110 中華郵政招考專業職(一) 共同科目 中華郵政專業職(一) (國文及英文) 考古題詳解

「換位思考」，指站在對方立場，設身處地的一種思考方式。人跟人相處，有時需要從他人的角度和立場來看待問題，這樣就更能體會對方的需求，也不會有過多的責怪。因此如何換位思考，讓這個社會更有同理心，少一點苛責，已成為你我共同思考的問題。

請以「換位思考」為題，寫一篇短文，分享你的經驗（或見聞）、體會。文長在 300 字左右。

【題組共用題幹】

子皮欲使尹何為邑。子產曰：「少，未知可否。」子皮曰：「願，吾愛之，不吾叛也。使夫往而學焉，夫亦愈知治矣。」子產曰：「不可。人之愛人，求利之也。今吾子愛人則以政。猶未能操刀而使割也，其傷實多。子之愛人，傷之而已，其誰敢求愛於子？子於鄭國，棟也。棟折榱崩，僑將厭焉，敢不盡言？子有美錦，不使人學製焉。大官大邑，身之所庇也，而使學者製焉。其為美錦，不亦多乎？僑聞學而後入政，未聞以政學者也。若果行此，必有所害。譬如田獵，射御貫，則能獲禽；若未嘗登車射御，則敗績厭覆是懼，何暇思獲？」

（注：僑為子產自稱；厭＝壓）

（《左傳．子產論尹何為邑》）

有關上文字句的解釋，下列何者正確？

【題組共用題幹】

子皮欲使尹何為邑。子產曰：「少，未知可否。」子皮曰：「願，吾愛之，不吾叛也。使夫往而學焉，夫亦愈知治矣。」子產曰：「不可。人之愛人，求利之也。今吾子愛人則以政。猶未能操刀而使割也，其傷實多。子之愛人，傷之而已，其誰敢求愛於子？子於鄭國，棟也。棟折榱崩，僑將厭焉，敢不盡言？子有美錦，不使人學製焉。大官大邑，身之所庇也，而使學者製焉。其為美錦，不亦多乎？僑聞學而後入政，未聞以政學者也。若果行此，必有所害。譬如田獵，射御貫，則能獲禽；若未嘗登車射御，則敗績厭覆是懼，何暇思獲？」

（注：僑為子產自稱；厭＝壓）

（《左傳．子產論尹何為邑》）

根據上文，請問子皮選尹何所根據的標準為何？

【題組共用題幹】

子皮欲使尹何為邑。子產曰：「少，未知可否。」子皮曰：「願，吾愛之，不吾叛也。使夫往而學焉，夫亦愈知治矣。」子產曰：「不可。人之愛人，求利之也。今吾子愛人則以政。猶未能操刀而使割也，其傷實多。子之愛人，傷之而已，其誰敢求愛於子？子於鄭國，棟也。棟折榱崩，僑將厭焉，敢不盡言？子有美錦，不使人學製焉。大官大邑，身之所庇也，而使學者製焉。其為美錦，不亦多乎？僑聞學而後入政，未聞以政學者也。若果行此，必有所害。譬如田獵，射御貫，則能獲禽；若未嘗登車射御，則敗績厭覆是懼，何暇思獲？」

（注：僑為子產自稱；厭＝壓）

（《左傳．子產論尹何為邑》）

子產何以認為尹何不適合為邑長？

【題組共用題幹】

子皮欲使尹何為邑。子產曰：「少，未知可否。」子皮曰：「願，吾愛之，不吾叛也。使夫往而學焉，夫亦愈知治矣。」子產曰：「不可。人之愛人，求利之也。今吾子愛人則以政。猶未能操刀而使割也，其傷實多。子之愛人，傷之而已，其誰敢求愛於子？子於鄭國，棟也。棟折榱崩，僑將厭焉，敢不盡言？子有美錦，不使人學製焉。大官大邑，身之所庇也，而使學者製焉。其為美錦，不亦多乎？僑聞學而後入政，未聞以政學者也。若果行此，必有所害。譬如田獵，射御貫，則能獲禽；若未嘗登車射御，則敗績厭覆是懼，何暇思獲？」

（注：僑為子產自稱；厭＝壓）

（《左傳．子產論尹何為邑》）

下列何者最能解釋子皮做法的因果關係？

【題組共用題幹】

子皮欲使尹何為邑。子產曰：「少，未知可否。」子皮曰：「願，吾愛之，不吾叛也。使夫往而學焉，夫亦愈知治矣。」子產曰：「不可。人之愛人，求利之也。今吾子愛人則以政。猶未能操刀而使割也，其傷實多。子之愛人，傷之而已，其誰敢求愛於子？子於鄭國，棟也。棟折榱崩，僑將厭焉，敢不盡言？子有美錦，不使人學製焉。大官大邑，身之所庇也，而使學者製焉。其為美錦，不亦多乎？僑聞學而後入政，未聞以政學者也。若果行此，必有所害。譬如田獵，射御貫，則能獲禽；若未嘗登車射御，則敗績厭覆是懼，何暇思獲？」

（注：僑為子產自稱；厭＝壓）

（《左傳．子產論尹何為邑》）

下列何者最能闡述子產所言「學製美錦」與「田獵射御」兩個譬喻的背後旨意？

【題組共用題幹】

晉太元中，武陵人捕魚為業。緣溪行，忘路之遠近，忽逢桃花林。夾岸數百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復前行，欲窮其林。林盡水源，便得一山。山有小口，彷彿若有光，便捨船，從口入。

初極狹，纔通人。復行數十步，豁然開朗。土地平曠，屋舍儼然，有良田、美池、桑竹之屬，阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人，黃髮垂髫，並怡然自樂。見漁人，乃大驚，問所從來，具答之。便要還家，設酒、殺雞、作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此絕境，不復出焉，遂與外人間隔。問今是何世？乃不知有漢，無論魏、晉。此人一一為具言所聞，皆歎惋。餘人各復延至其家，皆出酒食。停數日，辭去。此中人語云：「不足為外人道也。」

既出，得其船，便扶向路，處處誌之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所誌，遂迷不復得路。南陽劉子驥，高尚士也，聞之，欣然規往，未果，尋病終。後遂無問津者。

（陶淵明〈桃花源記〉）

下列各組文句，何者前後在文意上彼此沒有呼應關係？

【題組共用題幹】

晉太元中，武陵人捕魚為業。緣溪行，忘路之遠近，忽逢桃花林。夾岸數百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復前行，欲窮其林。林盡水源，便得一山。山有小口，彷彿若有光，便捨船，從口入。

初極狹，纔通人。復行數十步，豁然開朗。土地平曠，屋舍儼然，有良田、美池、桑竹之屬，阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人，黃髮垂髫，並怡然自樂。見漁人，乃大驚，問所從來，具答之。便要還家，設酒、殺雞、作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此絕境，不復出焉，遂與外人間隔。問今是何世？乃不知有漢，無論魏、晉。此人一一為具言所聞，皆歎惋。餘人各復延至其家，皆出酒食。停數日，辭去。此中人語云：「不足為外人道也。」

既出，得其船，便扶向路，處處誌之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所誌，遂迷不復得路。南陽劉子驥，高尚士也，聞之，欣然規往，未果，尋病終。後遂無問津者。

（陶淵明〈桃花源記〉）

下列詞語「」中的字，何者之解釋正確？

【題組共用題幹】

晉太元中，武陵人捕魚為業。緣溪行，忘路之遠近，忽逢桃花林。夾岸數百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復前行，欲窮其林。林盡水源，便得一山。山有小口，彷彿若有光，便捨船，從口入。

初極狹，纔通人。復行數十步，豁然開朗。土地平曠，屋舍儼然，有良田、美池、桑竹之屬，阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人，黃髮垂髫，並怡然自樂。見漁人，乃大驚，問所從來，具答之。便要還家，設酒、殺雞、作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此絕境，不復出焉，遂與外人間隔。問今是何世？乃不知有漢，無論魏、晉。此人一一為具言所聞，皆歎惋。餘人各復延至其家，皆出酒食。停數日，辭去。此中人語云：「不足為外人道也。」

既出，得其船，便扶向路，處處誌之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所誌，遂迷不復得路。南陽劉子驥，高尚士也，聞之，欣然規往，未果，尋病終。後遂無問津者。

（陶淵明〈桃花源記〉）

「此中人語云：『不足』為外人道也」，其語句中「不足」的含意較接近何者？

【題組共用題幹】

晉太元中，武陵人捕魚為業。緣溪行，忘路之遠近，忽逢桃花林。夾岸數百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復前行，欲窮其林。林盡水源，便得一山。山有小口，彷彿若有光，便捨船，從口入。

初極狹，纔通人。復行數十步，豁然開朗。土地平曠，屋舍儼然，有良田、美池、桑竹之屬，阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人，黃髮垂髫，並怡然自樂。見漁人，乃大驚，問所從來，具答之。便要還家，設酒、殺雞、作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此絕境，不復出焉，遂與外人間隔。問今是何世？乃不知有漢，無論魏、晉。此人一一為具言所聞，皆歎惋。餘人各復延至其家，皆出酒食。停數日，辭去。此中人語云：「不足為外人道也。」

既出，得其船，便扶向路，處處誌之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所誌，遂迷不復得路。南陽劉子驥，高尚士也，聞之，欣然規往，未果，尋病終。後遂無問津者。

（陶淵明〈桃花源記〉）

村中之人，有男女老少。其中的兒童及老者，作者是以何種角度來描寫？

【題組共用題幹】

晉太元中，武陵人捕魚為業。緣溪行，忘路之遠近，忽逢桃花林。夾岸數百步，中無雜樹，芳草鮮美，落英繽紛，漁人甚異之。復前行，欲窮其林。林盡水源，便得一山。山有小口，彷彿若有光，便捨船，從口入。

初極狹，纔通人。復行數十步，豁然開朗。土地平曠，屋舍儼然，有良田、美池、桑竹之屬，阡陌交通，雞犬相聞。其中往來種作，男女衣著，悉如外人，黃髮垂髫，並怡然自樂。見漁人，乃大驚，問所從來，具答之。便要還家，設酒、殺雞、作食。村中聞有此人，咸來問訊。自云先世避秦時亂，率妻子邑人來此絕境，不復出焉，遂與外人間隔。問今是何世？乃不知有漢，無論魏、晉。此人一一為具言所聞，皆歎惋。餘人各復延至其家，皆出酒食。停數日，辭去。此中人語云：「不足為外人道也。」

既出，得其船，便扶向路，處處誌之。及郡下，詣太守，說如此。太守即遣人隨其往，尋向所誌，遂迷不復得路。南陽劉子驥，高尚士也，聞之，欣然規往，未果，尋病終。後遂無問津者。

（陶淵明〈桃花源記〉）

依本文，「漁人」尋得「桃花源」，但「太守」及「高尚士」卻尋不得「桃花源」。作者想表達的是：

The president of our company plans to hold a news _____ on Sunday to announce a major breakthrough in our product development.

The government agency was criticized for delaying processing of the case _____ to help the president win the election.

Don’t be so _____. There’s still hope. If we try harder again, we might actually make it.

As usual, the chairman would _____ a speech at the opening ceremony tonight.

Due to the pandemic, the students were unable to compete in person, so the school decided to hold a _____ race instead.

It would be very difficult to visit these two cities in one day. They’re on two different _____ and very far apart.

With this small device, you can _____ misplaced items easily so you won’t have to spend minutes or hours looking for your keys or phones again.

The hospital _____ the famous writer says tests indicate that he was poisoned.

The chemical used to contaminate the product _____ identified, according to the committee of investigation.

_____ the popularity of the victim, local authorities are now urgently called upon to investigate this crime.

The shop that had been severely criticized on the internet _____ claims on Friday that they had sold expired food products.

The fences are very low and therefore _____ very hard to climb over.

_____ the distance from home, _____ water you might need for the trip.

Archie will become a prince _____ his grandfather Prince Charles becomes King of England.

The arena _____ the tennis player for her outstanding achievement and contribution.

【題組共用題幹】

Good writing evokes emotion. Good writing connects things. Good writing tells a story that the reader can relate to. Too often, writers only ____ themselves against other writers. Those with better vocabularies and slicker prose appear to be the best of the group. But it’s actually wrong to think that good writing, and becoming a good writer, ____ formal education. Good writers don’t ____ quote Shakespeare, nor do they use four- and five-syllable words. They don’t try to impress their readers with beautiful verses that rhyme and flow effortlessly from beginning to end. Good writers, ____ any good communicator, worry about one thing and one thing only: connecting their audience to the story. Good writers construct their writing in a way that’s understood by their target audience. Big words, little words, and ____ made up words can be used. While smooth prose is certainly fun to read, it’s not always necessary in order to be understood.

【題組共用題幹】

Good writing evokes emotion. Good writing connects things. Good writing tells a story that the reader can relate to. Too often, writers only ____ themselves against other writers. Those with better vocabularies and slicker prose appear to be the best of the group. But it’s actually wrong to think that good writing, and becoming a good writer, ____ formal education. Good writers don’t ____ quote Shakespeare, nor do they use four- and five-syllable words. They don’t try to impress their readers with beautiful verses that rhyme and flow effortlessly from beginning to end. Good writers, ____ any good communicator, worry about one thing and one thing only: connecting their audience to the story. Good writers construct their writing in a way that’s understood by their target audience. Big words, little words, and ____ made up words can be used. While smooth prose is certainly fun to read, it’s not always necessary in order to be understood.

【題組共用題幹】

Good writing evokes emotion. Good writing connects things. Good writing tells a story that the reader can relate to. Too often, writers only ____ themselves against other writers. Those with better vocabularies and slicker prose appear to be the best of the group. But it’s actually wrong to think that good writing, and becoming a good writer, ____ formal education. Good writers don’t ____ quote Shakespeare, nor do they use four- and five-syllable words. They don’t try to impress their readers with beautiful verses that rhyme and flow effortlessly from beginning to end. Good writers, ____ any good communicator, worry about one thing and one thing only: connecting their audience to the story. Good writers construct their writing in a way that’s understood by their target audience. Big words, little words, and ____ made up words can be used. While smooth prose is certainly fun to read, it’s not always necessary in order to be understood.

【題組共用題幹】

Good writing evokes emotion. Good writing connects things. Good writing tells a story that the reader can relate to. Too often, writers only ____ themselves against other writers. Those with better vocabularies and slicker prose appear to be the best of the group. But it’s actually wrong to think that good writing, and becoming a good writer, ____ formal education. Good writers don’t ____ quote Shakespeare, nor do they use four- and five-syllable words. They don’t try to impress their readers with beautiful verses that rhyme and flow effortlessly from beginning to end. Good writers, ____ any good communicator, worry about one thing and one thing only: connecting their audience to the story. Good writers construct their writing in a way that’s understood by their target audience. Big words, little words, and ____ made up words can be used. While smooth prose is certainly fun to read, it’s not always necessary in order to be understood.

【題組共用題幹】

Good writing evokes emotion. Good writing connects things. Good writing tells a story that the reader can relate to. Too often, writers only ____ themselves against other writers. Those with better vocabularies and slicker prose appear to be the best of the group. But it’s actually wrong to think that good writing, and becoming a good writer, ____ formal education. Good writers don’t ____ quote Shakespeare, nor do they use four- and five-syllable words. They don’t try to impress their readers with beautiful verses that rhyme and flow effortlessly from beginning to end. Good writers, ____ any good communicator, worry about one thing and one thing only: connecting their audience to the story. Good writers construct their writing in a way that’s understood by their target audience. Big words, little words, and ____ made up words can be used. While smooth prose is certainly fun to read, it’s not always necessary in order to be understood.

【題組共用題幹】

With new appearances of underground and local idols, the idol industry is attracting many young people whose dream of becoming a popular idol is no longer so impossible. The growing industry, however, has many problems. Author and idol authority Nakamori Akio talks about those problems.

“First of all, people don’t really understand what an idol is or does. I define an idol as a job in which you work to get people to like you.” Nakamori warns those who want to become idols to be careful in choosing an agent and points out the importance of the contract. “The problem now is that there are too many idols. The idol group AKB48 alone has several hundred members. And while there is no accurate count, if you include local idols and so-called underground idols, the number is probably over 10,000. Problems are increasing in direct proportion to the numbers and the increase in nonprofessional operations.”

Nakamori suggests that to help sustain the industry, schools should allow “idol clubs” as part of their extracurricular activities as one way to ensure adult supervision and responsible management. “Extracurricular clubs in schools are managed by teachers. A school also provides a safe environment that would allow for a certain degree of self-management by the students. Schools already have drama clubs and dance clubs. I think the reason schools don’t yet have idol clubs is the general idea that being an idol is somehow a ‘lightweight’ profession. But idols do many things. Some dance and sing; others compose music or design costumes. Some even act as producers. I don’t see why these activities couldn’t be combined into a school idol club.”

Another factor that has hindered the formation of idol clubs at schools is the conservative nature of the industry. “That’s because an idol is viewed as a role model,” says Nakamori. “The tendency is to imitate and copy, which reduces the creative aspects of the profession. The current idol image is no different from what we had back in the 1970s with Pink Lady or the Candies. AKB48, with its large numbers, is based on a system developed long ago by the Takarazuka revue（寶塚歌劇團）. As staged entertainment, I don’t see much development since the 1970s.”

What is the passage mainly about?

【題組共用題幹】

With new appearances of underground and local idols, the idol industry is attracting many young people whose dream of becoming a popular idol is no longer so impossible. The growing industry, however, has many problems. Author and idol authority Nakamori Akio talks about those problems.

“First of all, people don’t really understand what an idol is or does. I define an idol as a job in which you work to get people to like you.” Nakamori warns those who want to become idols to be careful in choosing an agent and points out the importance of the contract. “The problem now is that there are too many idols. The idol group AKB48 alone has several hundred members. And while there is no accurate count, if you include local idols and so-called underground idols, the number is probably over 10,000. Problems are increasing in direct proportion to the numbers and the increase in nonprofessional operations.”

Nakamori suggests that to help sustain the industry, schools should allow “idol clubs” as part of their extracurricular activities as one way to ensure adult supervision and responsible management. “Extracurricular clubs in schools are managed by teachers. A school also provides a safe environment that would allow for a certain degree of self-management by the students. Schools already have drama clubs and dance clubs. I think the reason schools don’t yet have idol clubs is the general idea that being an idol is somehow a ‘lightweight’ profession. But idols do many things. Some dance and sing; others compose music or design costumes. Some even act as producers. I don’t see why these activities couldn’t be combined into a school idol club.”

Another factor that has hindered the formation of idol clubs at schools is the conservative nature of the industry. “That’s because an idol is viewed as a role model,” says Nakamori. “The tendency is to imitate and copy, which reduces the creative aspects of the profession. The current idol image is no different from what we had back in the 1970s with Pink Lady or the Candies. AKB48, with its large numbers, is based on a system developed long ago by the Takarazuka revue（寶塚歌劇團）. As staged entertainment, I don’t see much development since the 1970s.”

Which of the following is NOT mentioned as a problem of the idol industry?

【題組共用題幹】

With new appearances of underground and local idols, the idol industry is attracting many young people whose dream of becoming a popular idol is no longer so impossible. The growing industry, however, has many problems. Author and idol authority Nakamori Akio talks about those problems.

“First of all, people don’t really understand what an idol is or does. I define an idol as a job in which you work to get people to like you.” Nakamori warns those who want to become idols to be careful in choosing an agent and points out the importance of the contract. “The problem now is that there are too many idols. The idol group AKB48 alone has several hundred members. And while there is no accurate count, if you include local idols and so-called underground idols, the number is probably over 10,000. Problems are increasing in direct proportion to the numbers and the increase in nonprofessional operations.”

Nakamori suggests that to help sustain the industry, schools should allow “idol clubs” as part of their extracurricular activities as one way to ensure adult supervision and responsible management. “Extracurricular clubs in schools are managed by teachers. A school also provides a safe environment that would allow for a certain degree of self-management by the students. Schools already have drama clubs and dance clubs. I think the reason schools don’t yet have idol clubs is the general idea that being an idol is somehow a ‘lightweight’ profession. But idols do many things. Some dance and sing; others compose music or design costumes. Some even act as producers. I don’t see why these activities couldn’t be combined into a school idol club.”

Another factor that has hindered the formation of idol clubs at schools is the conservative nature of the industry. “That’s because an idol is viewed as a role model,” says Nakamori. “The tendency is to imitate and copy, which reduces the creative aspects of the profession. The current idol image is no different from what we had back in the 1970s with Pink Lady or the Candies. AKB48, with its large numbers, is based on a system developed long ago by the Takarazuka revue（寶塚歌劇團）. As staged entertainment, I don’t see much development since the 1970s.”

What can be inferred about idol clubs in schools?

【題組共用題幹】

With new appearances of underground and local idols, the idol industry is attracting many young people whose dream of becoming a popular idol is no longer so impossible. The growing industry, however, has many problems. Author and idol authority Nakamori Akio talks about those problems.

“First of all, people don’t really understand what an idol is or does. I define an idol as a job in which you work to get people to like you.” Nakamori warns those who want to become idols to be careful in choosing an agent and points out the importance of the contract. “The problem now is that there are too many idols. The idol group AKB48 alone has several hundred members. And while there is no accurate count, if you include local idols and so-called underground idols, the number is probably over 10,000. Problems are increasing in direct proportion to the numbers and the increase in nonprofessional operations.”

Nakamori suggests that to help sustain the industry, schools should allow “idol clubs” as part of their extracurricular activities as one way to ensure adult supervision and responsible management. “Extracurricular clubs in schools are managed by teachers. A school also provides a safe environment that would allow for a certain degree of self-management by the students. Schools already have drama clubs and dance clubs. I think the reason schools don’t yet have idol clubs is the general idea that being an idol is somehow a ‘lightweight’ profession. But idols do many things. Some dance and sing; others compose music or design costumes. Some even act as producers. I don’t see why these activities couldn’t be combined into a school idol club.”

Another factor that has hindered the formation of idol clubs at schools is the conservative nature of the industry. “That’s because an idol is viewed as a role model,” says Nakamori. “The tendency is to imitate and copy, which reduces the creative aspects of the profession. The current idol image is no different from what we had back in the 1970s with Pink Lady or the Candies. AKB48, with its large numbers, is based on a system developed long ago by the Takarazuka revue（寶塚歌劇團）. As staged entertainment, I don’t see much development since the 1970s.”

According to the passage, which of the following is true about idols?

【題組共用題幹】

With new appearances of underground and local idols, the idol industry is attracting many young people whose dream of becoming a popular idol is no longer so impossible. The growing industry, however, has many problems. Author and idol authority Nakamori Akio talks about those problems.

“First of all, people don’t really understand what an idol is or does. I define an idol as a job in which you work to get people to like you.” Nakamori warns those who want to become idols to be careful in choosing an agent and points out the importance of the contract. “The problem now is that there are too many idols. The idol group AKB48 alone has several hundred members. And while there is no accurate count, if you include local idols and so-called underground idols, the number is probably over 10,000. Problems are increasing in direct proportion to the numbers and the increase in nonprofessional operations.”

Nakamori suggests that to help sustain the industry, schools should allow “idol clubs” as part of their extracurricular activities as one way to ensure adult supervision and responsible management. “Extracurricular clubs in schools are managed by teachers. A school also provides a safe environment that would allow for a certain degree of self-management by the students. Schools already have drama clubs and dance clubs. I think the reason schools don’t yet have idol clubs is the general idea that being an idol is somehow a ‘lightweight’ profession. But idols do many things. Some dance and sing; others compose music or design costumes. Some even act as producers. I don’t see why these activities couldn’t be combined into a school idol club.”

Another factor that has hindered the formation of idol clubs at schools is the conservative nature of the industry. “That’s because an idol is viewed as a role model,” says Nakamori. “The tendency is to imitate and copy, which reduces the creative aspects of the profession. The current idol image is no different from what we had back in the 1970s with Pink Lady or the Candies. AKB48, with its large numbers, is based on a system developed long ago by the Takarazuka revue（寶塚歌劇團）. As staged entertainment, I don’t see much development since the 1970s.”

Why does Nakamori mention AKB48?