《卷一最後提醒》
.
連續工作三十小時，頭先恰左兩個鐘only，眼唔係好打得開，可能會有d錯漏，煩請體諒，感謝。
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———總論———
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1、 文體：議論文機會大於記敘文，因為是參照過去趨勢，2011年《二十四孝圖》2013年《說誓》、2015年《論趣》、2017年《跑道》、2019年《傻子奴才聰...
《卷一最後提醒》
.
連續工作三十小時，頭先恰左兩個鐘only，眼唔係好打得開，可能會有d錯漏，煩請體諒，感謝。
.
———總論———
.
1、 文體：議論文機會大於記敘文，因為是參照過去趨勢，2011年《二十四孝圖》2013年《說誓》、2015年《論趣》、2017年《跑道》、2019年《傻子奴才聰明人》。但不清楚是否會出文化散文，如余秋雨的《文化苦旅》之類的。不過我與學生這個星期操練了四份閱讀，兩份記敘文，兩份議論文，有看拆題應該無事。其餘的，就沒辦法，各安天命了。都唔好覺得一定出邊種閱讀篇章，做過我四份閱讀，睇曬拆題就應該無事的。
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2、 篇章：有機會是兩篇+一篇文言文。如果是這樣，請先做範文→文言文→其餘時間都放係白話文就得.
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———範文———
→《師說》：擇師準則、寫作緣由、對比論證
→《逍遙遊》：有用無用、精神價值、社會反思、問及快樂與否
→《廉頗藺相如列傳》：人物之形象，可能與《論語》並讀，問及其中人物是否符合仁人君子之形象。
→《念奴嬌·赤壁懷古》：可能會問及，如何以反襯手法描寫蘇軾老大不成之情，且問及其如何釋懷消極之情。
→《月下獨酌》：問及其中一句詩詞符合擬人化，問及情感變化，問及釋懷消極之情。
→《聲聲慢》：如何用意象抒發情感、前後如何呼應、情感與時間變化、問及燕子、黃花、梧桐意象之運用。
→《山居秋暝》：問及如何反用典故，以抒發出世之情。
按：其他範文依舊需要溫習，只是之前出過，未必會翻炒而已，但學習為求包底，絕對需要溫習。而之所以要溫習《山居秋暝》和《念奴嬌·赤壁懷古》，乃是因為2018年問得太簡單，而《念奴嬌·赤壁懷古》在樣本試卷問過而已。
按2：自己的學生記得要溫習，十二月和一月的範文貼題整合，為大筆記的頭幾十頁，溫習曬歷來試卷整合已然好足夠。
.
———題型———
1、分段題目：可以從轉折字眼、時間、地點、情感、或者段落句去分段。議論文就從關聯字句、相同主題、問題作為分段依據。記得用「倒推法」。
2、描寫題目：多數為間接描寫，如襯托，如不可肯定可以寫間接描寫。
3、情感題目：記得要確切字眼，不可以長句子大包圍，2-4字就可以了。
4、性格特質：也是確切字眼，不可籠統包圍，自己心中想象是正面、負面，還是中性的。
5、改寫題目：則可以從文意表達、修辭效果、呈現情感入手
6、結構作用：過渡、承上啟下、鋪墊、呼應，要帶出如何運用此手法。議論文曾經出過結構內容題目，會考年度考起好多人，而我都同大家練習過，素以唔驚恐。
7、標題作用：統合全文、文章線索、情感抒發、文意升華。
8、結合全文：必定要引用文章、帶出主要內容或事件，且記得引用完畢用加以分析，才能高分。
9、修辭作用：（描寫手法、抒情手法屬於寫作手法）、比喻、借代、重複、排比、設問、反問。
10、人生階段：平平無奇→受人尊重→潦倒
11、語言節奏：慢、快、不快不慢
12、比喻題型：謹記得找到本體、喻體，多數都在文句前後位置
13、三式判斷：沒有提及先係無從判斷，部分正確屬於錯誤、完全正確先係正確
14、比較題型：謹慎記得比較意識，A的優勝處在於xxx，解釋之。與之對比，B則相對效果較差，在於xxx。兩者相比下，A比B，在於xxx。
15、行文風格：辛辣諷刺、語帶幽默、款款深情。
16、文言文作答時注意詞性，如名詞、動詞、形容詞。記得要翻到最後一版，係2012年時好多人miss左最後一題。
17、大多是以不同文化派別以寫文，例如儒家之入世，道家之出世，或是佛家，如不明白可以思索一下，自己所讀的範文篇章是否與之應合，即使不應合在問問題之中也會帶出文化流派。
.
———做卷步驟———
1、 先做範文
2、 再做文言文
3、 最後白話文
甲、 先速讀一次，睇標題、間低每段的人、事、物、情。議論文就用前中後法間低所有論點先。
乙、 分唔到，可以先跳過，做左後面先，後面幫助理解，調轉翻來做分段，效果更佳。
.
——最後建議——
1、可以今日做做議論文的PP，如2010、2011、2015、2017、2019年度的文章。
2、 不用寫出來，用腦設想一次，之後再對下考評報告就得，或者無就直接上去google打「中國語文考評會會議」，睇睇marking算。
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加油，祝大家旗開得勝。
本體論證 在 台中文史復興組合 Taichu Renaissance Association Facebook 的最佳貼文
#20200402上午8點30分起天外天劇場列暫定古蹟
文化部公告發文日期：中華民國109年4月2日
發文字號：文授資局蹟字第10930037051號
主旨：臺中市東區「天外天劇場」為暫定古蹟
依據：《文化資產保存法》第20條第2項，《文化資產保存法》第110條，「暫定古蹟條件及程序辦法」第2條及第4條規定辦理。
公告事項：
一、暫定古蹟地點：臺中市東區復興路四段140號
二、暫定古蹟本體及土地範圍：復興段四小段71號地籍：復興段「四小段6地號，立德段四小段1地號等2筆（詳如公告圖示）
三、暫定起訖時間：自109年4月2日8點30分起為期6個月
四、毀損刑責：依據文化資產保存法第103條規定毀損暫定古蹟之全部、一部或其附屬設施。處六個月以上五年以下有期徒刑，得併科新臺幣五十萬元以上二千萬元以下罰金。且未遂犯，罰之。
五，管理維護權責：依據文化資產保存法第20條規定暫定古蹟於審議期間內視同古蹟，應予以管理維護；其審議期間以六個月為限；必要時得延長一次。
六，聯絡方式：文化部文化資產局古蹟聚落組04-22177777，04-22177680，04-22177687七，對於本案行政處分如有不服，請依訴願法第14條及第58條，自本處分公告翌日起30日內，繕具訴願書逕送本部，並由本部函轉行政院提起訴願。
#立場聲明
天外天劇場多達749頁精彩的調查研究報告，其中提出諸多價值論證，卻判無價值的反差，這是文化資產今天所面臨的困境，必需重新檢討。我們期盼給予天外天劇場適切的文資身分，透過文資法的補償機制，創造保存與開發的多贏。
天外天劇場，從興建到凋零，戲裡戲外所牽涉的人事時地物，就是一部臺灣史！#保存天外天 #守護台灣史 #具國定古蹟價值
我們再次重申，文資法是創造多贏的政策工具
文資法存在的目的，並不是透過行政程序合理化捨棄文資價值的判定，違背文資立法立意。文化資產保存法的本意，其中包含「補償對所有權人因文資保存所受之特別犧牲的彌補，以平衡在商業利益與歷史文化價值間的落差，得以創造多贏的局面與政策工具。」
#20200330天外天劇場調查研究報告已公開
總共749頁的pdf檔，歡迎共同研讀
https://www.tchac.taichung.gov.tw/information?uid=48&pid=4231
#20200402新聞整理
（蘋果）台中天外天劇場叩關古蹟失敗 出動挖土機喊拆爆衝突
https://tw.appledaily.com/local/20200402/IIAFVQNAFLZ4VDKXO3I4AULP44/
（自由）包商突拆台中天外天劇場！文史團體趕到雙方對峙
https://news.ltn.com.tw/news/life/breakingnews/3120855
（自由）包商突除「天外天」劇場 文化部急送「暫定古蹟」公文挽救
https://news.ltn.com.tw/news/life/breakingnews/3121124
（中央社）天外天劇場面臨拆除 文化部公告暫定古蹟解危機
https://www.cna.com.tw/news/acul/202004020147.aspx
(公視）台中天外天劇場突拆除 文化部及時擋下
https://news.pts.org.tw/article/472928
（東森）台中最後一座日治老戲院「天外天」不列古蹟 地主開來怪手！文史團體抗爭
https://www.ettoday.net/news/20200402/1682561.htm
（聯合）「天外天」拆除與文史團體衝突 文化部緊急列暫訂古蹟
https://udn.com/news/story/7325/4463754
（中國）地方槓中央 台中市天外天列暫定古蹟不拆
https://www.chinatimes.com/realtimenews/20200402003061-260407
本體論證 在 VOP Facebook 的精選貼文
新刊預覽~~✨👀
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。
其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。
攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。
此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like t✨o thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
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Voices of Photography 攝影之聲
www.vopmagazine.com
本體論證 在 VOP Facebook 的最佳解答
Voices of Photography 攝影之聲
Issue 27 : 歷史與書寫專題
Histories and Writings Issue
自創刊以來，《攝影之聲》持續關注影像書寫、歷史與文化樣態，隨著2019年我們在台北「空總台灣當代文化實驗場」策劃一系列攝影史敘事工作坊並舉辦戰後東亞攝影史論壇，邀請攝影史研究者共同參與，推進攝影史研究與影像歷史意識的討論契機。本期特別刊載主講者文稿，在日本、韓國與台灣研究者對東亞攝影歷程不同的關注面向中，作為攝影與歷史論述的反思與參照。
其中，金子隆一重新定位1970年代攝影家自主藝廊在日本攝影發展中的位置，揭示非主流的創作脈動，何以是日本攝影史論中需要補遺的重要章節；陳佳琦探討1960年代台灣業餘攝影者參與日本攝影比賽的風潮，以及以日本攝影雜誌作為平台的競賽文化的可能影響，呈現出戰後台、日攝影界另類的民間交流場域；朴平鍾細述自日本殖民統治結束後，韓國攝影在現實主義與現代主義之間引發的論爭，疏理戰後韓國對於攝影認知的辯證與反省；戶田昌子析論1950年代的日本攝影表現，在脫離戰時的壓抑並逐漸獲得解放之後，受國際「主觀主義攝影」潮流影響所開展出日本攝影美學進程的時代軌印；張世倫從冷戰年代深埋於台灣社會的檔案線索與政治意識，檢視戰後台灣的影像操縱、治理機制，以及國族攝影史本身的建構和詮釋問題。
攝影，在與光學、化學、政治社會學、文化研究，乃至符號學與精神分析等學科譜系的結合中，已不斷延展、流動、重構，打開了攝影本體論的探索空間。謝佩君縷析自上世紀以來的攝影書寫歷程與跨領域的視覺理論，勾勒攝影理路的發展形貌，本期將開啟系列討論的首章。顧錚分享於德國海德堡大學客座期間開設攝影史課程的自身經驗，並提出攝影史學門研究邊界的批判思索。黎健強剖析攝影術初登香港的歷史推論系列來到末篇，為濕版法在1850年代於香港興起的考據，展現不同的史料論證。
此外，本期我們特別專訪陳傳興，刊載他於上世紀七〇年代末拍攝、四十年間未曾公開的照片及底片，一探銀鹽與光交集而生的影像喻意，以及他不停思辨的攝影本質論題。同時，我們也介紹高重黎的聲音與投影裝置新作，析解視聽機器現成物及獨特的一鏡到底、史上最長的「放影機電影」中的技術哲學。「攝影書製作現場」連載則進入「設計」單元，本期專訪日本設計師森大志郎，分享他細膩的平面設計語彙。
儘管維持出版的路途艱辛，這些年我們仍努力在有限的資源下，持續進行資料考掘整理、訪談記錄等基礎工作，緩緩開展以台灣及亞洲地緣為核心的攝影文化與歷史論述。感謝親愛的讀者與朋友的支持，讓我們在新的一年裡，繼續探索未知的影像星河。
▍購買本期 BUY | http://bit.ly/vop-27
Since its inception, Voices of Photography has always focused on the aspects of image writing, history and cultural forms. In 2019, we held a series of workshops on photography history narratives and a forum on history of post-war East Asian photography, at the Taiwan Contemporary Culture Lab in Taipei, Taiwan. We invited researchers in this field to join us, creating the opportunity to advance discussions on photography history research and awareness of imagery history. This issue features the manuscripts of our speakers at the event, which will serve as a reflection and reference for the photography and historical discourse in the eyes of our counterparts in Japan, South Korea and Taiwan.
Among them, Kaneko Ryuchi has redefined the position of independent photography galleries in the development of Japanese photography in the 1970s, revealing the creative pulses that transcended the mainstream and why it became an important chapter in the history of Japanese photography, waiting to be filled. Chen Chia-Chi takes a look at the trend of Taiwanese amateur photographers participating in photography contests in Japan in the 1960s, and the possible influence that Japanese photography magazines had on the culture of photo competition, thereby shedding light on an alternative platform through which folk exchanges happened between the Taiwanese and Japanese photography fields. Park Pyungjong details the controversy between realism and modernism in Korean photography following the end of colonial rule by the Japanese, and evaluates the dialectics and reflections surrounding Korea’s understanding of photography after the war. Toda Masako analyzes Japanese photography in the 1950s, the era of Japanese photographic aesthetics that was influenced by the trend of “subjectivism” in the international arena as the oppression of war gradually faded in time. Through archives and political consciousness buried deep in the core of the Taiwanese society since the Cold War era, Chang Shih-Lun examines the manipulation and governance mechanism of images, and issues with the construction and interpretation of the nationality in photography history.
When analyzed in combination with other disciplines such as optics, chemistry, political sociology, cultural studies, and even semiotics and psychoanalysis, the space for exploration of the ontology of photography is constantly stretched, moved, and reconstructed. Hsieh Pei-Chun analyzes the photographic writing process and the cross-domain visual theory since the last century while outlining the development of photography theories. This issue is the first in a series of discussions. Gu Zheng shares his own experience as a visiting professor on photography history at the University of Heidelberg, Germany, where he put forward a critical reflection on the boundaries of research in the field of photography history. Edwin K. Lai's analysis of the series of historical inferences from when photography first came to Hong Kong comes to an end, presenting historical evidence of the rise of the “wet-plate method” in Hong Kong in the 1850s.
In addition, we have a special interview with Cheng Tsun-Shing, featuring never-before-published photographs and negatives that he had taken in the late 1970s. We explore the imagery metaphors that are born when silver salt and light meet, and the issue of the essence of photography that he constantly philosophizes. At the same time, we feature Kao Chung-Li’s new works of sound and projection installations, analyzing the ready-made audio-visual equipment and the technical philosophy behind the unique one-take "projector movie", that is also the longest ever such film in history. The "Photobook Making Case Study" series also enters the "Design" chapter. In this issue, we interview Japanese designer Mori Daishiro and he shares his experiences in the area of graphic design.
Although the journey of publication is difficult, we have been striving to continue with the basics of data exploration, collation, and interviews with limited resources, as we slowly expand the photography culture and historical discourses of Taiwan and Asia and showcase them to the world. We would like to thank all our dear readers and friends for your utmost support. Let us continue to explore the unknown universe of images in the new year.
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Voices of Photography 攝影之聲
www.vopmagazine.com