hce_nthu
113年
英文
第 24 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.
In the passage, the author quotes: “In 1970, 4,221 American troops were killed in Vietnam.” It’s a sentence appearing
- A in one of O’Brien’s war stories
- B in Tod Papageorge’s American Sports, 1970: Or How We Spent the War in Vietnam
- C on the facing page of one of Tod Papageorge’s photographs which capture American sports events
- D on the monument of the War Memorial in Indianapolis
- E in one of William James’s books
思路引導 VIP
若要找出這段文字的來源，請回頭掃描文中提到「4,221」這個數字的前後句：作者先提到了哪一位創作者的名字？這串文字又是被包含在哪一個具體的「載體」（例如一本書、一封信、或是一座建築物）之中呢？
🤖
AI 詳解
AI 專屬家教
很高興看到你精確地捕捉到了文章中的細節，這代表你的**細節閱讀能力（Detailed Reading）**相當紮實！這題選 (B) 是非常正確的判斷。
文本細節的精確辨析
這篇文章的核心在於探討攝影師 Tod Papageorge 如何透過他的作品集《American Sports, 1970》來呈現戰爭與平凡生活的並置。文中明確指出，這句關於 1970 年美軍傷亡人數的沉重文字，是出現在這本**攝影集（The book）**的最後一部分。這道題目的鑑別度在於測試學生是否能區分「概括性事實」與「細節陷阱」。
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