115中央大學附屬中壢高中教甄英文科試題

I. Passage Completion (10%)

第1題至第10題為題組

A baby monkey in Japan has captured hearts around the world after videos of him being bullied by other monkeys and rejected by his mother went viral.

Punch, a Japanese macaque, was born in July last year at Ichikawa City Zoo. He has 1 international attention after zookeepers gave him a stuffed orangutan toy after he was abandoned by his mother. Without 2 guidance to help him integrate, Punch has turned to the toy for comfort. He has been filmed multiple times being dragged and 3 by older Japanese macaques inside the enclosure. Early clips showed him wandering alone with the toy after being pushed away by other monkeys, and clutching it tightly while being harassed. Viewers were briefly 4 when later videos emerged of another monkey grooming and comforting him.

The videos have 5 questions about why monkeys abandon their babies. Alison Behie, a primatology expert at Australian National University, said such abandonment is unusual, but can occur under certain conditions, citing “age, health and inexperience” as possible factors.

“In Punch’s case, their mother was a first-time mother, indicating 6 ,” Behie said. “Zookeepers also suggest Punch was born during a heatwave, which would be a high stress environment. In environments where survival is threatened from outside stress, mothers may give 7 to their own health and future reproduction rather than continue to care for an infant whose health may be compromised by those environmental conditions,” she added.

Carla Litchfield, a conservation psychologist at Adelaide University, commented on Punch’s situation: “This story about Punch highlights the impacts of habitat loss, climate change, zoo animal welfare, and the power of social media to connect people to animals. However, 8 , the millions of social media likes and attention won’t 9 the problem of illegal trade in infant monkeys for the exotic pet trade, because everyone thinks baby monkeys are cute and would make a great pet. Monkeys grow up quickly — Punch will be an adult in four years — and people no longer find them 10 and manageable. Monkeys belong with other monkeys. They are social beings and need to be with their own species to thrive mentally and physically.”

(A) endearing (B) intimidated (C) gloomily (D) maternal (E) exacerbate

(AB) savvy (AC) precedence (AD) garnered (AE) inexperience (BC) prompted

(BD) hopefully (BE) mollified

一隻在日本出生的小猴子，因為被其他猴子欺負、還被母親拋棄，相關影片在網路上瘋傳，引起全球關注。

這隻名叫 Punch 的日本獼猴，去年 7 月出生在市川市動物園。因為被母親遺棄，動物園人員給了他一個絨毛紅毛猩猩玩具，他因此引起了國際關注。由於沒有母親的照顧與教導，他無法融入猴群，只能依賴這個玩具尋求安慰。

影片中多次拍到他被年長猴子拖行、威嚇。早期畫面顯示，他孤單地抱著玩具遊走，還被其他猴子排擠、騷擾。後來有影片顯示另一隻猴子幫他整理毛髮並安撫他，讓觀眾稍微放心。

這些影片也引發大家思考：為什麼猴子會拋棄自己的孩子？專家表示，這種情況雖然少見，但在某些條件下會發生，例如母親年齡、健康狀況或缺乏經驗。

以 Punch 的案例來說，他的母親是第一次當媽媽，顯示她缺乏經驗。此外，Punch 出生時正值熱浪，環境壓力很大。在這種情況下，母猴可能會優先考慮自身健康與未來繁殖，而不是繼續照顧可能難以存活的幼猴。

專家也指出，這個故事讓人們關注棲地破壞、氣候變遷、動物福利，以及社群媒體的影響力。然而，即使有大量關注與按讚，也無法解決非法販賣幼猴作為寵物的問題。因為人們覺得小猴子很可愛，但牠們很快長大後，就不再可愛且難以飼養。猴子應該和同類生活，才能在心理與生理上健康成長。

1.(AD) garnered garner attention = 獲得關注

2.(D) maternal maternal guidance = 母親的引導

3.(B) intimidated被威嚇、欺負

4.(BE) mollified mollified = 被安撫、放心

5.(BC) prompted prompted questions = 引發問題

6.(AE) inexperience新手媽媽 → 缺乏經驗

7.(AC) precedence give precedence to = 優先考慮

8.(BD) hopefully句意：然而「即使抱持希望地說」，後面仍是否定效果

9.(E) exacerbate

這裡其實語意是「無法解決」，但選項最接近的是加劇（語境偏負面）

10.(A) endearing可愛討喜的

By the mid-1890s, three new kinds of music had begun to filter into New Orleans. The first was ragtime, the outgrowth of the decades-old African-American improvisational practice of ‘ragging” tunes—rearranging them to provide livelier, more danceable versions. It was created by black musicians in the urban Midwest who had found a way to recreate the percussive sound of the banjo on the piano. 11 . Spread first by traveling pianists and then through the sale of sheet music, ragtime music caught the fancy of young dancers all over the country who love it all the more because it encouraged young men and women to dance close together as couples rather than in groups. Their parents were less than enthusiastic. “ 12 ,” wrote one

critic. “Whether it is a passing phase in our decadent art culture or an infectious disease which has come to stay, only time will tell.”

Despite that type of criticism—and in part perhaps because of it, ragtime had indeed come to stay; self-assured, dynamic, irresistible, it would be America’s best-loved music for a quarter of a century. Nowhere was ragtime more popular or more ubiquitous than in the city of New Orleans. By the turn of the century, New Orleans musicians, in dance halls as well as street parades, were routinely giving every kind of music the ragtime treatment. Meanwhile, a steady stream of African Americans from the Mississippi Delta was pouring into New Orleans, people for whom even the hard labor on the levee promised a better life than any they could hope to have back home, chopping cotton or cutting sugar cane. They brought with them two interrelated forms essential to the development of jazz—the sacred music of the Baptist church and that music’s profane twin, the blues. No one knows where or when the blues was born. Blues lyrics could be about anything—empty pockets, a mean boss, the devil himself—but more were about the relationship between men and women. Each performer was expected to tell a story and to make the listener feel better, not worse. The earliest blues singers—wandering guitarists who played for pennies along southern roads—followed no strict musical form. But as first New Orleans musicians and then others around the country began to play the blues on their instruments and songwriters started to see commercial possibilities in them, an agreed-upon form was developed. 13 . This structure somehow allowed for an infinite number of variations and were capable of expressing an infinite number of emotions.

The blues were good-time music, which was why, to many churchgoers, they were considered the work of the devil. 14 .

And in the 1890s, the distinction would blur still further as the new Holiness churches that had begun to spring up nationwide in the black neighborhood of big cities started employing tambourines, drums, pianos, cornets, even trombones in order to make

their noise still more joyful to the Lord. “Those Baptist rhythms were similar to the jazz rhythms,” said the New Orleans banjoist John St. Cyr,” and the singing was very much on the blues sides.” Both spirituals and blues were a form of prayer. One way was praying to God and the other was praying to what’s human. 15 . New Orleans musicians would be the first to deepen the infinitely expressive sound of the blues by bringing it to their horns, the first to echo the collective ‘moan” of the congregation, the first to reproduce the call-and-response patterns of the religious leader and his or her flock.

(A) Jazz music would eventually embody both kinds of invocation, the sacred and the secular

(B) The syncopated rhythms characteristic of ragtime influenced the full spectrum of music in New Orleans and paved the way for the development of jazz

(C) But musically, the blues and the hymns black Baptists sang and played in church had always been virtually interchangeable—filled with identical bent notes, moans and cries

(D) Ragtime drew upon everything that had gone before—spiritual songs and minstrel tunes, European folk melodies, operatic arias and military marches—all filled with broken chords and set to fresh rhythms

(E) Ragtime is syncopation gone mad

(AB) Stripped to the essentials, the blues came to be built on just three chords most often arranged in twelve bar sequences

(AC) Fostered by the singers and guitar players coming from Mississippi farms, improvisation and the emotional telling of stories became a fundamental expression of jazz

原文重點

It was created by black musicians… recreate the banjo sound on the piano. (11)

前面在講：

誰創造（黑人音樂家）怎麼做（模仿班卓琴聲音）

所以空格要補：
繼續補充 ragtime 的來源或組成 正確答案：(D)

Ragtime drew upon everything that had gone before…

為什麼對？

延續「來源」列出多種音樂來源（靈歌、民謠、歌劇等）
和前一句完全同一主題

第12題（關鍵：批評語氣）

Their parents were less than enthusiastic. “ 12 ,” wrote one critic.

關鍵訊號：parents 不喜歡 critic（評論家）一定是負面評論

正確答案：(E)

Ragtime is syncopation gone mad

中文：拉格泰姆是「瘋狂的切分節奏」

語氣強烈（mad）明顯負評完全符合「家長不喜歡」

第13題（關鍵：結構 / form）

原文an agreed-upon form was developed. (13)

form（形式）➡️ 空格要補「音樂結構」

正確答案：(AB)

built on just three chords… twelve bar sequences

中文：藍調通常由三個和弦組成，形成12小節結構

第14題（關鍵：轉折 But）

原文

The blues were good-time music… work of the devil. (14)

前面說：藍調被教會認為是「邪惡」

所以空格應該：轉折：其實它和教會音樂很像 正確答案：(C)

But musically, the blues and the hymns… were interchangeable

中文：但在音樂上，藍調和教會聖歌幾乎一樣

為什麼對？有 But（轉折） 解釋為什麼會混淆

第15題（關鍵：全文總結）

原文Both spirituals and blues were a form of prayer… (15)

前面在說：一個是「向上帝祈禱」一個是「表達人性」

所以空格要：總結這兩種融合 → 爵士 正確答案：(A)

Jazz music would eventually embody both kinds…

中文：爵士樂最終融合了神聖與世俗兩種形式

Printmaking, often perceived as a traditional or secondary art form, has in fact played a central role in shaping human communication, education, and visual culture. At its core, printmaking involves transferring an image from a prepared surface—such as wood, stone, metal, or mesh—onto another medium, typically paper or fabric. What distinguishes printmaking from other art forms is not merely its technical process, but its inherent capacity for reproduction. This characteristic has allowed printmaking to transcend the boundaries of art and enter the realm of everyday life. In contemporary society, the influence of printmaking is ubiquitous yet frequently overlooked. Newspapers, textbooks, packaging, posters, clothing designs, stamps, and even decorative household items are all products of print-based techniques. These objects, though mundane in appearance, collectively demonstrate how printmaking functions as an invisible infrastructure supporting modern visual communication. Rather than existing solely within museums or galleries, printmaking operates at the intersection of art, industry, and daily experience.

To understand the medium’s versatility, one must examine its technical foundations. Printmaking encompasses four major methods, each reflecting a distinct approach to image transfer. Relief printing relies on raised surfaces to transfer ink (like a rubber stamp), while intaglio printing involves incised lines that hold the ink to produce rich tonal depth. Planographic printing, such as lithography, depends on the chemical repulsion between oil and water on a flat surface, and screen printing forces ink through a mesh stencil to create bold, graphic images. While these techniques differ mechanically, they all share the fundamental principle of creating multiple impressions from a single matrix.

Historically, these techniques emerged from humanity’s desire to record information and preserve cultural memory. Long before the invention of paper, ancient civilizations carved images and symbols into durable materials. In China’s Shang Dynasty, oracle bones and bronze vessels were engraved with characters that documented rituals and political events. By the Han Dynasty, stone carving had become a widespread means of recording texts, while the Tang Dynasty witnessed the flourishing of woodblock printing—a form of relief printing—particularly for the mass production of Buddhist scriptures. Parallel developments occurred in medieval Europe, where woodcut prints facilitated the spread of religious imagery and literacy. The significance of printmaking extends beyond historical documentation; it fundamentally altered the transmission of knowledge. In eras when education was limited by geography and social class, printmaking enabled texts and images to be reproduced efficiently and distributed widely. This technological shift contributed to the democratization of knowledge, laying the groundwork for modern educational systems. Without printmaking, the large-scale circulation of ideas that fueled scientific, religious, and cultural movements would have been inconceivable. From an artistic standpoint, printmaking also challenged longstanding assumptions about originality and authorship. Traditional art theory often equated artistic value with singularity, emphasizing the uniqueness of a handcrafted object. Printmaking disrupted this notion by allowing multiple impressions to be created from a single matrix, while still recognizing each print as an original work. This paradox—originality through repetition—expanded the conceptual boundaries of art and redefined the relationship between the artist, the artwork, and the audience. Numerous influential artists have embraced printmaking precisely for this conceptual and technical flexibility. Figures such as Pablo Picasso and Edvard Munch utilized print techniques to explore emotional intensity and formal experimentation. In the twentieth century, Andy Warhol’s use of silkscreen printing exemplified how mechanical repetition could become a critical commentary on consumerism and mass media. Likewise, Japanese ukiyo-e prints illustrate how color printmaking captured the aesthetics, social life, and values of a particular historical moment. In recent decades, printmaking has undergone further transformation through its integration with digital technology and spatial art practices. Contemporary artists increasingly reject the limitation of flat surfaces, incorporating printmaking into installations, architectural spaces, and mixed-media works. By layering images, manipulating transparency, and combining traditional techniques with digital processes, artists continue to reinvent printmaking as a dynamic and evolving medium. In conclusion, printmaking is not merely an art form of the past but a living practice that bridges history, technology, and everyday life. Its ability to reproduce images without sacrificing expressive power has enabled it to shape cultural consciousness across centuries. Even in an age dominated by digital media, printmaking continues to influence how knowledge is circulated, how art is defined, and how visual meaning is constructed.

16. Which of the following serves as the best title for this passage?

(A) How Popular Art Figures Employ the Power of Printmaking

(B) Printmaking in Everyday Life: From Reproduction to Reinvention

(D) Reintroduction and Applications of the Gradually Diminishing Printmaking

17. What is the author’s primary purpose in the passage?

(A) To compare the technical advantages of traditional printmaking against modern digital formats.

(B) To chronicle the chronological development of printmaking from the Shang Dynasty to the present.

(D) To highlight printmaking’s enduring role in shaping communication, culture, and artistic definition.

18. What inference can be drawn regarding the relationship between printmaking and social structure?

(A) Printmaking primarily reinforced existing social hierarchies

(B) Printmaking contributed to the gradual democratization of knowledge

(D) Printmaking discouraged the development of alternative communication methods

19. What does the passage suggest about the integration of digital technology in contemporary printmaking?

(A) It has fundamentally replaced the need for physical matrices like wood or stone.

(B) It has primarily served to restore ancient techniques lost during the industrial era.

(D) It has shifted the focus of printmaking away from mass reproduction toward unique, singular installations.

20. Which of the following best compares and contrasts the printmaking techniques?

(A) Relief printing transfers ink from raised areas, intaglio printing from incised lines, planographic printing from chemically treated flat surfaces, and screen printing by forcing ink through a mesh.

(B) Relief and intaglio printing rely on the same chemical principles as planographic printing, while screen printing is primarily a digital process.

(C) Relief and screen printing both involve raised surfaces, whereas intaglio and planographic printing depend on carved grooves to hold ink.

(D) Intaglio and relief printing both require incised lines to transfer ink, while planographic printing uses physical pressure

rather than chemical interaction.

文章從「印刷的再現性」→「日常生活影響」→「技術」→「歷史」→「藝術與現代發展」，是一個全面性＋演變性的介紹。

(B) Printmaking in Everyday Life: From Reproduction to Reinvention

“Everyday Life” 對應第二段（日常應用）

“Reproduction” 對應核心概念（複製性）

“Reinvention” 對應最後（數位與當代發展）

A：只講藝術家（太窄）

C：只講技術（不全面）

D：說逐漸消失（文章完全相反）

17. 作者目的

核心主旨句（第一段＋結論）：

印刷術「深刻影響溝通、文化與藝術」，而且「至今仍然重要」。

(D) To highlight printmaking’s enduring role in shaping communication, culture, and artistic definition.

A：沒有比較數位 vs 傳統

B：不是單純歷史年表

C：沒有批評語氣

18. 推論題（社會結構）

關鍵句：“contributed to the democratization of knowledge”

democratization = 知識普及化（不再只屬於少數人）

(B) Printmaking contributed to the gradual democratization of knowledge

A：強化階級（相反）

C：只限宗教（不對）

D：阻礙其他方式（沒提）

19. 數位科技的影響

關鍵句：“combining traditional techniques with digital processes”

“incorporating… installations, architectural spaces”

A：取代傳統（沒有說）

B：恢復古法（無）

D：變成單一作品（錯，仍有複製性）

20. 技術比較題

文章第三段有清楚定義：

Relief：凸面上墨

Intaglio：刻線藏墨

Planographic：油水排斥

Screen：網版壓墨其他選項都有錯誤概念（混淆原理）

Few experiences are as universally deprecated as boredom. Waiting in line, sitting through an unengaging lecture, or staring out of a train window with nothing to do are commonly described as temporal voids. Yet for much of human history, boredom was not regarded as a problem requiring immediate elimination. Only in recent decades has it come to be treated as an intolerable condition—one that must be filled, distracted from, or optimized away. Consider a familiar modern scene: a group of people waiting at a café counter. Within seconds, most reach reflexively for their smartphones. What was once a brief, empty pause is now occupied by scrolling, notifications, or short videos. This behavior is often justified in terms of efficiency or entertainment, but humanistic inquiry suggests a deeper cultural shift. The disappearance of boredom reflects not merely technological convenience, but a transformed relationship to time, attention, and the self. Philosophers have long argued that boredom plays a paradoxical role in human experience. In the nineteenth century, thinkers such as Schopenhauer viewed boredom as evidence of the vacuity of human desire, while later existentialists treated it as a confrontation with the void. In both cases, boredom was unsettling precisely because it removed distraction. When external stimuli recede, individuals are forced to encounter their own thoughts, anxieties, and unresolved questions. Boredom, in this sense, was not passive, but revelatory. Modern technologies increasingly circumvent this encounter. Algorithms are designed to minimize friction and maximize engagement, ensuring that moments of silence or inactivity are quickly replaced with content. Commuters no longer sit idly; instead, they consume news headlines, social media updates, or entertainment curated specifically for them. While this constant stimulation may appear benign, it subtly erodes cognitive depth. Attention becomes fragmented, and the tolerance for unstructured time diminishes.

Educational settings provide a concrete example of this shift. Teachers frequently report that students experience discomfort when asked to read long texts without interactive elements or immediate rewards. What previous generations might have experienced as mild boredom—an invitation to daydream or reflect—is now perceived as deficiency on the part of the instructor. The expectation that learning should always be engaging reflects a broader cultural assumption: that boredom has no legitimate place in industrious life. The humanities challenge this assumption by reframing boredom as a condition with potential value. Literary narratives often depict boredom as the starting point of insight or transformation. Marcel Proust famously suggested that involuntary memory arises not from constant stimulation, but from moments of idle repetition. Similarly, historians of science note that many discoveries emerged during periods of apparent inactivity, when attention was free to wander rather than tightly controlled. At the social level, the eradication of boredom may also have political implications. When individuals are continuously occupied, they have fewer opportunities for critical distance. Sociologists argue that boredom once created spaces for dissatisfaction to surface, prompting reflection on social conditions. Without such pauses, discomfort is immediately anesthetized rather than examined. The result is not contentment, but a persistent low-level restlessness that lacks direction.

This does not mean that boredom should be romanticized or deliberately imposed. Chronic boredom, especially when linked to social exclusion or lack of opportunity, remains deeply detrimental. The humanistic point is subtler: a culture that cannot tolerate boredom may also struggle to tolerate introspection, patience, and ambiguity. By eliminating empty time, society risks eliminating the very conditions under which creativity and ethical reflection emerge. Ultimately, the question is not whether boredom should be avoided, but what is lost when it disappears entirely. In a world

optimized for constant engagement, boredom may be one of the last experiences that allows individuals to step outside programmed rhythms and encounter themselves without mediation.

21. Considering the multiple contexts in which boredom is discussed—daily life, education, and technology—what is the primary purpose of the passage?

(A) To diagnose boredom as a psychological deficit resulting from technological overreliance.

(B) To argue that boredom, while uncomfortable, is a revealing experience with cultural significance.

(D) To advocate for a return to traditional leisure practices as a remedy for modern disengagement.

22. Based on the café example and broader discussion of digital technology, which of the following is most strongly implied by the passage?

(A) Constant digital stimulation transforms attention and diminishes tolerance for unstructured or idle moments.

(B) Smartphones primarily function to facilitate meaningful and frequent face-to-face social interaction.

(D) The presence of digital engagement eliminates the need for cultural or educational consideration of idle time.

23.The passage’s discussion of students’ reactions to lengthy, non-interactive texts primarily serves to illustrate that _______________

(A) contemporary learners lack the cognitive stamina required for rigorous intellectual inquiry.

(B) cultural expectations shape how boredom is interpreted, leading it to be perceived as instructional failure.

(D) teachers must always incorporate digital or interactive tools to maintain student engagement.

24. Which statement best reflects the author’s perspective on the potential value of boredom?

(A) Boredom can provide conditions for reflection, creativity, and insight that structured engagement cannot.

(B) Continuous digital engagement is generally superior to idle time for developing cognitive and moral capacities.

(D) Technology renders boredom irrelevant and unnecessary in contemporary human life.

25. Which hypothetical finding would most substantially reinforce the author’s argument concerning the consequences of boredom’s disappearance?

(A) Data demonstrating that boredom is widely disliked and avoided by individuals across all demographic groups.

(B) Surveys indicating that students report greater levels of happiness when they are constantly entertained.

(D) Empirical studies showing that creative and intellectual insights frequently occur during periods of idle or unstructured time.

一、文章主旨
本文主要在說明：無聊雖然令人不適，但其實具有重要的認知與文化價值，而現代科技正在讓這種經驗逐漸消失。

二、段落重點整理

第一段（現象）
現代人普遍無法忍受無聊，例如在咖啡店排隊時會立刻拿出手機。作者指出，這不只是科技便利，而是人類與時間、注意力、自我之間關係的改變。

第二段（哲學觀點）
哲學家認為無聊具有重要意義。當外在刺激消失時，人會被迫面對自己的思想與焦慮，因此無聊是一種揭示內在的經驗，而非單純的空白。

第三段（科技影響）
現代科技透過演算法不斷提供內容，使人幾乎沒有無聊的時刻。結果是注意力變得零碎，對空閒時間的忍受度降低，思考深度也受到影響。

第四段（教育例子）
學生對長篇、缺乏互動的文本感到不適，並將無聊歸咎於教師。這顯示文化已經改變了人們對無聊的理解，使其被視為教學失敗。

第五段（人文觀點）
文學與歷史指出，無聊常是創造與洞見的起點。例如作家 Marcel Proust 認為記憶與靈感往往來自無所事事的時刻。

第六段（社會層面）
過去無聊提供反思社會的空間，但現在不適感會立即被娛樂取代，使人缺乏批判距離與深度思考。

第七段（結論）
作者強調，不是要美化無聊，而是指出一個無法容忍無聊的社會，可能也無法進行反思、耐心思考與創造。

三、題目詳解

21題
答案是 (B)
文章主旨在說明無聊雖然令人不舒服，但具有揭示性與文化意義。其他選項要嘛過度簡化為心理問題，要嘛錯把重點放在科技或回歸傳統。

22題
答案是 (A)
咖啡店的例子顯示，人們透過手機填滿空檔時間，暗示數位刺激已改變注意力，使人難以忍受沒有結構的空閒時間。

23題
答案是 (B)
學生對長文本的不適說明，文化已經影響人們如何解讀無聊，使其被視為教學問題，而非正常經驗。

24題
答案是 (A)
作者認為無聊可以促進反思、創造與洞見，這是全文反覆強調的核心觀點。

25題
答案是 (D)
如果有研究證明創意與洞見常出現在無聊或閒置時間，將直接支持作者的論點，是最有力的補強。

四、總結
本文的核心在於指出，現代社會雖然成功減少無聊，卻可能同時削弱了人類進行深度思考、自我反省與創造的能力。

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