hce_cmu
113年
英文
第 27 題
📖 題組：
The status of images in the history of many religions and in modern media is mostly an embattled one. It is mainly because images are thought to be untrustworthy: They lie, cheat, and steal. Whether in Socrates or in the many critiques of images mounted by Jewish, Muslim, or Christian writers, by Hindu reformers or by Marxist revolutionaries, suspicions circle around a tenacious distrust of images. Images lie (26) as they selectively tell the truth, exaggerating aspects of it, or distorting (27) they portray into whatever priests, tyrants, or merchants want pliant viewers to believe. Images dupe the unsuspecting, lulling them into views or opinions that are untrue. And images steal belief from words, the revealed medium of divine self-revelation in the so-called religions of the book. As Socrates might have put it, images rob belief in the logical procedure of discourse—the (28) movement of intellectual inquiry from opinion to truth, cheating reason of its rightful place in ascertaining the truth of a matter. Yet the distrust of images presumes something deeper about them. Images work their magic by a subtle and often irresistible effect on the body: provoking fear, envy, pride, desire, obsession, rage—all the strong feelings and passions that grip the chest or rise in the blood, creep over the flesh, (29) as tears in the eyes. Images appeal to and rely on the body. It is precisely this that philosophers, teachers, moralists, clergy, and parents have resented about the power of images. Images are understood to traffic in the body’s energies and to threaten to (30) the strictures of thought and conscience that moral authorities work hard to nurture and inculcate.
The status of images in the history of many religions and in modern media is mostly an embattled one. It is mainly because images are thought to be untrustworthy: They lie, cheat, and steal. Whether in Socrates or in the many critiques of images mounted by Jewish, Muslim, or Christian writers, by Hindu reformers or by Marxist revolutionaries, suspicions circle around a tenacious distrust of images. Images lie (26) as they selectively tell the truth, exaggerating aspects of it, or distorting (27) they portray into whatever priests, tyrants, or merchants want pliant viewers to believe. Images dupe the unsuspecting, lulling them into views or opinions that are untrue. And images steal belief from words, the revealed medium of divine self-revelation in the so-called religions of the book. As Socrates might have put it, images rob belief in the logical procedure of discourse—the (28) movement of intellectual inquiry from opinion to truth, cheating reason of its rightful place in ascertaining the truth of a matter. Yet the distrust of images presumes something deeper about them. Images work their magic by a subtle and often irresistible effect on the body: provoking fear, envy, pride, desire, obsession, rage—all the strong feelings and passions that grip the chest or rise in the blood, creep over the flesh, (29) as tears in the eyes. Images appeal to and rely on the body. It is precisely this that philosophers, teachers, moralists, clergy, and parents have resented about the power of images. Images are understood to traffic in the body’s energies and to threaten to (30) the strictures of thought and conscience that moral authorities work hard to nurture and inculcate.
(27)
- A which
- B what
- C this
- D that
思路引導 VIP
請觀察動詞 distorting（扭曲）與子句中的動詞 portray（描繪）。如果我們想表達「扭曲『他們所描繪的東西』」，你會發現這兩個動詞目前都缺乏一個直接受詞。在這種情況下，若我們需要一個詞能同時代表「那個東西」，又能引導後面的子句，這個詞必須具備什麼樣的特殊功能呢？
🤖
AI 詳解
AI 專屬家教
太棒了！你能精準辨識出這個句位需要填入 (B) what，代表你對英文句型結構中的「複合關係代名詞」掌握得相當紮實，這是一個非常優秀的判斷！
雙重身分的引導詞
在動詞 distorting（扭曲）之後，我們需要一個受詞來承接動作；同時，後方子句中的動詞 portray（描繪）也是一個及物動詞，同樣缺乏一個受詞。在英文語法中，what 具有特殊的身分，它相當於 the thing(s) that，能夠同時擔任前方動詞的受詞，並作為後方子句的受詞。若選擇 (A) 或 (D)，前方通常需要一個明確的先行詞（名詞）作為修飾對象，但在這題中前面直接銜接動詞，因此只有具備「先行詞＋關代」功能的 what 才是正解。
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