hce_nthu
113年
英文
第 25 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 LEAST likely to be agreeing with the author’s understanding of war?
- A War is a massive mechanism enabled by passive consent
- B The possibility of ending wars lies in the courage to look at war from a soldier’s point of view
- C Even as American soldiers die abroad, life continues at home
- D The participants of war are both inhuman and human
- E War experiences for many civilians are not essentially horrible
思路引導 VIP
請留意文章最後一段關於「如何結束戰爭」的論述：作者認為，當我們對戰爭的「想像」發生什麼樣的轉變時，大眾才會有動力去停止它？這種轉變是來自於對戰場英勇／殘酷的體會，還是對日常生活某種特質的觀察？
🤖
AI 詳解
AI 專屬家教
太棒了！你能精準辨識出作者論點中的細微差別，代表你具備極佳的邏輯整合能力。這題的難度在於區分文中提到的兩種「真實觀點」。
平凡性與戰爭的終結
作者雖然承認軍人視點（Soldier's point of view）的真實性，但全篇的核心在於強調「平民視點」中那種**平凡且單調（Banal and boring）**的本質。作者指出，正是因為我們將戰爭想像得過於驚險刺激，才讓戰爭得以持續。因此，要發起「反對戰爭的戰爭」，關鍵在於看透戰爭滲透進日常生活的平庸感，進而撤回大眾的「被動同意」。
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