41. What does the passage primarily argue about urban romantic comedies?
(A) Their popularity reflects a structural alignment with the emotional conditions of contemporary urban life.
(B) They are best understood as a commercial product designed to meet market demand.
(C) Their narrative formula has remained unchanged across different cultural contexts.
(D) They succeed because they realistically portray the difficulties of modern relationships. 

42. What role does the urban setting play in the reception of romantic comedies, according to paragraph 1? (A) It allows filmmakers to explore a wider range of narrative conflicts than rural settings permit. (B) It provides a socially recognizable context that mirrors the everyday experiences of audiences. (C) It reinforces traditional expectations about romance and partnership within a familiar environment. (D) It increases the commercial viability of the genre by attracting metropolitan audiences.

43. Why does the passage characterize romantic union as “a symbolic marker of subject formation”? (A) It signals the protagonist’s financial independence and social mobility. (B) It represents the culmination of a publicly visible courtship ritual. (C) It marks the individual’s successful navigation of self-definition through relational choice. (D) It resolves the tension between personal desire and social obligation in urban life.

44. How does the passage explain the psychological function of the genre? (A) It encourages viewers to confront unresolved emotional conflicts through narrative identification. (B) It models effective communicative strategies for managing real-world romantic relationships. (C) It exposes the contradictions of late-modern intimacy in a way that invites critical reflection. (D) It reduces anxiety by using humor and romantic closure to provide a sense of narrative order.

45. What is the author’s primary purpose in this passage? (A) To offer an academic framework that accounts for the structural appeal of urban romantic comedies. (B) To compare genre theory and affective theory as competing explanations for popular culture. (C) To critique the entertainment industry’s exploitation of late-modern emotional insecurities. (D) To demonstrate that romantic comedies are more culturally significant than previously acknowledged. 

46. The primary purpose of the passage is to (A) argue that bicycle-parking regulations in cities are unnecessarily strict (B) examine the psychological causes of collective anxiety in densely populated cities (C) propose specific policy reforms to improve urban mobility for vulnerable populations (D) distinguish productive civic rule-following from a counterproductive fixation on visible order

47. The author’s attitude toward civic rules can best be described as (A) unconditional support, provided that the rules are democratically enacted (B) qualified endorsement, contingent on whether the rules serve genuine public welfare (C) deep ambivalence, rooted in skepticism about whether shared spaces can function without conflict (D) mild disapproval, stemming from a preference for individual discretion over collective norms

48. Which of the following situations would the author most likely cite as evidence for the argument made in paragraph 3? (A) A delivery driver parks briefly in a no-stopping zone and is immediately fined, despite no vehicles being obstructed. (B) A municipal council debates whether to extend parking permit hours in a residential district. (C) A community group volunteers to repaint faded road markings in a busy intersection. (D) A city installs new bike lanes that reduce pedestrian injuries by 30 percent.

49. In paragraph 2, the phrase ‘a character test’ primarily serves to (A) illustrate how civic responsibility can inspire personal pride (B) suggest that rule-following has become a proxy for moral judgment rather than a practical standard (C) argue that citizens should be evaluated on their compliance with parking regulations (D) imply that enforcement officers exceed their authority in ticketing minor infractions

50. As used in paragraph 4, ‘choreography’ most nearly means (A) artistic coordination between performers (B) a legal framework governing public conduct (C) rigid, scripted conformity imposed on individual behavior (D) a municipal planning strategy for shared infrastructure

1. 下列「 」內字形，二同一異的是： (A) 沉「ㄜ」難治／「ㄜ」娜多姿／「ㄜ」諛奉承 (B) 「ㄍㄨˋ」步自封／依然「ㄍㄨˋ」我／根深柢「ㄍㄨˋ」 (C) 伏櫪老「ㄐㄧˋ」／按圖索「ㄐㄧˋ」／牛「ㄐㄧˋ」同皁 (D) 如期「ㄐㄩㄣˋ」工／疏「ㄐㄩㄣˋ」河道／崇山「ㄐㄩㄣˋ」嶺

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