18. With a sense of ______, she opened the casket and examined the content.

(A) nothingness
(B) foreboding
(C) mood
(D) melodrama
【共 7 頁，第 1 頁】

19. The principal spoke ______ about the importance of respecting cultural differences on campus. (A) casually (B) violently (C) randomly (D) deliberately

20. The government recently launched a program to reduce educational ______ between urban and rural areas. (A) equality (B) stability (C) disparity (D) prosperity II. Reading Comprehension (21~24) Many readers assume that Shakespeare invented all of his stories, but this is not entirely true. In fact, he borrowed plots from a variety of sources, including history books, legends, myths, and earlier literary works. However, his genius (21) creating completely original plots but in transforming familiar stories into complex dramas filled with memorable characters and powerful language. For example, Romeo and Juliet was based on an Italian tale that existed long before Shakespeare adapted it. Similarly, Hamlet drew inspiration from Scandinavian legends. Shakespeare frequently reshaped these stories, (22) psychological depth and emotional complexity that made them timeless. This practice was common during the Renaissance. Writers often adapted existing materials rather than creating entirely new narratives. (23) was his ability to enrich these sources and make them (24) audiences of his time. As a result, his plays continue to be studied and performed more than four centuries after his death.

21. (A) lie not (B) lay not (C) lay not in (D) lie not in

22. (A) add (B) to add (C) added (D) adding

23. (A) What distinguished Shakespeare (B) What Shakespeare distinguished (C) Shakespeare distinguished what (D) What Shakespeare to distinguish

24. (A) relevant (B) to relevant (C) be relevant (D) relevant to (25~30) In the realm of contemporary fiction, memory has shed its old skin as a mere filing cabinet. We no longer see it as a simple retrieval system; instead, it has emerged as something far more restless and unreliable—a constant, messy process of reconstruction. This literary turn actually tracks right alongside cognitive science, which has long since discarded the tidy videotape metaphor of the mind. Today, both novelists and neuroscientists tend to view memory as a palimpsest: a piece of vellum where new experiences are etched directly over the faded ghosts of the old. The British author Virginia Woolf understood this intuitively. Her “moments of being” were not just stylistic flourishes; they were profound excavations of the psyche. Woolf reminds us that our daily consciousness is really just a thin crust over a deep, dark reservoir of past impressions. However, these impressions are not fossils preserved in amber. They erode, and they shift under the weight of how we feel today. This fluidity is unsettling because it threatens the very idea of a stable self. If the memories that define us are forever in flux, then who we are is less a granite monument and more a provisional story—one we are forced to rewrite every day just to keep our sanity intact. Crucially, we need to stop viewing forgetting as a glitch in the system. Indeed, many educational psychologists now argue that forgetting is actually a biological imperative. If we were doomed to remember every trivial detail, we would essentially drown in the noise, unable to discern any meaningful patterns in our lives. From this perspective, erasure is not a loss; rather, it is a filter. And it is the very thing that allows significance to surface. In a digital age that enables us to archive everything forever, our human ability to let things go might just be our most essential defense against a world that never stops recording.

25. According to the passage, how has the conceptualization of memory changed in both literature and science? (A) It has now come to be viewed as an infallible recording of past events. (B) It has moved from a static retrieval model to a dynamic reconstructive process. (C) It is increasingly seen as a physiological burden rather than a cognitive asset. (D) It has been simplified through the use of technological metaphors like the videotape.

26. According to the passage, what is the author’s view on the relationship between memory and the self ? (A) A stable identity is considered impossible because memory is largely biological rather than narrative. (B) The self is viewed as a fixed entity that remains mostly unaffected by the fluctuations of memory. (C) Identity is a temporary construct maintained through the constant revision of past experiences. (D) Narrative techniques in literature have finally been able to provide a permanent structure for the self. 【共 7 頁，第 2 頁】

27. What does the author imply about the digital age in the passage? (A) Digital permanence directly opposes human erasure needs. (B) Digital archiving will replace human selective memory. (C) Indiscriminate storage best ensures human psychological coherence. (D) Misunderstood educational psychology calls cognitive overload a myth.

28. According to the passage, what can be inferred about the nature of memory? (A) New memories would completely erase and replace older ones, leaving the mind a blank slate. (B) Objective documentation of reality is achieved by human memory through a flawless, mechanical process. (C) Human memory is as fragile as ancient vellum and therefore demands continuous preservation. (D) Memory is a layered phenomenon where past and present experiences influence and obscure one another.

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