4. Translate the following two sentences into English: (10% for each)
 (A)工業自動化技術的發展,仰賴裝置於設備當中的各種感測元件,尤其是微型化感測器。 

(B)微機電製造技術承襲於半導體工業,目前已經用於生產微型壓力計、慣性感測器、光學感測器以及生醫感測器。

I. Please translate the following English passages into Chinese.       The coronavirus pandemic is a warning for humanity. It is a reminder that, despite all our technological progress, humanity remains vulnerable to catastrophes that shake the world. Many have taken to calling 2020 an unprecedented time - but the truth is precisely the opposite. We have long been vulnerable to devastating pandemics. The Black Death of 1346-53 killed around one-tenth of the world's population, including about a third of the people in Europe. The introduction of European diseases into the Americas may have killed as many as 90% of the people living there - again a tenth of the world's population. And just a hundred years ago, the 1918 flu (the first truly global pandemic) killed about one in 30 people across the world. What would have been truly unprecedented is if our vulnerability had ended. This catastrophe is simply part of a very long-running trend.      Yet there is one sense in which our time is without precedent. With the development of nuclear weapons in the 20th century, humanity's escalating power finally reached the point where we could cause catastrophes on the largest possible scale: the destruction of our own species, and with it, everything we could have achieved or become. Like all species, we have always been vulnerable to a small background of natural extinction risks, but these have now been outstripped by risks of our own creation. The existential risk of nuclear war was soon joined by that of extreme climate change, and this century will bring even greater risks from advanced biotechnology and artificial intelligence. Will we wake up to these risks in time, taking the steps needed to control them, or will we continue to focus on other things until the risks catch up with us? This will be the defining question of our age - and perhaps of the entire human story.(Excerpted from The World in 202/, the Economist)

II. Please translate the following Chinese passages into English. 優席夫(YosifuKacaw)是花阿美族,非繪科班出身,毫無繪畫基礎,37歲之前從未嘗試繪畫創作,因為一個人生的轉折,來到英藝術之都一一愛丁堡,展開他的繪畫創作生涯,也是目前少數在歐洲以原住民為主題推動台灣文化並成功發展的原住民藝術家。優席夫的畫作以大地色系證釋原住民樂觀開朗的天性,大量運用天空藍、火龍果紅、芒果緣等色系,主题活潑鮮明。他專注在用色強烈且具戲劇張力的效果上創作,通常在簡單的祝覺上,往往還透露了對人性與社會議題的見解,尤其巧妙的運用了東西方元素的特質,襯托出原住民最美麗、自然的天性,在困難弱勢環境中仍有開朗、美麗的笑容展示出來。優席夫具有天生的才藝,似乎有著一雙魔幻之眼,能用光彩與色彩渾然天成的表達。他用普眷風的創作,一筆筆勾勒出天地最純粹的美麗,現在定居愛丁堡、四處旅行的他,不斷累積藝術素養,持續成長。(精进自台灣好基全會優席夫工作宝簡介)

一、請從「心」、「性」、「情」、「天」等概念,說明《孟子》如何論證其人性論的內涵。 

二、魏晉玄學的思想主軸在於自然與名教的调和,请以郭象《莊子注》為例,說明其儒道會通的思想內涵。

三、請比較陸象山的「心即理」和朱「性即理」,這兩位理學家的思想系統之差異。

 (1) 此段文獻,出自那位作者的那篇文章?

(2)此段文獻不断出現有」、「無」雨概念,請疏理整段文獻中不同脈络的「有」「無」意義。

(a). (10%) Explain the sampling theory.

(b). (10%) What is the Nyquist criterion?

(c). (5%) What is color noise?

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