112 年 國立清華大學臺灣文學研究所《英文》
第 Part I, 1 題
Part I: Please translate the following sentences into Chinese (50%)
- "What is literature?" has been a persisting question for centuries, and there is
no satisfactory answer till now.
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本題為翻譯題，旨在測試考生對英文句子的理解與中文表達能力。
- "What is literature?" has been a persisting question for centuries, and there is no satisfactory answer till now.
- "What is literature?": 這是文獻學、文學理論中一個核心且持續被探討的問題。
- has been a persisting question: 表示這個問題已經持續存在了很長一段時間。
- for centuries: 指「數百年來」。
第 Part I, 2 題
Part I: Please translate the following sentences into Chinese (50%)
2. It has been taken for granted that postmodernism succeeds modernism as the
mainstream writing style.
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本題為翻譯題，旨在測試考生對英文句子的理解與中文表達能力。
- It has been taken for granted that postmodernism succeeds modernism as the mainstream writing style.
- It has been taken for granted that...: 這是一個常見的句型，表示「人們普遍認為...」、「理所當然地認為...」。
- postmodernism: 後現代主義。
- succeeds modernism: 後者（後現代主義）接續前者（現代主義）。
第 Part I, 3 題
Part I: Please translate the following sentences into Chinese (50%)
3. In addition to revealing Taiwan's ambivalent role, this short story depicts the
oppressive character of patriarchy and the female protagonist's sinister
cooperation with it.
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本題為翻譯題，旨在測試考生對英文句子的理解與中文表達能力。
- In addition to revealing Taiwan's ambivalent role, this short story depicts the oppressive character of patriarchy and the female protagonist's sinister cooperation with it.
- In addition to revealing Taiwan's ambivalent role: 除了揭示台灣的矛盾（或「模稜兩可的」）角色外。
- "ambivalent role": 指台灣在某種情境下具有多重、甚至相互矛盾的身份或作用。
- this short story depicts: 這篇短篇小說描繪了。
- the oppressive character of patriarchy: 父權制的壓迫性特質。
- "oppressive character": 壓迫的性質、特徵。
- "patriarchy": 父權制。
- In addition to revealing Taiwan's ambivalent role: 除了揭示台灣的矛盾（或「模稜兩可的」）角色外。
第 Part I, 4 題
Part I: Please translate the following sentences into Chinese (50%)
4. Some literary historians locate the beginning of Taiwanese modernist literature
as far back as the 1920s, but most argue that the typical modernist novels
prevailed only in the 1960s and 1970s.
登入後即可作答並保存紀錄。
本題為翻譯題，旨在測試考生對英文句子的理解與中文表達能力。
- Some literary historians locate the beginning of Taiwanese modernist literature as far back as the 1920s, but most argue that the typical modernist novels prevailed only in the 1960s and 1970s.
- Some literary historians: 一些文學史家。
- locate the beginning of Taiwanese modernist literature: 將台灣現代主義文學的開端定 at... / 追溯到...。
- as far back as the 1920s: 甚至可以追溯到 1920 年代。
- but most argue that: 但大多數人認為...。
- the typical modernist novels: 典型的現代主義小說。
第 Part I, 5 題
Part I: Please translate the following sentences into Chinese (50%)
5. As a term for prostitutes working in military brothels, "comfort women"
especially refers to those working and being forced to work for the Japanese
military during World War II.
登入後即可作答並保存紀錄。
本題為翻譯題，旨在測試考生對英文句子的理解與中文表達能力。
- As a term for prostitutes working in military brothels, "comfort women" especially refers to those working and being forced to work for the Japanese military during World War II.
- As a term for prostitutes working in military brothels: 作為一個指稱在軍事妓院工作的娼妓的詞語。
- "military brothels": 軍事妓院。
- "comfort women": 「慰安婦」。
- especially refers to: 尤其指...。
- those working and being forced to work: 那些工作（或「服務」）且被強迫工作的人。
- As a term for prostitutes working in military brothels: 作為一個指稱在軍事妓院工作的娼妓的詞語。
第 Part II 題
Part II: Please translate the following paragraph into Chinese (20%)
The film of Tsai Ming-liang represents the bleak landscape of urban life, but his
use of props, the design of space and the unfolding of plot and its seemingly "happy
ending" all contribute to a sense of humor that intrigues and amazes the audience. His
film is often themed on the sexual and emotional desires, the need of care, and the
longing for a place of one's own.
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本題為段落翻譯題，旨在測試考生對較長英文段落的理解與中文表達能力，以及串聯句子的能力。
段落分析：
此段落主要描述台灣導演蔡明亮電影的特點。第一句指出電影描繪了城市生活的陰鬱景象，但同時透過道具、空間設計、情節發展及其看似「快樂的結局」，營造了一種幽默感，引人入勝。第二句則進一步闡述其電影常探討的主題，包括性與情感的慾望、對關懷的需求，以及對歸屬感的渴望。
逐句翻譯與考量：
- The film of Tsai Ming-liang represents the bleak landscape of urban life, but his use of props, the design of space and the unfolding of plot and its seemingly "happy ending" all contribute to a sense of humor that intrigues and amazes the audience.
- The film of Tsai Ming-liang: 蔡明亮的電影。
- represents the bleak landscape of urban life: 呈現了城市生活的陰鬱（或「荒涼」、「黯淡」）景象。
- "bleak landscape": 陰鬱的景象，這裡引申為城市生活給人的壓抑感。
- but his use of props, the design of space and the unfolding of plot and its seemingly "happy ending": 但他對道具的運用、空間的設計，以及情節的展開和其看似「快樂的結局」。
- "unfolding of plot": 情節的展開。
- "seemingly 'happy ending'": 看似「快樂的結局」，暗示結局可能並非全然如此，或帶有反諷意味。
- all contribute to a sense of humor: 都共同營造了一種幽默感。
- that intrigues and amazes the audience: 這種幽默感吸引並令觀眾驚奇。
第 Part III, 1 題
Part III: Please read the passages below and answer the questions (30%)
Before he made Café Lumière in Japan, Hou Hsiao-hsien did not himself believe
in the possibility of making a good film in a foreign country because he felt knowing
every detail of a place was the precondition for representing its "authentic" ambience.
Invited by the Museum of Orsay to shoot his second foreign film, Hou again took on
the challenge of familiarizing the unfamiliar and domesticated the strangeness of Paris
and French culture by resorting to previous works as mediators. As a result, American
writer Adam Gopnik's book Paris to the Moon and Lamorisse's 1956 short film The
Red Balloon mediate and facilitate the making of Flight of the Red Balloon half a
century later.
Centered on the life of a middle-class French family, Hou's story of the red
balloon is seen through the eyes of a Chinese student of cinema, Song Fang, who is
from Beijing. The protagonist, Suzanne (Juliette Binoche), is a divorced mother who
works dubbing marionettes in a theater and lives alone with her beloved son, Simon,
for whom she hires Song as a nanny. Also sharing Suzanne's two-story apartment is
her tenant, Marc, who has not paid rent for a long time, thus forcing Suzanne into a
difficult dilemma. Suzanne wants to be rid of her deadbeat tenant so that her daughter,
Louise, can move in downstairs, but Louise is living with her grandfather in Brussels
and shows no interest in returning.
In Hou's Flight, Song is an outsider who quietly observes the French family
while looking after Simon. Occasionally accompanied by Simon, Song tours the city
of Paris and makes her own short film, entitled The Red Balloon. Metaphorically
speaking, Song and the red balloon that appears every now and then in the film stand
for each other. In terms of film narrative, just as Song wanders around to shoot her
own film, so does the red balloon, sometimes free to roam in the sky and sometimes
transfigured into an image on the façade of a building, leading the camera to navigate
the city and showing the audience the urban landscape of Paris in long shots. Both
Song and the red balloon substitute for Hou's bystander point of view, revealing the
life of a French family and the landscape of Paris, the capital of France.
As an international student living a long time in Paris, Song presumably differs
from an occasional tourist in terms of her emotional investment and intellectual
expectations. But at her first appearance in the film, Song reveals certain tourist
characteristics. After being introduced by Suzanne to Simone, Song accompanies
Simon to a bakery. On their way, Song finds the image of a red balloon on the
sidewall of a building interesting and stops to shoot the scene with her digital camera.
As a resident of Paris, Simon is waiting, bored, on the sidewalk; once Song notices
this, she switches the focus to Simon and videotapes him all the way to a café, where
he then plays pinball by himself. This sequence no doubt refers to Lamorisse's short
film, in which a boy and a red balloon, for the most part, constitute the cast. Not only
is Song engaged in a typical tourist activity, she is also motivated to document all
walks of local life with their cameras. When one takes photographs, it is not possible
to intervene and participate in what is being photographed; a cameraperson is doomed
to be a distant observer. Because of Hou's bystander perspective, Song, as a substitute
for the director, often quietly observes the life of Suzanne's family, through which the
camera constructs a sense of Frenchness for the global audiences.
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film
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核心觀念
本題考查閱讀理解中的「主旨／作者寫作目的」：要找出全文各段共同服務的中心論點，而非只選擇與某一段內容相符的選項。
文章以侯孝賢的《紅氣球的旅行》為例，說明宋方在片中的敘事功能。她以外來者的身分觀察法國家庭與巴黎，並透過拍攝行為與紅氣球形成呼應；她的旁觀視角也替導演呈現法國家庭生活與巴黎城市景觀。
解題方法
先觀察段落重心：
- 第一段交代侯孝賢如何藉由既有作品熟悉巴黎，並帶出《紅氣球的旅行》。
- 第二段介紹電影中的人物與家庭情境。
- 第三、四段集中分析宋方、紅氣球與攝影機的旁觀視角，說明宋方如何觀察並記錄當地生活。
全文篇幅與論述重點都落在宋方的角色功能與觀看角度，因此主旨是解釋宋方為何出現在電影中，以及她在敘事上的作用；不是單純介紹電影情節或侯孝賢的生涯。
選項分析
第 Part III, 2 題
Part III: Please read the passages below and answer the questions (30%)
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film - The word precondition in the first paragraph is closest in meaning to (A) necessary
condition (B) preparation (C) conformation (D) confirmation
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本題為閱讀理解題，要求考生根據文章第一段的上下文，找出 "precondition" 一詞最接近的同義詞。
文章段落回顧：
"Before he made Café Lumière in Japan, Hou Hsiao-hsien did not himself believe
in the possibility of making a good film in a foreign country because he felt knowing
every detail of a place was the precondition for representing its "authentic" ambience."
單字分析：
- precondition: 預設條件；先決條件。指在某事發生之前必須滿足的條件。
上下文分析：
侯孝賢認為，要在異國拍攝一部好電影，必須「了解一個地方的每一個細節」，而他將此「了解」視為「representing its 'authentic' ambience」（呈現其「真實」氛圍
第 Part III, 3 題
Part III: Please read the passages below and answer the questions (30%)
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film - The word precondition in the first paragraph is closest in meaning to (A) necessary
condition (B) preparation (C) conformation (D) confirmation - Which of the following statements is incorrect, according to the article? (A) Song
sometimes behaves like a tourist (B) Song is a professional filmmaker (C) Suzanne
works in a theater (D) Song often quietly observes things around her without
intervention
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本題為閱讀理解題，要求考生根據文章內容，判斷哪個敘述是錯誤的。
文章內容回顧與各選項分析：
-
文章關鍵資訊：
- 侯孝賢拍攝《紅氣球》的過程，以及他對「真實感」的堅持。
- 宋方（Song Fang）是來自北京的電影學系學生，被聘為保姆。
- 宋方在片中是「局外人」，觀察法國家庭，拍攝自己的短片《紅氣球》。
- 宋方與紅氣球有象徵意義，兩者都代表「旁觀者」視角。
- 宋方在巴黎的行為，有時像遊客（拍攝紅氣球圖像），有時則記錄當地生活。
- 宋方（作為導演的替代者）是遠距離的觀察者。
- Suzanne（女主角）是離婚母親，在劇院為木偶配音。
-
(A) Song sometimes behaves like a tourist:
文章提到：「But at her first appearance in the film, Song reveals certain tourist
characteristics. After being introduced by Suzanne to Simone, Song accompanies
Simon to a bakery. On their way, Song finds the image of a red balloon on the
sidewall of a building interesting and stops to shoot the scene with her digital camera.
As a resident of Paris, Simon is waiting, bored, on the sidewalk; once Song notices
this, she switches the focus to Simon and videotapes him all the way to a café... Not only
is Song engaged in a typical tourist activity...」
這裡清楚描述了宋方像遊客一樣拍攝路邊的紅氣球圖像，並記錄西蒙的活動。所以，這個敘述是正確的。 -
(B) Song is a professional filmmaker:
文章描述宋方是「a Chinese student of cinema, Song Fang, who is from Beijing. ... for whom she hires Song as a nanny.」以及「In Hou's Flight, Song is an outsider who quietly observes the French family while looking aft
第 Part III, 4 題
Part III: Please read the passages below and answer the questions (30%)
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film - The word precondition in the first paragraph is closest in meaning to (A) necessary
condition (B) preparation (C) conformation (D) confirmation - Which of the following statements is incorrect, according to the article? (A) Song
sometimes behaves like a tourist (B) Song is a professional filmmaker (C) Suzanne
works in a theater (D) Song often quietly observes things around her without
intervention - How many people live in Suzanne's apartment? (A) 1 (B) 2 (C) 3 (D) 4
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本題為閱讀理解題，要求考生根據文章內容，計算居住在 Suzanne 公寓裡的人數。
文章內容回顧與人物梳理：
文章在描述 Suzanne 的公寓時提到：
"Centered on the life of a middle-class French family, Hou's story of the red
balloon is seen through the eyes of a Chinese student of cinema, Song Fang, who is
from Beijing. The protagonist, Suzanne (Juliette Binoche), is a divorced mother who
works dubbing marionettes in a theater and lives alone with her beloved son, Simon,
for whom she hires Song as a nanny. Also sharing Suzanne's two-story apartment is
her tenant, Marc, who has not paid rent for a long time..."
第 Part III, 5 題
Part III: Please read the passages below and answer the questions (30%)
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film - The word precondition in the first paragraph is closest in meaning to (A) necessary
condition (B) preparation (C) conformation (D) confirmation - Which of the following statements is incorrect, according to the article? (A) Song
sometimes behaves like a tourist (B) Song is a professional filmmaker (C) Suzanne
works in a theater (D) Song often quietly observes things around her without
intervention - How many people live in Suzanne's apartment? (A) 1 (B) 2 (C) 3 (D) 4
- The word navigate in the passage is closest in meaning to (A) negate (B) negotiate
(C) sail (D) travel
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本題為閱讀理解題，要求考生根據文章上下文，找出 "navigate" 一詞最接近的同義詞。
文章段落回顧：
"In terms of film narrative, just as Song wanders around to shoot her
own film, so does the red balloon, sometimes free to roam in the sky and sometimes
transfigured into an image on the façade of a building, leading the camera to navigate
the city and showing the audience the urban landscape of Paris in long shots."
單字分析：
- navigate: （尤指船隻或飛機）導航，領航；（尤指在困難或複雜的環境中）行進，穿越。
上下文分析：
句子描述紅氣球「leading the camera to navigate the city and showing the audience the urban landscape of
第 Part III, 6 題
Part III: Please read the passages below and answer the questions (30%)
- What could be the main purpose of this essay? (A) introduce Hou Hsiao-hsien's
career (B) introduce Hou's second foreign film (C) affirm Hou's interest in French
culture (D) explain why Song Fang appears in the film - The word precondition in the first paragraph is closest in meaning to (A) necessary
condition (B) preparation (C) conformation (D) confirmation - Which of the following statements is incorrect, according to the article? (A) Song
sometimes behaves like a tourist (B) Song is a professional filmmaker (C) Suzanne
works in a theater (D) Song often quietly observes things around her without
intervention - How many people live in Suzanne's apartment? (A) 1 (B) 2 (C) 3 (D) 4
- The word navigate in the passage is closest in meaning to (A) negate (B) negotiate
(C) sail (D) travel - What kind of job does Song do in France? (A) a tourist (B) a tourist guide (C) a
nanny (D) a student
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本題為閱讀理解題，要求考生根據文章內容，判斷宋方在法國（巴黎）從事的工作。
文章內容回顧與宋方角色分析：
文章中關於宋方的敘述：
- 「The protagonist, Suzanne (Juliette Binoche), is a divorced mother who works dubbing marionettes in a theater and lives alone with her beloved son, Simon, for whom she hires Song as a nanny.」
這句話明確指出，Suzanne 僱請 Song Fang 是擔任「nanny」（保姆）。 - 「In Hou's Flight, Song is an outsider who quietly observes the French family while looking after Simon.」
再次強調宋方的工作是「looking after Simon」（照顧Simon）。 - 「As an international student living a long time in Paris, Song presumably differs from an occasional tourist...」
文章也提到宋方是「an international student」（國際學生）。