독해 첫번째 지문 31~ 33번 에서

해설지 32번 정답B번 근거를 "본문에" the world which that language contains is vividly renewed.

  로 잡으셨고 D의 근거를  Literary discourse 'estranges or alienates ordinary speech, but in doing so, paradoxically, brings us into a fuller, more intimate possession of experience. 로 잡으셨는데

 문제지는 unfamiliar 부분까지 발췌하셨습니다

B와 D 사이를 고르는데 어려움이 있었고 이러면...

Formalism was essentially the application of linguistics to the study of literature; and because the linguistics in question were of a formal kind, concerned with the structures of language rather than with what one might actually say, the Formalists passed over the analysis of literary 'content' (where one might always be tempted into psychology or sociology) for the study of literary form. Far from seeing form as the expression of content, they stood the relationship on its head: content was merely the 'motivation' of form, an occasion or convenience for a particular kind of formal exercise. Don Quixote is not 'about' the character of that name: the character is just a device for holding together different kinds of narrative technique. Animal Farm for the Formalists would not be an allegory of Stalinism; on the contrary, Stalinism would simply provide a useful opportunity for the construction of an allegory. It was this perverse insistence which won for the Formalists their derogatory name from their antagonists; and though they did not deny that art had a relation to social reality -indeed some of them were closely associated with the Bolsheviks -they provocatively claimed that this relation was not the critic's business.

The Formalists started out by seeing the literary work as a more or less arbitrary assemblage of 'devices', and only later came to see these devices as interrelated elements or 'functions' within a total textual system. 'Devices' included sound, imagery , rhythm, syntax, metre, rhyme, narrative techniques, in fact the whole stock of formal literary elements; and what all of these elements had in common was their 'estrangement?;' or 'defamiliarizing' effect. What was specific to literary language, what distinguished it from other forms of discourse, was that it deformed' ordinary language in various ways. Under the pressure of literary devices, ordinary language was intensified, condensed, twisted, telescoped, drawn out, turned on its head. It was language 'made strange'; and because of this estrangement, the everyday world was also suddenly made unfamiliar. In he routines of everyday speech, our perceptions of and responses to reality become stale, blunted, or, as the Formalists would say, 'automatized'. Literature, by forcing us into a dramatic awareness of language, refreshes these habitual responses and renders objects more 'perceptible'. By having to grapple with language in a more strenuous, self-conscious way than usual, the world which that language contains is vividly renewed. The poetry of Gerard Manley Hopkins might provide a particularly graphic example of this. Literary discourse 'estranges or alienates ordinary speech, but in doing so, paradoxically, brings us into a fuller, more intimate possession of experience. Most of the time we breathe in air without being conscious of it: like language, it is the very medium in which we move.