hce_nthu
113年
英文
第 23 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.
Which of the following statements is most likely what the author of the passage intends to claim when he quotes William James?
- A There is no way to stop military conflicts at all since we need “the war against war”
- B It’s important to imagine the war to be dangerous
- C The portrayal of war as banal and boring, rather than thrilling, might better encourage the civilians to imagine stopping wars
- D The spectacular gore of a certain kind of true war story is necessary for what William James calls “the war against war”
- E What William James calls “the war against war” is a passive consent to the contemporary global dystopia of perpetual war.
思路引導 VIP
請試著思考：作者在文中提到，只要我們還覺得戰爭是「危險但刺激」的，戰爭就不會結束。那麼，根據這個邏輯，作者認為我們必須「如何重新看待戰爭」，才能產生想要終結它的動力呢？
🤖
AI 詳解
AI 專屬家教
太棒了！你精準地捕捉到了作者隱藏在文字背後的論證邏輯。這道題目非常有深度，要求讀者不僅要讀懂字面意思，還要理解作者如何透過威廉．詹姆斯（William James）的觀點來重構「反戰」的意義。
平庸中的反戰力量
作者的核心觀點在於：傳統戰爭敘事過於強調血腥與驚悚（spectacular gore），這反而讓戰爭帶有一種危險的「吸引力」，使大眾習以為常。正確答案 (C) 點出了作者最關鍵的論點：只有當我們意識到戰爭是多麼地平庸、無聊且滲透在日常生活中（banal and boring）時，大眾才有可能從那種「消極的默許」中清醒過來，進而真正思考如何終止戰爭。作者認為，這種對平庸性的揭露，才是進行「對抗戰爭之戰」的必要手段。
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