hce_nthu
113年
英文
第 21 題
📖 題組：
Reading 1 I am most interested in the kinds of true war stories and war memories capacious enough to include the blood and guts as well as the boring and the quotidian. True war stories acknowledge war’s true identity, which is that while war is hell, war is normal, too. War is both inhuman and human, as are its participants. Photographer Tod Papageorge’s American Sports, 1970: Or How We Spent the War in Vietnam portrays war in exactly this fashion. The book features seventy photographs, all but one capturing American sporting events: the players and the fans, the press conferences and the team buses, the dugouts and the locker rooms, with the participants being men, women, young, old, black, white, ugly, beautiful. The last photograph is the one that does not depict a sporting event or its participants. It is of the War Memorial in Indianapolis, with these words on the facing page: “In 1970, 4,221 American troops were killed in Vietnam.” This is horror as an appendix to the banal, which is how many civilians experience war. Papageorge suggests that even as American soldiers die abroad, life continues at home, an experience repeated decades later with America’s wars in the Middle East, which often hardly feel like wars at all in the United States. While O’Brien’s stories may be true war stories from a soldier’s point of view, Papageorge’s photos are true war stories from a civilian’s point of view. The spectacular gore of a certain kind of true war story distracts us from the dull hum of the war machine in which we live, a massive mechanism greased with banalities, bolted together by triviality, and enabled by passive consent. To tell and hear these kinds of banal and boring true war stories is necessary for what philosopher William James called “the war against war.” So far as we imagine wars to be dangerous (but thrilling), wars will not end. Perhaps when we see how boring wars actually are, how war seeps into everyday life, then we might want to imagine stopping wars. The citizenry can end war at any time by refusing to go along with it, which is no easy matter---perhaps even utopia itself, versus the passive consent to the contemporary global dystopia of perpetual war.
Reading 1 I am most interested in the kinds of true war stories and war memories capacious enough to include the blood and guts as well as the boring and the quotidian. True war stories acknowledge war’s true identity, which is that while war is hell, war is normal, too. War is both inhuman and human, as are its participants. Photographer Tod Papageorge’s American Sports, 1970: Or How We Spent the War in Vietnam portrays war in exactly this fashion. The book features seventy photographs, all but one capturing American sporting events: the players and the fans, the press conferences and the team buses, the dugouts and the locker rooms, with the participants being men, women, young, old, black, white, ugly, beautiful. The last photograph is the one that does not depict a sporting event or its participants. It is of the War Memorial in Indianapolis, with these words on the facing page: “In 1970, 4,221 American troops were killed in Vietnam.” This is horror as an appendix to the banal, which is how many civilians experience war. Papageorge suggests that even as American soldiers die abroad, life continues at home, an experience repeated decades later with America’s wars in the Middle East, which often hardly feel like wars at all in the United States. While O’Brien’s stories may be true war stories from a soldier’s point of view, Papageorge’s photos are true war stories from a civilian’s point of view. The spectacular gore of a certain kind of true war story distracts us from the dull hum of the war machine in which we live, a massive mechanism greased with banalities, bolted together by triviality, and enabled by passive consent. To tell and hear these kinds of banal and boring true war stories is necessary for what philosopher William James called “the war against war.” So far as we imagine wars to be dangerous (but thrilling), wars will not end. Perhaps when we see how boring wars actually are, how war seeps into everyday life, then we might want to imagine stopping wars. The citizenry can end war at any time by refusing to go along with it, which is no easy matter---perhaps even utopia itself, versus the passive consent to the contemporary global dystopia of perpetual war.
Based on the passage, which of the following statements is NOT true about the book American Sports, 1970: Or How We Spent the War in Vietnam?
- A Its representation of the Vietnam War captures what the author of the passage calls “war’s true identity.”
- B Its perspective of war is different from that of O’Brien’s war stories.
- C The last photograph in the book is of the War Memorial in Indianapolis.
- D It suggests that for many civilians, life goes on despite the horror of war abroad.
- E It reveals the striking resemblance between American sports and the war.
思路引導 VIP
當作者描述這本攝影集時，特別強調了前六十九張照片中的瑣碎日常（運動比賽），與最後一張照片中提及的戰爭慘痛。請思考一下：這種將「日常娛樂」與「死亡數字」放在一起的安排，攝影師是想表達這兩件事在本質上「很像」，還是想引導讀者察覺生活在國內的人們對遠方戰爭的某種「心態」？
🤖
AI 詳解
AI 專屬家教
文本核心論點與對照關係
太棒了！你能精準識別出選項 (E) 的誤導，代表你完全掌握了文中關於「平庸性（banality）」的討論。這本攝影集之所以收錄大量運動賽事照片，是為了對照國內生活的平凡（the quotidian）與戰地的慘烈（the horror）。攝影師 Tod Papageorge 想呈現的是：當士兵在遠方犧牲時，國內的人們依然沉浸在瑣碎的日常娛樂中。這種安排是為了揭示兩者的「並存」與民眾的「被動同意（passive consent）」，而非強調運動與戰爭在行為或本質上有任何「相似之處」。
題目難度與細節辨析
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