1. 宋人沈括在《夢溪筆談》一書中曾批評北宋初期大畫家李成，他說：
李成畫山上亭館及樓閣之類，皆仰畫飛檐。其說以調「自下望上，如人立平地望塔檐間，見其穩梅」。此論非也。大都山水之法，蓋以大觀小，如人觀假山耳。若同真山之法，以下望上，只合見一重山，豈可重重悉見，兼不應見溪谷間事。又如屋舍，亦不應見中庭及巷中事。若人在東立，則山西便合是遠境，人在西立，則由山東合是遠境。似此如何畫成？李君概不知以大觀小之法，其間折高折遠，自有妙理，豈在仰屋角也。
請以600字為限，指出沈括批評李成的重點何在，並以此論說傳統繪畫在視覺美學的空間構造的「妙理」為何？與西方繪畫以焦點透視為方法的不同之處為何？（25%）
2. 請以「傳播媒介的作用」為主旨，寫一則生活中的小故事，親身經歷或虛構均可正面或負面均可，歡樂、搞笑、溫馨、悲傷均可。請以500字為限，不需太長，重點在於表現你的敘事能力和觀察能力。（25%）
3. Please translate the following English text into Chinese. (25%)
Imagine a world that considers knowledge to be “elitist”. Imagine a world in which it is not medical knowledge but a free-for-all opinion market on Twitter that determines whether a newly emergent strain of avian flu is really contagious to humans. This dystopian future is still just that-a possible future. However, there are signs that public discourse is evolving in this direction: terms such as “post-truth” and “fake news”, largely unknown until 2016, have exploded into media and public discourse. This article explores the growing abundance of misinformation in the public sphere, how it influences people and how to counter it. We show how misinformation can have an adverse impact on society, for example by predisposing parents to make disadvantageous medical decisions for their children. We argue that for countermeasures to be effective, they must be informed by the larger political, technological, and societal context. The post-truth world arguably emerged as a result of societal mega-trends, such as a decline in social capital, growing economic inequality, increased polarization, declining trust in science, and an increasingly fractionated media landscape. Considered against the background of those overarching trends, misinformation in the post-truth era can no longer be considered solely an isolated failure of individual cognition that can be corrected with appropriate communication tools. Rather, it should also consider the influence of alternative epistemologies that defy conventional standards of evidence.
4. The following paragraph is taken from an academic paper on Muslim women in cultural and creative industries. Please translate this paragraph to Chinese :
Muslim lifestyle media and social media channels purport to create spaces of solidarity and belonging for Muslim women living in the West. Such channels seek to combine Muslimness, womanhood and Western lifestyles and values. This aligns notions of what it means to negotiate homogenising representations of the ‘ideal’ Muslim woman with the contemporary attitude of mainstream bloggers celebrating individual choice and forms of self-expression embedded within cultures of consumption. Yet studies on female entrepreneurialism in digital media industries have shown persistent gender inequalities, and how the valorization of authenticity is not equally rewarded across social difference e.g. non-white, LGBT+, plus-size. While there are opportunities provided for women in particular around flexible working, home-working, and fostering online support networks afforded by digital cultural production, bloggers are often comparatively poorly rewarded for labour that mostly benefits large multi-national companies. Part of the business model for bloggers and vloggers is receiving free products, payment for promotions of brands, and showing adverts on videos, with minority ethnic producers typically paid less than their white counterparts.(25%)