中正國防幹部預備學校 102 學年度教師甄試英文科試題

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中正國防幹部預備學校102 學年度教師甄試英文科試題

I. Vocabulary: Choose the best answer to complete the sentence. (15%)

1. The old man was so deceived to fall for the trick.


groggy (B)

gullible (C)

insipid (D)


2. Her mind is probably addled by either drugs or mental illness.

(A) edified (B) incumbent (C) augmented (D) muddled

3. The report singled out eight countries for particularly egregious

and systemic repression of human rights.

(A) passive (B) aggregated (C) appalling (D) segregated

4. He appears to be a cultivated, reliable and suave man.

(A) ravenous (B) sizzling (C) unpolished (D) refined

5. The former treasurer denied all the embezzlement allegations.

(A)misappropriation (B) embellishment (C) criminal (D) intentional

6. Potato Blight in Ireland contributed to the Great Famine in 1845.

(A) Transplant (B) Import (C) Shortage (D) Plague

7. Teenagers are often ________ and tend to resort to force or violence.

(A) pugnacious (B) squalid (C) pertinent (D) lethargic

8. The summer in Taiwan is known for its ________ heat and pouring showers.

(A) smuggling (B) sluggish (C) swindling (D) sweltering

9. Some black actors will face being ________ simply because of their skin color.

(A) pigeonholed (B) tilled (C) alleviated (D) refurbished

10. That is a _______ offer for people who are unemployed.

(A) subcutaneous (B) tantalizing (C) vitreous (D) liminal

11. A ________, the neighbor even refused to hand out candy at Halloween.

(A) curmudgeon (B) philanthropist (C) guru (D) diviner

12. prison: warden = museum: ________

(A) charter (B) laureate (C) curator (D) coroner

13. _______: experience = vagrant: abode

(A) neologism (B) nemophila (C) neophyte (D) oenophile

14. _______: better = ameliorate: worse

(A) exanimate (B) exacerbate (C) exactitude (D) exonerate

15. choleric: anger = ___ ___: optimism


(A) melancholy (B) anxiety (C) remorse (D) sanguine


Cloze Test: Complete the sentences with the most appropriate answers.


# 16-25

English is very important to Amy Tan because she is fascinated by language in daily life, and she spends a great deal of time thinking about the power of ___16___.

She finds out that all the forms of standard English that she learned in school and through books cannot be used with her mother. She is also aware that a switch in her English has become her language of ___17___ with her husband. It is a different sort of English that relates to family talk. As a result, she had many experiences about helping her mother ___18___ with other people. She thought her mother’s English had an effect on limiting her possibilities in life. That’s the reason why she couldn’t get high grades in English. This happened in almost every Asian American as well as African American. Therefore, teachers were usually steering them away from writing and into math and science. She takes an example of her black friend to explain the meanings of words. Her friend’s house is a ___19___ and open house with assorted neighbors and tenants popping in and out to exchange bits of gossip, old quarrels or the ongoing checkers game in which her grandmother cheated shamelessly. The word nigger was used and set within contexts and ___20___ that caused it to register as something else. In the singular, the word was always applied to a man who had distinguished himself in some situation that brought their approval for his strength, intelligence or drive. When used with a possessive adjective by a woman, it became a term of ___21___ for husband or boyfriend. In the plural, it became a description of some group within the community that has ___22___ the bounds of ___23___ as her family defined it. Amy Tan feels interested in the varieties of words, trains her writing skills, and finally becomes a ___24___. She uses the English she spoke to her mother which may be described as ___25___. But she is proud of it no matter what any critic has to say to her about her writing.

16. (A) meaning (B) writing (C) language (D) ways 17. (A) distance (B) intimacy (C) childhood (D) humor


18. (A) oppose (B) dispute (C) communicate (D) fight 19. (A) bustling (B) simple (C) quiet (D) large

20. (A) inflections (B) plots (C) characters (D) pitches

21. (A) efflux (B) effectiveness (C) lovesickness (D) endearment 22. (A) rapped (B) overstepped (C) trounced (D) thrashed 23. (A) convention (B) decency (C) conformity (D) tradition 24. (A) critic (B) reader (C) writer (D) editor

25. (A) negligent (B) fake (C) simple (D) noble

# 26-30 [選項(E)請註記在該題(A)選項的空格內,寫上(E)]

On Monday, researchers at the Harvard School of Public Health released study results showing that red meat consumption was associated with a higher risk of early death. The more red meat -- beef, pork or lamb, for the purposes of the research -- study participants reported they ate, (26) .

No one is sure, exactly, but the authors of the Harvard study mention a few possible culprits in their paper in the Archives of Internal Medicine.

First, eating red meat has been linked to the incidence of heart disease. The saturated fat and cholesterol in beef, pork and lamb are believed to play a role in the risk of coronary heart disease. The type of iron found in red meat, known as heme iron, has also been linked to heart attacks and fatal heart disease. Sodium in processed meats may increase blood pressure, (27) . Other chemicals that are used in processed meats may play a role in heart disease as well, (28) .

Red meat has also been linked to increased risks of colorectal and other cancers.

Again, heme iron could be a culprit — (29) — as could compounds that are created when meat is cooked at a high temperature. Preservatives used in processed meats also may play a role, scientists have said,

(30) .

(A) because they convert into carcinogenic compounds in the body (B) by damaging blood vessels

(C) it is more easily absorbed into the body than other forms of iron, and can cause oxidative damage to cells

(D) the more likely they were to die during the period of time that data collection took place (more than 20 years)

(E) which is a risk factor for heart disease

#31-35 [選項(E)請註記在該題(A)選項的空格內,寫上(E)]


Starting from the 1930s, reel-to-reel tapes were used to make audio recordings.

They were very similar to today’s audio cassettes. (31) One problem with using reel-to-reel was that the tape would fall off the reels. The tape would easily get tangled. (32) These cassettes make it easier to work with the tapes.

Unfortunately, the cassette players were still large. (33) He noticed that his friend had a homemade audio cassette player in his car. He thought it was fabulous that they could listen to their own favorite music as they drove. Lear decided to market the idea.

Lear developed the 8-track cassette. These were popular in the United States during the 1960s and 1970s. (34) Soon, millions of Americans took their favorite music wherever they drove.

The 8-track was quickly abandoned when compact audio cassettes became available. (35) Now, they are just a footnote in music history.

(A) One day, Bill Lear, the maker of the Lear jet, was riding in a friend’s car.

(B) Although the sound quality was not as good as that of a vinyl record, the 8-track became popular.

(C) Finally, a smaller system was enclosed inside a cartridge in the early 1960s.

(D) The main difference was that reel-to-reel machines were as large as a suitcase.

(E) Later, when CDs became popular, the 8-track became obsolete.

III. Reading Comprehension (15%)

Passage 1: # 36-40

George Catlett Marshall was a great general of American As he was sixteen years old, he wanted to enroll at Virginia Military Institute (VMI), and he did it. During that period, he transformed his shyness into austere aloofness which is expected at that time. In his private life, Marshall tended to be a homebody. He loved his wife, Lily Coles, so deeply. However, Marshall twice suffered nervous breakdowns in his early 30s. In order to overcome the tough time, Marshall did his best to relax himself. It worked. When America entered World War I, he was ready. In 1918, Marshall was entrusted with the complex logistical planning for attacking German’s army. Because of the successful plan, America gave up its foreign policy--isolationism, leaving Europe to its own devices contributed to World War II. In 1947, Marshall and many


others in Washington set out a policy to end American isolationism, part of which became the Marshall Plan. Marshall said in a speech that the United States would support the nations of Europe if they could put together a comprehensive plan.

Truman forwarded the plan, Marshall Plan, to Congress, and it won wide support quickly because Congress and the nation trusted Marshall. The Marshall Plan put Europe back on its feet, killed United States isolationism, and won for Marshall the Nobel Peace Prize.

36. Which statement is correct?

(A) Marshall enrolled at Virginia Military Institute.

(B) In World War I, Marshall was entrusted with front-line planning.

(C) Marshall three times suffered what may have been nervous breakdowns.

(D) Marshall won the Nobel Chemical Prize in 1953.

37. Which school did Marshall attend?

(A) Columbia University (B) Virginia Military Institute (C) West Point

(D) Harvard University

38. What is the main idea of this article?

(A) Marshall was entrusted with the complex logistical planning for attacking German’s army.

(B) Marshall and many others in Washington set out a policy to end American isolationism.

(C) Marshall did his best to relax himself.

(D) The Marshall Plan put Europe back on its feet, killed United States isolationism, and won for Marshall the Nobel Peace Prize.

39. Which sentence is not true?

(A) The Marshall Plan helped Europe economies revived.

(B) The Marshall Plan won for Marshall American isolationism.

(C) The Marshall Plan got wide support.

(D) The Marshall Plan helped United States end its isolationism.

40. The foreign policy of America before WWII was___.

(A) Segregation (B) Humanism (C) Racism (D) Alliance Passage 2: # 41-45

"Maggie! Maggie! Maggie! Out! Out! Out!" That chanted demand of the left has been fully and finally met. At countless demonstrations throughout the 80s, it expressed a curious ambivalence – a first name intimacy as well as a furious rejection of all she stood for. "Maggie Thatcher" – two fierce trochees set against the gentler


iambic pulse of Britain's postwar welfare state. For those of us who were dismayed by her brisk distaste for that cosy state-dominated world, it was never enough to dislike her. We liked disliking her. She forced us to decide what was truly important.

In retrospect, in much dissenting commentary there was often a taint of unexamined sexism. Feminists disowned her by insisting that though she was a woman, she was not a sister. But what bound all opposition to Margaret Thatcher's programme was a suspicion that the grocer's daughter was intent on monetising human value, that she had no heart and, famously, cared little for the impulses that bind individuals into a society.

But if today's Guardian readers time-travelled to the late 70s they might be irritated to discover that tomorrow's TV listings were a state secret not shared with daily newspapers. A special licence was granted exclusively to the Radio Times. (No wonder it sold 7m copies a week). It was illegal to put an extension lead on your phone. You would need to wait six weeks for an engineer. There was only one state- approved answering machine available. Your local electricity "board" could be a very unfriendly place. Thatcher swept away those state monopolies in the new coinage of

"privatisation" and transformed daily life in a way we now take for granted.

We have paid for that transformation with a world that is harder-edged, more competitive, and certainly more intently aware of the lure of cash. We might now be taking stock, post credit crunch, of our losses and gains since the 1986 deregulation of the City, but it is doubtful that we will ever undo her legacy.

It is odd to reflect that in Thatcher's time, the British novel enjoyed a

comparatively lively resurgence. Governments can rarely claim to have stimulated the arts but Thatcher, always rather impatient with the examined life, drew writers on to new ground. The novel may thrive in adversity and it was a general sense of dismay at the new world she was showing us that lured many writers into opposition.

The stance was often in broadest terms, more moral than political. Her effect was to force a deeper consideration of priorities, sometimes expressed in a variety of dystopias.

She mesmerised us. At an international conference in Lisbon in the late 80s, the British faction, among whom were Salman Rushdie, Martin Amis, Malcolm Bradbury and myself, referred back to Thatcher constantly in our presentations. Asked to report on the "state of things" in our country, we could barely see past her.


Eventually, the Italian contingent, largely existential or postmodern, rose up against us. We had an all-out blistering row that delighted the organisers.

Literature had nothing to do with politics, the Italian writers said. Take the larger view. Get over her! They had a point, but they had no idea how fascinating she was – so powerful, successful, popular, omniscient, irritating and, in our view, wrong.

Perhaps we suspected that reality had created a character beyond our creative reach.

Not all writers were against her. Philip Larkin visited Downing Street where the prime minister quoted approvingly one of his lines to him – "Your mind lay open like a drawer of knives." Accounts vary. She may have got it slightly wrong. Quotation being the warmest form of praise, Larkin was naturally touched.

We might speculate that an adviser had offered Thatcher a selection of good lines, or that she had asked to see some. But the choice captures her perfectly. For a start, she had a superb memory for a brief, and she would have had no problem memorising quickly any number of lines. Larkin's evoked the treacherous mind (of an adversary, of a cabinet colleague) helplessly exposed to her steely regard. One turns with gratitude to Alan Clark's diaries for a fine description of being summoned to No 10 and being subjected to just such an examination.

When the late Christopher Hitchens was a political reporter for the New

Statesman, he corrected the prime minister on a point of fact, and she was quick to correct Hitchens in turn. She was right, he was wrong. In front of his journalist colleagues he was told to stand right in front of her so that she could hit him lightly with her order papers. Over the years, and through much re-telling, the story had it that Thatcher told Hitchens to bend over, and that she spanked him with her order papers.

The truth is less significant than the alteration to it. There was always an element of the erotic in the national obsession with her. From the invention of the term

"sado-monetarism" through to the way her powerful ministers seemed to swoon before her, and the constant negative reiteration by her critics of her femininity, or lack of it, she exerted a glacial hold over the (male) nation's masochistic imagination.

This was heightened by the suspicion that this power was not consciously deployed.

Meryl Streep's depiction of a shuffling figure, stricken and isolated by the death of her husband, Denis, may have softened memories, or formed them in the minds of


a younger generation. The virtual state funeral will rehearse again our extravagant fixations. Opponents and supporters of Margaret Thatcher will never agree about the value of her legacy, but as for her importance, her hypnotic hold on us, they are bound to find common ground.

41. According to the author, what does the nickname “Maggie Thatcher” imply?

(A) a double entendre (B) a nostalgic impulse (C) an idolized icon (D) a poetic license

42. Which of the following statements is NOT true?

(A) Prior to 1980s Britain was one of the centralized states in the world.

(B) Thatcher initiated a project called “Privatisation.”

(C) The governmental mechanism facilitated the renewal of British letters and arts.

(D) Thatcher triggered a common employment of dystopian genre.

43. What can be inferred from the article?

(A) Thatcher’s gender role does not contribute to her legacy’s ambivalence.

(B) Thatcher’s middle-class background helped convince the general public of supporting her plan for

political reforms.

(C) Rumor has it that Thatcher was lenient to Christopher Hitchens by ignoring his remarks.

(D) Thatcher offers a hypnotizing effect on many people.

44. What does the term “sado-monetarism” refer to?

(A) The urge to lower currency rates in a depressed economy.

(B) The urge to raise currency rates in a depressed economy.

(C) The urge to empower economy by increasing public investments.

(D) The urge to liberalize global competition by lowering customs barriers.

45. According to the author, how can Thatcher’s legacy be evaluated?

(A) Supportive opinions over her legacy outnumber opposing views.

(B) No agreement will be reached concerning the value of her legacy.

(C) It invites more reproaches than approval.

(D) It causes disastrous effect on contemporary British society.


Passage 3: # 46-50

Does postmodernism continue modernism or oppose it? To decide this we need to attempt a working definition of postmodernism. As a starting-point, we can take a selection of the most readily available descriptions of postmodernism. J. A. Cuddon’s entry in his Dictionary of Literary Terms and Literary Theory describes

postmodernism as characterized by “an eclectic approach, [by a liking for] aleatory writing, [and for] parody and pastiche.” So far this doesn’t really put much daylight between modernism and postmodernism, since the word eclectic suggests the use of the fragmented forms which, as we have just said, are characteristic of modernism.

(T. S. Eliot’s The Waste Land, for instance, is a collage of juxtaposed, incomplete stories, or fragments of stories). Also, “aleatory forms,” meaning those which

incorporate an element of randomness or chance, were important to the Dadaists of 1917, who, for instance, made poems from sentences plucked randomly from

newspapers. The use of parody and pastiche, finally, is clearly related to the abandonment of the divine pretensions of authorship implicit in the omniscient narratorial stance, and this too was a vital element in modernism. It could be said, then, that one way of establishing the distinction between modernism and

postmodernism is to dissolve the sequential link between them, by retrospectively redefining certain aspects of modernism as postmodernist. According to this view, they are not two successive stages in the history of the arts, but two opposed moods or attitudes.

The nature of the distinction between modernism and postmodernism is summarized in the excellent joint entry on the two terms in Jeremy Hawthorn’s

Concise Glossary of Contemporary Literary Theory. Both, he says, give great

prominence to fragmentation as a feature of twentieth-century art and culture, but they do so in very different moods. The modernist features it in such a way as to register a deep nostalgia for an earlier age when faith was full and authority intact.

Ezra Pound, for instance, calls his major work, The Cantos, a “rag-bag,” implying that this is all that is possible in the modern age, but also implying regret about that fact.

There is a tone of lament, pessimism, and despair about world which finds its appropriate representation in these “fractured” art forms (the collage of Kurt Schwitters, for example, which mix painted areas of canvas with random clippings from newspapers, timetables, and advertisements). For the postmodernist, by contrast, fragmentation is an exhilarating, liberating phenomenon, symptomatic of


our escape from the claustrophobic embrace of fixed systems of belief. In a word, the modernist laments fragmentation while the postmodernist celebrates it.

A second, and related, difference between the two is also a matter of tone or attitude. An important aspect of modernism was a fierce asceticism which found the over-elaborate art forms of the nineteenth century deeply offensive and repulsive.

This asceticism has one of its most characteristic and striking manifestations in the pronouncements of modernist architects, such as Adolf Loos’s proclamation that

“decoration is a crime,” or Mies van der Rohe’s that “less is more,” or Le Corbusier’s that “a house is a machines for living in.” These pronouncements resulted in the

“shoe box” and “carbuncle” buildings which have generated such hatred and opposition, particularly through the 1980s, but the high idealism they represent retains its power to move. The same refined asceticism is seen in literature in the minimalism which shrinks poems to narrow columns of two-word lines registering rigorously sparse, pared-down observations, or in the drama of Samuel Beckett, in which a play may be reduced to a running time of thirteen minutes, with a single speaker, not set, and language which is sparse in the extreme. By contrast, again, postmodernism rejects the distinction between “high” and “popular” art which was important in modernism, and believes in excess, in gaudiness, and in “bad taste”

mixture of qualities. It disdains the modernist asceticism as elitist and cheerfully mixes, in the same building, bits and pieces from different architectural periods.

46. Which of the following statements of “aleatory writing” is NOT true?

(A) It is a decisive feature of modernist art.

(B) It suggests fragments and spontaneity.

(C) It highlights logic coherence and a balanced structure.

(D) It is characterised by hazards and contingency.

47. Which of the following statements about Dadaism is true?

(A) It appeared in the nineteenth century in Europe.

(B) It promoted an art form of collage.

(C) It emphasized an omniscient authorial control.

(D) It denigrates the composing of poems.

48. What do the words “parody and pastiche” refer to?

(A) Clippings and lines drawn from newspaper articles.

(B) Fables, stories and legends.

(C) Individual talents and originality.


(D) Past memories and nostalgia

49. Ezra Pound was mentioned by the author to exemplify modernism’s _________.

(A) liking for a minimal style (B) lament for an orderly past (C) embrace of fixed systems (D) favor of collage

50. What is the author’s possible stance by writing the article?

(A) Modernism and postmodernism share affinity and differences.

(B) Modernism and postmodernism are widely inaccessible.

(C) Modernism and Postmodernism are obsolete artforms.

(D) Modernism and postmodernism are radically different.

英文科- 答案:

1(B)2(D)3(C)4(D)5(A)6(D)7(A)8(D)9(A)10(B)11(A)12(C)13(C)14(B)15(D)16(C)17(B) 18(C)19(A)20(A)21(D)22(B)23(B)24(C)25(C)26(D)27(E)28(B)29(C)30(A)31(D)32(C) 33(A)34(B)35(E)36(A)37(B)38(D)39(B)40(A)41(A)42(C)43(D)44(B)45(B)46(C)47(B) 48(A)49(B)50(A)





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