3.請比較說明柴油引擎與汽油引擎之差異性：

(1 )使用之燃料種類（2分）

(2)著火方式（2分）

C3)相等馬力的引擎重量（2分）

(4)熱效率的高低（2分）

(5)嗓音的大小（2分）

19.兩條彈簧常數各為kl及k2，如串聯在一時，其彈簧常數為__ °

20.若以繩索配合兩組四輪滑車組，吊起160公斤重物體,不計摩檫力，則需施力______公斤

【已刪除】1：下圖4有一 2公尺長棒,B端懸吊500 kg荷物，A端用力60 kg，距A端50公分遨 用力50 kg，欲使該棒得到平衡，支點應置於離B點多遠處？（西捨五八離1小數點後第 2位)(10分）

【已刪除】2..右【圖5】，若F為100N，不計摩擦損失，請間(1)機械利益M為多少？ (7分)  (2)可提起物重多少N? (3分)

4.有一對内接正齒輪軸心距離240 mm，其中齒輪A之齒輪數為60、模數為10，若以每分鐘 30轉帶勳齒輪B，則齒輪B每分鐘之轉速爲多少? (10分）

甲、作文部分：（60分） 由於家世、環境、身心障礙、命途遭遇等因素，社會普遍存在著生 活艱困的弱勢者。對於他們的惶惑、失望，我們未必有切身感受，但在 共通的人性處境上，可以想像、理解。唯能將別人的飢寒當作自己的飢 寒、將別人的苦痛當作自己的苦痛，才能因關心而激發意志，進而採取 行動改善對方的處境。愛的根源是一種認同的眼神與心理，是看別人如 同看自己。請以「看見另一個自己」為題，申述你對社會弱勢者的關懷。

Essay questions: 1. Training students to be well qualified for various English competitions is a part of our English teachers’ work load. (a) Have you ever coached students in any English competitions? Please write them down. In addition, the advantages of teaching English through drama are manifold. (b) So do you have any experience of coaching a group of students to prepare for English Drama Contest? (c) Please elaborate on your strategies which you adopt to help students organize their preparation work. (20%)

Essay questions: 2. What are good sources of outside listening materials (media, websites) that you could use in class? Please make a detailed introduction to these materials and then design a 50-minute lesson plan for teaching English listening. (20%)

Essay questions:3. Test Editing : Please paraphrase the following passage within 250~300 words, making it a new one targeting 11th graders. And set a cloze test of 5 questions with four multiple choices based on your paraphrase. (20%)          There's something seemingly scandalous, irreverent about Simon Meek's notion of "playing through" novels like Crime and Punishment or Wuthering Heights.          But in practice, Meek's work transforming the world's great literature into something experienced on a gaming console is more akin to performance art or theater than it is video games.          What Meek and Scottish-based Tern TV are creating to be experienced on computers, iPads and game consoles isn't video games, not really. The group is creating digital adaptations, works that put readers inside the scenes of a classic and asks them to experience the story from the inside out. Meek says he's always had a "bit of a bee in my bonnet" about the evolution of the story from book to screen. But what bothers him aren't the television and movie adaptations of books. What bothers him are electronic books. Meek says he doesn't like that electronic books still have people reading printed words on white pages that need to be turned.          Not just another ebook. That being said, Meek doesn't want to create something that competes with ebooks, his goal is far loftier: He wants to transform books into adaptations that change the way a reader experiences them and in so doing hopefully expand a book's reach.          While Meek wasn't able to discuss the details of their first work, he was able to walk me through how an adaptation would work in general.  "Players enter the stories through the events that take place in that story," he explains. "We then let the player progress through an array of media that is directly taken/reinterpreted from the book."          Sections of the book's original text will also be occasionally displayed on the screen "when words are best placed to tell the story," he said.          A key element to his form of adaptation is that unlike with most video game adaptations, you don't actually play as a character from the book. Instead you are an observer to what occurs inside the book's world. So unlike with most video games, this will be an interactive experience overtly robbed of its influence on what happens. Players are there to actively absorb the experience of the novel, but not change its outcome.          "You act more like a director in a multimedia reenactment of the story, where imagination is still key to the retelling (that's a really important point)," Meek said. "You can't change the plot, although you can navigate the text in a different way - following your instincts and discovering aspects of the story that appeal to you most."          Players experience the story by traveling between settings. I asked [Meek] to explain one such setting for a book they're considering working on next, Wuthering Heights. In one scene in the Emily Bronte classic, players would find themselves in Cathy Linton's room.          "At this point they can see everything that is described in the book, filled out with all manner of objects that we know are in fitting for a room of that sorts, "Meek said, " Interestingly, I think the real shame with the nation of people not reading books is that the stories held within them may become lost - this approach opens up the story to a wider audience (and potentially a new audience, which is something that the book publishers are desperate for)."           The choices left to players of this form of book wouldn't be about which path you take a get to the end, or how the work ends, but rather how it is experienced. 

貳、作文：計四十分 說明：一、請由左至右橫式書寫，文言、白話不拘，並加標點符號，違者按規定扣分。 二、限用黑色、藍色原子筆、鋼筆或毛筆（不得使用鉛筆）書寫，違者按規定扣分。 三、不得以詩歌或書信體寫作，違者不予計分。  美國一份商業雜誌，曾專訪 25 位傑出的財經界人士，談他們這一生最受用的建議。在你的記憶中， 是否曾經有過那麼一句話，能夠啟發自己，成為自己待人接物的準則，或是在一個重要的生命轉捩點 ，影響你並帶給你極大的啟示。請以最受用的一句話為題，寫出一篇完整的文章，內容需包含此一句 話的意義，並舉例說明此一句話對你的影響或啟示。  題目：最受用的一句話