II. Handout Design 

     Please design a handout for 10th graders who are now learning the concept of participle construction (分詞構句) from scratch. Your handout should contain no more than 250 English words and 30 Chinese words.

2. 烹飪實作課程最能吸引國中生了，然而，如果有不當的行為與操作，可能會造成危險。請簡述你在上烹飪實作課程前、中、後有哪些注意事項要大家一起配合。

(1) 上圖為本校學校願景，家政科需要完成的教學成果主題為學校願景中 的國際(International)面向，請問就學校活動的需求與家政課程設計上，你會如何融入在家政課程中實施並產出教學成果呢？請利用教學流程圖說明一個完整的單元活動設計，包含授課年級、單元名稱、教學活動及主要內容、時間/節數，標註融入國際面向的教學活動並說明其內涵為何？

(2) 在籌備的過程當中，以國際為主題的教師社群團隊思考教學成果呈現 的連貫性，討論之後，將使用聯合國永續發展目標(SDGs)作為串連主 題的主軸。請依據(1)設計好的教學活動，融入至少一個 SDGs 指標， 再次述明教學活動的修正設計，並說明此指標適切融入的理由。

I. Test-making       Please rewrite the following passage into a text of 250-300 words for 12th graders of National Chiayi Senior High School , and devise 4 mixed questions (混合題) following the style and focus of General Scholastic Ability Test (大學學科能力 測驗) based on your text, with the correct answers provided . Text:     The advent of generative AI has ushered in a disquieting new era of digital appropriation, wherein the boundaries between homage and theft have grown dangerously porous. Nowhere is this more evident than in the proliferation of AI-generated images mimicking the style of Studio Ghibli—an animation house globally esteemed for its meticulously hand-drawn visuals, ecological sensibility, and cultural depth. What is often lauded as technological ingenuity is, in this case, a disingenuous reproduction that commodifies artistic identity under the guise of democratized creativity.     At the heart of this issue lies the unregulated data harvesting that fuels most generative AI models. These systems are trained on sprawling datasets that frequently include copyrighted images scraped without consent. In replicating Ghibli’s visual lexicon, AI tools effectively cannibalize decades of artistic labor, abstracting it into a soulless aesthetic algorithm. The resulting images are not tributes but sterile imitations—devoid of narrative coherence, emotional resonance, or cultural rootedness. This process flattens artistic complexity into algorithmic pastiche, reducing a rich visual tradition into a prompt-based gimmick.     The ethical lapse extends beyond the technology itself to the platforms and users who exploit these systems for engagement, novelty, or clout. What they call "accessibility" is in fact a veiled form of intellectual exploitation, in which cultural and creative labor is mined without accountability. The platforms profiting from this trend rarely offer mechanisms for attribution, compensation, or opt-outs for creators, revealing a willful disregard for artistic rights in pursuit of scale and virality.     Furthermore, the aesthetic integrity of Ghibli’s work is inseparable from its cultural and philosophical origins—especially its grounding in Shinto animism, environmental ethics, and Japanese storytelling traditions. To reduce this nuanced heritage to mere stylistic tropes is to enact a form of cultural erasure. The images may look Ghibli-esque, but they are stripped of the ethos and intentionality that give the originals their meaning. They are simulations devoid of spirit—digital husks mimicking form without understanding function.     Even more troubling is the impact on emerging artists who engage in sincere, interpretive dialogue with Studio Ghibli’s legacy. These individuals study, evolve, and innovate upon that aesthetic, often creating transformative works that expand the tradition rather than dilute it. In contrast, AI-generated facsimiles flood the creative landscape with undifferentiated content,eroding the visibility of authentic voices and normalizing a culture of effortless reproduction over earned expression.     The unchecked normalization of AI-generated art styled after Studio Ghibli is symptomatic of a larger failure to impose ethical constraints on technological advancement. Until robust regulatory frameworks and artist protections are established, we risk not only undermining the sanctity of creative labor but also forfeiting the very notion of artistic authorship. In the race toward frictionless creation, we must not lose sight of the irreplaceable value of human imagination, context, and care.

III. Lesson Design       Please design a 50-minute English lesson based on the material provided. The lesson will be delivered entirely in English to a class of 36 senior high school students with mixed proficiency levels (A2–B2 on the CEFR scale). In your lesson plan, be sure to include teaching objectives, lesson procedures, and assessment methods. After the lesson plan, please briefly explain how this lesson reflects your teaching beliefs and why you think it would be meaningful for your students. Every Taiwanese food lover knows about coffin bread and cow’s tongue cookies. But have you heard of these other unusually named foods from around the world?                                                           Welsh Rabbit No rabbits are harmed in the making of Welsh rabbit. Rather, it’s a simple dish of toast topped with melted cheese and sometimes sauces, spices, or even beer. It is eaten across the UK and likely doesn’t come from Wales. Why, then, is it called Welsh rabbit? Historians think it probably started as a joke—one meant to make fun of the Welsh by suggesting they were too poor to eat real rabbit meat.                                                            Dutch Babies Dutch babies are giant pancakes served with sweet treats like honey and fruit or savory foods like bacon and eggs. Unlike regular pancakes, they’re cooked in the oven, which makes them light and fluffy. They got their name when an American restaurateur started making German pancakes and mistakenly confused the German word for German, Deutsch, with Dutch. The name has stuck with the dish ever since.                                                             Head Cheese Despite its name, there is no cheese in head cheese. It’s actually a cold, savory jelly usually made with meat from a pig’s or calf’s head. It was first created in Europe hundreds of years ago. Back then, wealthy people got all the best meat, so poorer people had to be creative with what was left. These days, head cheese is less common, but it can still be found in countries from Scotland to Spain.                                                              Ants on a Log Ants on a log isn’t as scary as it sounds. It’s simply a celery stick (the “log”) cut in half, filled with peanut butter, and dotted with raisins (the “ants”). It’s an easy snack for kids to make and enjoy. Plus, there are lots of ways to change it up, like switching the raisins for other dried fruits, nuts, or chocolate chips! So, when you’re feeling hungry, why not fill up on some “ants” or “babies”? Don’t tell anybody, though—they might think you’ve gone crazy! Source: LiveABC. (2024, September). LiveABC English Digest

IV. Essay Question     As an English teacher, you are invited to take part in organizing an upcoming international exchange program. Please write an essay responding to the following prompts, as if you were to take on this role: ■ What is the significance of international exchange programs for both students and the school as a whole?  ■ Given limited time, how would you help students balance their academic responsibilities while preparing for exchange activities?  ■ If your class included students with varying levels of English proficiency, how would you ensure that all students were able to participate actively and communicate effectively in English during the exchange?

(1)物體B剛要接觸地面時的速度大小為何?

(2)物體A向上滑動的整個過程中與斜面間因摩擦產生的熱量大小為何

2.如圖所示，某超市中兩輛相同質量均為m的手推購物車、相距2L沿直線排列，靜置於水平地面上。為節省收納空間，工讀生給購物車①一個瞬間的水平推力F使車自行運動，並與購物車②相碰，且在極短時間內相互嵌合結為一體，以共同的速度運動了距離，恰好停靠在牆邊。若車運動時受到的摩擦力恆為車重的k倍，忽略空氣阻力。重力加速度為g。則工讀生給購物車①水平推力F的衝量大小為何?

3.在一水深為1.0m的水池底部水平放置一條長為1.0m能發出紅光的細LED燈帶，不考慮水面對光線的反射，計算水面上產生光斑的面積為多少平方公尺?(設水對紅光的折射率為4/3)