy over baseball player Satchel Paige's true date of birth was stoke by Paige's mother Lula.

Incorrect : In 1983, Jamaica Kincaid published her first novel Annie John.

Incorrect : I. Pei is a celebrated, architect.

Incorrect : Glass is the building material most often associated with celebrated architect, I.M. Pei.

위의 comma 와 관련된 문장들은 모두 틀린 문장들입니다. 혹시 시험 준비생들 중 위의 5개 문장 중 하나라도 맞는다고 생각되는 학생이 있다면 반드시 comma 의 사용에 대해 다시 점검하고 시험에 임해야겠습니다.

찰스 온라인 클리닉의 수강생들은 ACT 전분야에 걸쳐, 적중 자료로 핵심 사항들을 시험 전에 리뷰함으로써 출제 가능한 모든 문제 유형에 완벽 준비하여, 높은 점수 향상의 효가가 있었습니다.

찰스샘의 SSAT 온라인 일대일 수업 vs 일반 학원

일반 SSAT 학원이나 인강과 비교해 찰스온라인클리닉(www.satssat.com)을 추천하는 10가지 이유

1 학생의 실력이 분석되고 부족한 부분을 집중 학습할 수 있는 보다 효율적인 맞춤식 수업 -> 시간 낭비 없이 점수 빨리 올림.

2. 찰스샘과 함께 문제를 풀어가면서 샘에게 질문도 하고 샘이 학생에게 정확하게 이해했는지 확인도 해보는 interactive 수업

3. 500여 명 이상의 학생들이 찰스샘의 수업을 듣고 향상된 점수로 원하는 대학에 진학한 검증된 수업

4. SSAT 와 토플을 함께 공부할 수 있음 (학생이 점수 나올 수 있도록 밸런스 잘 맞추어 지도해 주심)

5. 에세이 작성 실전 테스트 후 에세이 첨삭을 해주며, 에세이의 잘 된 점, 부족한 부분 등을 자세히 평가해 줌

6. 수업 이외에 진학과 학업 (지원 예정학교, 에세이 주제, 레쥬메 관련 등) 에 대해 상담을 받을 수 있음

7. 한국에서 수업을 듣고 외국에 가서도 계속 들을 수 있어, 지속적으로 문제풀이 감각을 향상 및 유지할 수 있음
(외부 튜터 금지하는 특정 미국/캐나다 보딩에도 기숙사나 라이브러리에서 몰래 찰스샘 수업받은 학생들 많음)

8. 찰스샘과 스카이프로 항상 연결되어 있어 샘께 질문할 수 있음

9. 찰스샘이 공부 열심히 하고 시험 준비 잘하도록 항상 동기 부여해주심

10. 수업 직후 테스트 예상 점수와 평가를 이멜로 보내주심

수강생들이 말하는 Top 10 Reason 이었습니다. ^^

SSAT 리딩 만점받기 - 답에 대한 클루를 쉽게 찾을 수 있어야

SSAT 고득점을 받기 위해선 문제에 대한 답과 관련된 클루를 리딩 패시지 내에서
정확히 찾아내는 스킬을 배워야 합니다.
SSAT 리딩은 숨은 단어 찾기와 같아서, 답과 연관된 클루 단어가 대부분의 경우
패시지 내에 들어 있습니다. 따라서 이런한 클루를 정확히 찾아내면, 문제풀이 속도도
향상될 뿐만 아니라 정답을 찾아낼 확률도 높아지는 것입니다.
따라서 찰스샘과의 리딩 수업에서 이러한 클루를 보다 쉽게 찾아내는 방법을 함께
연습하게 됩니다. 물론 클루를 찾아내기 위해선 충분한 단어 실력이 있어야 가능하겠죠.

구체적인 방법에 대해선 수업시간에 설명하도록 할게요. ^^

찰스샘 추천 - SSAT 준비 학생을 위한 권장도서 Top 30

마음의 여유와 생각의 깊이 또한 깊어 지길 바라는 마음으로

찰스 샘 권장 도서 Top 30을 올립니다.

Shiver by Maggie Stiefvater

The True Confession of Charlotte Doyle by Avi

Messenger by Lois Lowry

The Devil's Arithmetic by Jane Yolen

The Wednesday Wars by Gary D. Schmidt

Jacob Have I Loved by Katherine Paterson

Fever 1793 by Laurie Halse Anderson

Ella Enchanted by Gail Carson Levine

Cullo by Murielle Cyr

The Battle for Princess Madeline by Kristin Pulioff

The Magic of Finkleton by K.C.Hilton

The Lost Hero by Rick Riordan

The Misterious Benedict Society by Trenton Lee Stewart

The Bad Beginning by Lemony Snicket

Secrets of the Realm by Bev Stout

The Time Trilogy by Madeleine L'Engle

The BFG by Roald Dahl

Watership Down by Richard Adams

A Trinkle in Time by Maldeleine L'Engle

Divergent by Veronica Roth

The Sea of Monsters by Rick Riodan

Anne of Green Gables by L.M.Montgomery

The Book Thief by Markus Zusak

Catching Fire by Suzanne Collins

Diary of a Wompy Kid by Jeff Kinney

Number the Stars by Lois Lowry

The Lightning Thief by Rick Riordan

The Giver by Lois Lowry

Holes by Louis Sachar

The Outsiders by S.E.Hinton

SSAT Reading Comprehension 문제 하나 풀어 봅시다

Read this passage and answer the questions that follow.

There are two theories that have often been used to explain ancient and modern tragedy. Neither
quite explains the complexity of the tragic process or the tragic hero, but each explains important
elements of tragedy, and, because their conclusions are contradictory, they represent extreme
views.

The first theory states that all tragedy exhibits the workings S of external fate. Of course, the
overwhelming majority of tragedies do leave us with a sense of the supremacy of impersonal power
and of the limitation of human effort. But this theory of tragedy is an oversimplification, primarily
because it confuses the tragic condition with the tragic process: the theory does not acknowledge
that fate, in a tragedy, normally becomes external to the hero only after the tragic process has
been set in motion. Fate, as conceived in ancient Greek. tragedy, is the internal balancing
condition of life. It appears as external only after it has been violated, just as justice is an internal
quality of an honest person, but the external antagonist of the criminal. Secondarily, this theory of
tragedy does not distinguish tragedy from irony. Irony does not need an exceptional central figure:
as a rule, the more ignoble the hero the sharper the irony, when irony alone is the objective. It is
heroism that creates the splendor and exhilaration that is unique to tragedy. The tragic hero
normally has an extraordinary, often a nearly divine, destiny almost within grasp, and the glory of
the original destiny never quite fades out of the tragedy.

The second theory of tragedy states that the act that sets the tragic process in motion must be
primarily a violation of normal law, whether human or divine; in short, that the tragic hero must have
a flaw that has an essential connection with sin. Again it is true that the great majority of tragic
heroes do possess hubris, or a proud and passionate mind that seems to make the hero’s downfall
morally explicable. But such hubris is only the precipitating agent of catastrophe, just as in comedy
the cause )f the happy ending is usually some act of humility often performed by a noble character
who is meanly disguised.

This theory of tragedy as morally explicable runs into the question of whether an innocent sufferer
in a tragedy, such as Iphigenia, or Socrates in Plato Apology, is a tragic figure. They are, of course,
even though it is not very easy to find crucial moral flaws in them. Cordelia shows sincerity and high
spirit in refusing to flatter her faber, and Cordelia is 30 hanged. Tragedy, in short, is ambiguous
and cannot be reduced to the opposition between human effort. and external fate, just as it cannot
be reduced to the opposition between good and evil.

1.        The primary purpose of the passage is. to
A)        compare and criticize two theories of tragedy.
B)        develop a new theory of tragedy.
C)        summarize the thematic content of tragedy.
D)        reject one theory of tragedy and offer another theory in its place.
E)        distinguish between tragedy and iron

2.        The author states that the theories discussed in the passage “represent extreme views”
because their conclusions are
(A) unpopular                (B) complex         (C) paradoxical
(D) contradictory.        (E) imaginative

3.        Which of the following comparisons of the tragic with the ironic hero is best supported by
information contained in the’ passage?
A)        A tragic hero’s fate is an external condition, but an ironic hero’s fate is an internal one.
B)        A tragic hero must be controlled by fate, but an ironic hero cannot be.
C)        A tragic hero’s moral flaw surprises the, audience, but an ironic hero’s sin does not.
D)        A tragic hero and an ironic hero cannot both be virtuous figures in the same tragedy.
E)        A tragic hero is usually extraordinary, but an ironic hero may be cowardly or even villainous.

4.        The author contrasts an honest person and a criminal primarily in order to
A)        prove that fate cannot be external to the tragic hero.
B)        establish a criterion that allows a distinction to be made between irony and tragedy.
C)        develop the distinction between the tragic condition and the tragic process.
D)        introduce the concept of sin as the cause of tragic action.
E)        argue that the theme of omnipotent external fate is shared by comedy and tragedy.

5.        According to the. author, Cordellia is an example of a figure who
A)        transcended both the laws of ‘fate and the laws of society.
B)        sinned, but whose sin did not set the tragic process in motion.
C)        disobeyed a moral law, but was not punished for doing so.
D)        submitted willingly to fate, even though her submission caused her death.
E)        did not set the tragic process in motion, but is still a tragic figure.

6.        In the author’s opinion, an act of humility in comedy is most analogous to
A)        a catastrophe in tragedy.
B)        an ironic action in tragedy.
C)        a tragic hero’s pride and passion
D)        a tragic hero’s aversion to sin.
E)        a tragic hero’s pursuit of an unusual destiny.

Answers
1.        The passage juxtaposes two contradictory theories of tragedy. See the first sentence of
para 1. Hence, (A).

2.        No tenable middle ground can be sought when two disparate theories are juxtaposed. Refer
para 1. Hence, (D).

3.        See the last 3 sentences of paragraph 2. It clearly states that ‘irony’ does not need an
exceptional character. It is heroism that qualifies tragedy. Hence, (E).

4.        The argument laid forth in sentences 2 - 8.of paragraph 2, is supported by this illustration.
Hence, (C).

5.        Cordulia is presented as an innocent victim of fate. Hence, (E).

6.        Refer to paragraph 3. The author states the proud and passionate mind of a gragic hero as
hubris. He further states that the hubris in a comedy is ‘usually some act of humility’. Hence, (C).
                                                                                                                             [source by 99 percentile ssat reading]