12/09/2009

我的傲慢與偏見新譯 第一章




我在網上看到有人把整部的中英版都上了網(請看右欄我喜歡的網站的link),讓人免費閱讀,不知原來的譯者是誰。我覺得中譯有不少錯誤,可能是多年前所翻譯,語法也陳舊,所以與我的美國老公一起討論和查書,改譯如下。

傲慢與偏見   第一章

        凡是有錢的單身漢,總想娶位太太,這已經成了一條舉世公認的真理。每當有這樣的單身漢搬到附近,雖然鄰居們可能一點也不知道他是否有這樣的感覺和想法,但是因為附近的人家對這條真理深信不疑,他們總是把他看作自己或他人某一個女兒理所應得的一筆財產。

  有一天,班納特太太對她的丈夫說:「我的好老爺,尼日斐花園終於租出去了,你聽說了沒有?」

  班納特先生回答道,他沒有聽說過。

  「的確租出去了,」她說:「朗格太太剛剛上這兒來過,她把這件事詳細的告訴了我。」

  班納特先生沒有回答。

  「你難道不想知道是誰租去的嗎?」班納特太太不耐煩地說。

  「既然你要說給我聽,我聽聽也無妨。」

  這句話鼓勵她講下去。

  「哦!親愛的,你得知道,郎格太太說,租尼日斐花園的是個闊少爺,他是英格蘭北部的人;聽說他星期一那天,乘著一輛四輪馬車來看房子,一看就非常滿意,當場就和莫理斯先生談妥了;他要在邁可節以前搬進來,下個週末前他的傭人就會先搬進來。」

  「他姓什麼?」

  「賓利。」

  「有太太呢,還是單身呢?」

  「噢!是個單身漢,親愛的,確確實實是個單身漢!一個有錢的單身漢;每年有四五千磅的收入。真是我們家女兒們的福氣!」

  「這怎麼說?關女兒們什麼事?」

  「我的好老爺,」班納特太太回答道:「你真是麻煩!告訴你吧,我正在盤算,他要是挑中我們一個女兒做老婆,那有多好!」

  「他住到這兒來,就是為了這個打算嗎?」

  「打算!胡扯,這是哪兒的話!不過,他倒可能看中我們的某一個女兒呢!他一搬進來,你就得馬上去拜訪他。」

  「我沒有理由去。你帶著女兒們去就得啦!要不你乾脆打發她們自己去,那或許倒更好些,因為你跟女兒們一樣美麗,你如果去了,賓利先生說不定反倒會挑中你呢?」

  「我的好老爺,你太捧我啦。我過去的確美麗過,現在我可不敢說有什麼出眾的地方了。一個女人家有了五個成年的女兒,就不該對自己的美貌多想了。」

  「在這種的情況下,大多數的女人的確對自己的美貌不敢多想了。」

  「不過,我的好老爺,賓利先生搬到我們的鄰近來,你的確應該去看看他。」

  「老實跟你說吧,這不是我想做的事。」

  「看女兒的份上吧。只請你想一想,她們不論哪一個,要是攀上了這樣一個人家,那該有多好。威廉爵士夫婦已經決定去拜望他,他們也無非是這個用意。你知道,他們通常是不會拜望新搬來的鄰居的。你的確應該去一次,要是你不去,叫我們怎麼去。」

  「你實在過分擔心啦。賓利先生一定很高興看到你的;我可以寫封信給你帶去,就說隨便他挑中我哪一個女兒,我都答應他把她娶過去;不過,我在信上得特別替麗姿美言幾句。」

  「我希望你別這麼做。麗姿沒有一點兒地方勝過別的幾個女兒;我敢說,論漂亮,她抵不上珍一半;論性子,她抵不上麗迪雅一半。你可老是偏愛她。」

        「她們沒有哪一個值得誇獎的,」他回答道:「他們跟別人家的姑娘一樣,又傻又無知;倒是麗姿要比她的幾個姐妹聰明伶俐些。」

  「班納特先生,你怎麼這樣糟蹋自己的親生女兒呢?你是在故意叫我氣惱,好讓你自己得意吧。你半點兒也不體諒我的神經衰弱。」

  「你真錯怪了我,我的好太太。我非常尊重你的神經。它們是我的老朋友。至少在最近二十年以來,我一直聽到你慎重其事地提到它們。」

  「啊!你不知道我怎樣受苦呢!」

  「不過我希望你這毛病會好起來,那麼,你就可以親眼看到像這種每年有四千鎊收入的闊少爺,一個個搬來做你的鄰居了。」

  「你既然不願意去拜訪他們,即使有二十個搬了來,對我們又有什麼好處!」

  「放心吧,我的好太太,等到有了二十個,我一定去一個個拜望到。」

  班納特先生是個古怪的組合體,他喜歡插科打渾,諷刺挖苦,同時又拘謹莫測,班納特太太雖然積累二十三年的經驗,還是摸不透他的性格。班納特太太就容易暸解多了。她是個智力平庸、見識膚淺、喜怒無常的女人,只要碰到不稱心的事,她就說自己神經衰弱。她生活中的大事就是把女兒嫁出去;她的慰藉就是訪友和打探消息。


Jane Austen

12/05/2009

我是我 I am me


I Am Me

我是我



In all the world, there is no one else exactly like me.
在這個世界上沒有人完全跟我一樣

Everything that comes out of me is authentically mine,because I alone choose it.
出自我的任何一件事物確實
都是我自己的決定
都是我自己的選擇

I own everything about me - my body, my feelings, my mouth, my voice, all my actions, whether they be to others or to myself. 
跟我有關的一切都是我自己選擇
無論是我的身體 感覺 嘴巴 聲音 和一切行為
也無論對像是他人或是我自己

I own my fantasies, my dreams, my hopes, my fears.
我擁有我的幻想 夢想 希望 和恐懼 
 
I own all my triumphs and successes, all my failures and mistakes.
我擁有我的勝利 成功 失敗 錯誤

Because I own all of me, I can become intimately acquainted with me.
因為我擁有我的一切

我可以好好的熟悉我自己的一切

By so doing I can love me and be friendly with me in all my parts.
也因此 我可以對自己的每個部份

都給予愛和情

 I know there are aspects about myself that puzzle me, and other aspects that I do not know,but as long as I am friendly and loving to myself,I can courageously and hopefully look for solutions to the puzzles and for ways to find out more about me.
我知道我對自己某些部份感到困惑

還有對某些部份並不了解
但是只要有愛和情
我就可以有勇氣和有可能找到問題的解答
和越來越了解自己

However I look and sound, whatever I say and do, and whatever I think and feel at a given moment in time is authentically me.
在每個時刻
我的外表和聲音 我的言行舉止 我的思想和感覺
都是我自己的選擇

If later some parts of how I looked, sounded, thought and felt turned out to be unfitting, I can discard that which I feel is unfitting, keep the rest, and invent something new for that which I discarded.
如果後來我覺得自己某些外表 聲音 思想或感覺
是不合適的
我可以保留合適的部份
把不合適的部份去除掉
用新的東西取代

I can see, hear, feel, think, say, and do. I have the tools to survive, to be close to others, to be productive, and to make sense and order out of the world of people and things outside of me.
我可以看 聽 感覺 說和做

我有許多生存的工具
我可以與他人親近
我可以有生產力
我可以了解和組織外在的人事物

I own me, and therefore I can engineer me.
I am me and I AM OKAY
我擁有我 因此我能掌控自己
我是我
我沒問題


by Virginia Satir

9/29/2009

創造二十一世紀的教室經驗


最近幾年,IDEO公司花了許多時間和精力在思考教育的議題。本公司與加州一所小學合作,開始一個稱為「調查式學習」的新課程,目的是讓學生成為主動的知識追求者。我們訪問了本公司設計此一計劃的領導人Sandy Speicher,她精闢的見解可以提供創造「明日學校」的建築師和設計者參考。

第一、拉拔,不要擠推

創造一個學習環境,讓每個學生都會提出很多問題,然後協助他們把這些問題轉變成「見解」和「了解」。教育通常被認為只是知識的傳授,然而真正的學習是:學生覺得必須去解決自己所面對的問題,而不得不去找答案。

第二、與切身有關

當學生覺得所學的東西,是與他們有關聯的,他們就會產生興趣和發揮想像力。讓學生親身體驗你所要教授的概念,再來進行討論,能夠「動手」來解決更好,不要只是用言語解釋。

第三、不容忽視的「軟性」技能      

創造力、合作力、溝通力、同理心、適應力並不是裝飾品,當我們面對二十一世紀全球化經濟的種種艱難挑戰時,這些是我們最重要的核心能力。

第四、容許差異教學

不論是在體系中或教室裡,容許大量量身訂製,而不是大家只用同一尺寸的心態。通常,教育平等權被認定是統一教學。事實上,每個人的起跑點不同,終點也不同。

第五、聖人下台

參與式學習通常不是整潔有序的,學生要自己動手。他們要去感覺、經驗、操作。在互動式的學習環境中,教師的角色,由以前的全知專家,轉換為引導者。老師從前面的講台走下來,站在學生旁邊來指導他們。

第六、老師是設計師,讓他們去創造

建立一個讓學生能夠積極參與「做中學習」的環境,把對話由權威規範,轉變成接納和指導。雖然這樣的環境比較難以控制,但成效很驚人!

第七、製造一個學習社區
       
學習並不只發生在孩子的腦袋裡,透過與其他孩子、老師、家長、社區、甚至大至整個世界的互動中,孩子也從中學習。「要靠全村落來教養一個孩子」,這句話是很正確的,學校應該想辦法讓父母多多參與,並與地方性和國家性機構建立伙伴關係,這不僅對孩子有益,也能夠把資源和知識帶進你的機構。

第八、當個人類學家,不要當考古學家
      
考古學家是靠著挖掘古物和遺跡來了解過去,人類學家則是專注在研究人類的價值、需求、渴望。如果你要為未來尋找解決方案,你必須知道人們在乎什麼,再設計出因應之道。千萬不要用挖掘法來找答案,要用聯繫法。

第九、孵育未來

今天,幼稚園到十二年級的學生所面臨的挑戰是哪些呢?讓學生看到自己在這個世界上所扮演的角色,讓他們研究一些主題,像:全球暖化、交通運輸、廢料管理、醫療照顧、貧窮、教育等,重點不在找到正確答案,而是學習企圖心、參與感、責任感,不用說,還有學習科學、數學和文學。

第十、改變方針

要鼓勵新行為,就必須要有新的評量法。像創造力、合作力這類能力無法用統計圖表來衡量,所以需要新的評鑑方式,來幫助我們了解和討論這些二十一世紀的技能進展。除了評量成果,也要評量過程;進展性評量與量化評量同樣重要。最重要的是:我們不只要有評量法,我們必須真的重視它們。

FEBRUARY 2009 • MAGAZINE

Ten Tips For Creating a 21st–Century Classroom Experience

In recent years, IDEO has spent a lot of time and effort thinking about education. The firm’s work with Ormondale Elementary School, in Portola Valley, California, helped pioneer a special “investigative-learning” curriculum that inspires students to be seekers of knowledge. We spoke to Sandy Speicher, who heads the Design for Learning efforts at IDEO. Her insights provide powerful lessons for architects and designers creating the schools of tomorrow:

1. Pull, don’t push.
Create an environment that raises a lot of questions from each of your students, and help them translate that into insight and understanding. Educa¬tion is too often seen as the transmission of knowledge. Real learning happens when the student feels the need to reconcile a question he or she is facing—and help but seek out an answer.

2. Create from relevance.
Engage kids in ways that have relevance to them, and you’ll capture their attention and imagination. Allow them to experience the concepts you’re teaching firsthand, and then discuss them (or, better yet, work to address them!) instead of relying on explanation alone.

3. Stop calling them “soft” skills.
Talents such as creativity, collaboration, communication, empathy, and adaptability are not just nice to have; they’re the core capabilities of a 21st-century global economy facing complex challenges.

4. Allow for variation.
Evolve past a one- size-fits-all mentality and permit mass customization, both in the system and the classroom. Too often, equality in education is treated as sameness. The truth is that everyone is starting from a different place and going to a different place.

5. No more sage onstage.
Engaged learning can’t always happen in neat rows. People need to get their hands dirty. They need to feel, experience, and build. In this interactive environment, the role of the teacher is transformed from the expert telling people the answer to an enabler of learning. Step away from the front of the room and find a place to engage with your learners as the “guide on the side.”

6. Teachers are designers. Let them create.
Build an environment where your students are actively engaged in learning by doing. Shift the conversation from prescriptive rules to permissive guidance. Even though the resulting environment may be more complicated to manage, the teachers will produce amazing results.

7. Build a learning community.
Learning doesn’t happen in the child’s mind alone. It happens through the social interactions with other kids and teachers, parents, the community, and the world at large. It really does take a village. Schools should find new ways to engage parents and build local and national partnerships. This doesn’t just benefit the child—it brings new resources and knowledge to your institution.

8. Be an anthropologist, not an archaeologist.
An archaeologist seeks to understand the past by investigating its relics and digging for the truth of what was. An anthropologist studies people to understand their values, needs, and desires. If you want to design new solutions for the future, you have to understand what people care about and design for that. Don’t dig for the answer—connect.

9. Incubate the future.
What if our K–12 schools took on the big challenges that we’re facing today? Allow children to see their role in creating this world by studying and creating for topics like global warming, transportation, waste management, health care, poverty, and even education. It’s not about finding the right answer. It’s about being in a place where we learn ambition, involvement, responsibility, not to mention science, math, and literature.

10. Change the discourse.
If you want to drive new behavior, you have to measure new things. Skills such as creativity and collaboration can’t be measured on a bubble chart. We need to create new assessments that help us understand and talk about the developmental progress of 21st-century skills. This is not just about measuring outcomes, but also measuring process. We need formative assessments that are just as important as numeric ones. And here’s the trick: we can’t just have the measures. We actually have to value them.

野雁



(Wild Geese)
詩人 瑪利 奧利佛 Mary Oliver

你不必做善事
You do not have to be good.

你不必在沙漠中匍匐前進一百英里
懺悔
You do not have to walk on your kneesfor a hundred miles through the desert repenting.

你只要讓你柔軟的動物身體
愛他所愛
You only have to let the soft animal of your bodylove what it loves.

 請告訴我絕望
你的
我也會告訴你
我的
Tell me about despair, yours, and I will tell you mine.

 
這同時 這個世界繼續著
Meanwhile the world goes on.

這同時 太陽和像清澈小圓石的雨水
移動著
穿過大地
越過大草原和深層的樹林
山脈和河流
Meanwhile the sun and the clear pebbles of the rainare moving across the landscapes, over the prairies and the deep trees,the mountains and the rivers.

這同時 飛翔在清朗藍天中的
野雁正要再度返鄉
Meanwhile the wild geese, high in the clean blue air,are heading home again.

不論你是誰
不管你有多寂寞
這個世界全任憑你去想像
它召喚著你
就像野雁一樣
嚴峻而興奮—
它一再的一再的
大聲宣佈
在這個萬物的大家族中
你所擁有的一個位子
Whoever you are, no matter how lonely, the world offers itself to your imagination,calls to you like the wild geese, harsh and exciting — over and over announcing your place in the family of things.

from Dream Work by Mary Oliver, Published by Atlantic Monthly Press
譯於2009/8/20



創意與EQ


Creativity and EQ 
by Joshua Freedman

人們在談到創意時,常以為就是指藝術表現。雖然這是創意重要的呈現之一,卻不是全部。對多數人而言,創意來自解決我們每日面對的一大堆問題。

當我們有衝突,但似乎沒有人在聆聽我們時,那就是需要創意的時候!當我們想要幫助孩子學習挑戰性的東西時,尤其是這種時候,就是最需要創意的時候!

好笑的是,當我們最需要創意時,我們卻常是處在最難產生有創意的情緒狀態下!因為恐懼和壓力會刺激位於大腦底部的情緒系統,大腦皮質內負責創造力和解決問題的功能的部分會被關閉。愛,是恐懼的解藥,也是創造力的泉源。

創造力並非只是創新,很多也是舊的重組。創造力需要突破型式,因為其精髓是打破成規。結果,創造力有時會伴隨強烈的情緒,這雖然可以給予創造力一股力量,但對創造力也是一大挑戰。

可以增強創意的活動

  • 選一天為顛倒日,一開始就把晚餐當早餐吃。
  • 用影印機或電腦來放大小的東西,縮小大的東西,作成一幅拼貼畫。 
  • 探索如何把兩個以上的點子組合在一起。 
  • 問孩子或任何人開放性的問題,避免問封閉性的問題。開放性的問題是沒有單一或正確的答案的,比如說,你問:「今天有什麼有趣的事嗎?」而非「你今天過的有趣嗎?」 
  •  玩腦力遊戲,比如說,如果….那麼…. 的遊戲。這需要你願意去自由思考,所以你要練習對任何點子,都不要排斥。要克制自己,不要說「這個想法太可笑了」,或說「那是一個很笨的問題。」
  • 當你上網玩個遊戲,在使用連結時,不要依照所提供的資訊來連結,而是用連結的第一個字母來搜尋,看你會找到什麼隨機而有趣的網站。 
  • 使用你喜歡的字辭,來創造你自己的磁鐵詩。在做招牌的店舖,你就可買到可自粘的磁鐵紙來做。
  • 辦一個茶會或活動,每個客人要從書本、電影或其他媒體中,選一個角色來扮演。
People often talk about creativity in terms of artistic expression, and while this is an important manifestation of creativity, it is not the whole picture. For most people, most creativity comes from solving the zillions of problems we all encounter every day.

When we have conflict or no one seems to be hearing what we're saying, it is time for some creativity.

When we want to help a child learn something challenging, then, perhaps most of all, it is time for some creativity.

Ironically, when we most need creativity, we tend to be in an emotional state where creativity is least accessible.

Fear and distress activate the limbic system at the base of our brains. This shuts off the cerebral cortex, where creativity and problem-solving live. Love is the antidote to fear and the wellspring of creativity.

Creativity is not so much making something new as it is recombining the old. Creativity requires informality because its essence is "breaking rules." The result is that creativity is sometimes tied to strong emotions, which both give it power and make it challenging.

Activities to Foster Creativity

  •  Have a backwards day, beginning by having dinner for breakfast.
  • Use a copier or computer to enlarge small objects and shrink big ones. Make a collage.
  • Explore how two or more ideas can be put together.
  • Ask your child, or anyone else, open-ended questions rather than closed ones. An open-ended question does not have a single or "right" answer; for instance, "What was interesting in your day?" instead of "Did you have a good day?"  
  • Play mental games like "what if...." These require a willingness to think freely, so you need to practice not closing the door on ideas. Resist ever saying, "Don't be silly!" or "That's a stupid question."
  • Get on the Internet and play a game where you follow links not based on what information is presented, but on the first letter of the link. See what random and amusing sites you find.
  • Make your own "magnetic poetry" using favorite words. You can buy a self-adhesive magnetic sheet from many sign-making shops.
  • Have a tea party or an event where each guest plays the part of a character from a book, movie, the media, or other realm.

給父母的EQ建議


給父母的EQ建議

I think every parent has had the experience of being just at wit's end. Everything is going wrong and you feel like you're going to explode.

我想,每位爸媽都有不知如何是好的經驗才對!似乎每件事都不對勁,你覺得你要爆炸了!

Suddenly your children start pulling on you and pushing on every boundary. What's happening is an emotional pressure is building up inside you because you don't yet have the skill to cope with and deal with it so you repress it, pushing it down.

突然之間,你覺得你的孩子在拉扯你,對你的每個界限提出挑戰。這表示你內心的情緒壓力一直在增強中,但是因為你還沒有學到克服的技巧,所以你只是壓抑它。

You want it to go away because it is an inconvenient time. Whatever you suppress, your children will express. They'll feel this and because you're not handling it, it is like a pressure that will come out through them.

你希望它走開,因為這是不方便的時機。每當你壓抑它,你的孩子反而會表達出來。因為當你不處理自己的情緒,他們便會感覺到,就像這個壓力會透過他們找到出口。

It is phenomenal how our children will act out issues and feelings we are not coping with ourselves. One of the ways you can detect if children are acting out your feelings is to observe whether you are resisting your child.

這是一個很有趣的現象,當我們有無法克服的事件和情緒時,我們的孩子會開始表達出來。要偵測孩子是否在演出你的情緒,方法之一,就是觀察你自己是否在抗拒你的孩子。

You see, if my child is acting out some feelings and I do not want to listen to him/her, that's a sign that the feelings s/he has are feelings that are inside of me to which I don't want to listen. If I can listen to my daughter easily and my wife can't, then I would take charge at that time. That's why a partnership helps out.

你要知道,當孩子鬧情緒,但我不想傾聽,這就表示我內在也有相同的情緒,而且我也不想傾聽它。 當我能很容易的傾聽我的女兒,而我太太不能時,我就會來處理,這就是有一個團隊的好處。

Certainly children have enough feelings of their own without ours causing them more pressure. When you are under pressure you're not feeling centered, loving, forgiving, accepting, patient, tolerant or flexible all the qualities you need as a parent.

當然,就算沒有我們造成的壓力,孩子本身就有不少自己的壓力。當你處於高壓下時,你就很難覺得平靜、充滿愛心、接納心、耐心、容忍心、應變力等,這些都是當父母所需要的特質。

One of the most effective tools of emotional literacy a parent can use at times like this is to sit down, pull out a piece of paper and write a letter to the person who is bothering you. The purpose of the letter is to resolve whatever emotions are standing in the way of the expression of love. That is why we call it a "love letter."

面對這種情況時,父母親可以使用一些方法,提高情緒商數最有效的方法之一,就是拿出一張紙,寫一封信給這個讓你煩惱的孩子。寫信的目的,在於化解阻礙愛的表達的情緒障礙。 這就是為何我們稱它為情書。

The Love Letter Technique

寫情書法
The love letter technique is the ultimate way for sharing and expressing the complete truth for resolving emotional conflict both within yourself and in your relationships.

寫情書法可以分享和表達你的真實的聲音,是解決你內心和你的人際關係中的情緒衝突的終極方法。

It is not only a powerful tool fur emotional healing, but through practicing it, you will learn more about your own feelings and what it really means to tell the truth…

這不只是治療情緒一個有力的工具,而且透過寫信,你也會多了解自己的感覺,以及了解到說真話的真實意義何在。….

The Love Letter Format格式

To write a love letter, begin by expressing your anger, resentment and blame and allow yourself to move through the other levels until you get down to the love.

寫情書時,一開始要先表達忿怒、怨恨、責怪等情緒,容許你自己去經驗不同層次的感覺,直到到達愛的層次為止。

Each love letter has five parts - and the following lead-in phrases may help you if you become stuck at one level and need to move into the next.

每封情書包括五部份,如果你一下子想不出要寫什麼,可以利用以下的提示片語,幫你進入下一層次。

1. ANGER AND BLAME 憤怒和責怪

I don't like it when... 我不喜歡,當…時

2. HURT AND SADNESS 受傷和悲傷

I feel sad when... 我覺得很傷心

3. FEAR AND INSECURITY 害怕和沒安全感

I feel afraid... 我覺得很害怕,因為

4. GUILT AND RESPONSIBILITY 罪惡感和責任感

I'm sorry that... 我很抱歉

5. LOVE, FORGIVENESS, UNDERSTANDING AND DESIRE 愛,原諒,了解,希望

I love you because... 我愛你,因為

I forgive you for... 我原諒你

I want...我希望

Remember: If you want to feel better, write a love Letter!!

As you get in touch with your feelings, you'll find that your children will do it, too. The fact that you are emotionally literate will allow them to naturally access these feelings.

記得:如果想要改善心情,寫封情書吧!當你能夠了解自己的感覺時,你會發現,你的孩子也會這樣做。因為你認識自己的情緒,他們也就自然而然能夠接觸自己的情緒了。

When you simply ask them, "What are you upset about? Are you angry because you wanted something and you didn't get it?" If they say, "Yes, I am angry about that," you just listen.

當你問:「什麼事讓你不高興呢?你生氣,是否因為你得不到想要的東西呢?」 如果他們說:「我就是因為這樣才生氣。」你就只是聽。

Don't fix it for them, don't offer advice, just let them be angry for a little while, let them talk and then they'll start to cry. They'll be sad, feeling "I'm never going to get it!"

不要幫他們改變情緒,也不要提供建議,只是讓他們再生氣一會兒,讓他們說出來,他們可能會哭,會很傷心,可能心裡會想:「我永遠都得不到了。」

And then you might say, "I understand you're sad but I just can't give it to you because it is not yours." Then the fear will surface: "You'll never let me have it. I'll never get to do this!"

You can say, "I understand, you are afraid you'll never have that."

然後你可能會說:「我知道你很傷心,但是我不能給你,因為那不是你的。」這時他們會出現恐懼:「你永遠都不給我,我永遠都不能有。」

你可以說:「我知道,你擔心你永遠都得不到了。」

They will say, "Yeah, yeah." Then they'll start to cry again. You hold them in your arms, and then they will want your love. What children really want is our approval, our praise and our love; but they push it away, and they can't receive it if the negative emotions aren't heard.

他們會說:「對啊!對啊!」然後又開始哭。你就抱著他們,他們要的是你的愛。

孩子真正要的是我們的贊同、讚美和愛,但他們把我們推開,因為如果負面的情緒不被傾聽,他們就無法接受這些。

That's why what we call negative emotions are really healing. No one ever wants to hear them, but they are the emotions we need to work on the most. When these emotions came up previously, we lost love, so we learned to push them away.

那就是為何所謂負面的情緒,其實很具療癒的作用。沒有人想聽到負面的情緒,但是這是我們最需要努力的部份。以往當我們有負面的情緒時,我們失去了愛,所以我們學到要壓制它。

Then, when our children start having these emotions as they grow up, we want to push them away. Whenever we resist these feelings in our children, it's a sign that we haven't learned to embrace them in ourselves.

然後,當我們的孩子在成長中,他們也有了這些情緒,我們也想要壓制它。當我們抗拒孩子的負面的情緒時,那就表示我們自己還沒學習到接納它。

When we can embrace them, our children will move through them quickly. If you enable a child to feel safe expressing all his feelings, twenty minutes of time can turn a tragedy into a healthy release.

一旦我們自己學習接納它,我們的孩子很快的就會走出來。如果你能讓孩子覺得表達情緒是很安全的事,只要花上二十分鐘,就能把一個悲劇轉變成健康的抒發。

跳水




譯自 Room to Write (寫作室)
作者 B. Goldberg

Diving In{跳水}

Diving is a form of free writing. The word or phrase with which you begin is your jumping-off point. Once you write it, let it take you anywhere it wants to; follow it faster than the speed of understanding. You are descending through the waters of your mind, leaving logic and propriety behind for the sake of exploration.

跳水就是一種自由寫作的型式,你開始寫的字詞或片語就是你縱身躍下的位置。一旦你開始寫了,就讓它帶領你到任何地方,用比思考更快的速度跟隨它。你正在你心智之水當中下墜,進行探索之旅,你必須把邏輯和規範置諸腦後。

It can be a challenge the first few times. You'll be tempted to come up for air (pause to reread what you've just written), adjust your gear (stop to fret over grammar, punctuation, and spelling), check your oxygen supply (censor what emerges). It takes practice to let of and trust the fluid world of your thoughts. When you encounter whale-sized emotions, let them float across the page like clouds as you continue to write. Whatever you do, don't stop writing.

剛開始幾次可能是一大挑戰,你很可能會浮出水面換氣(暫時停下來,閱讀你寫的東西),調整你的裝備(停下來檢查文法、標點或拼字),檢查你氧氣筒量 (批判你的想法)。需要經過一些練習,你才能學會放下,才會信任流動的思想世界。當你碰到像鯨魚般大的情緒時,就讓它像雲朵一樣,飄浮過你的紙頁,你就只是繼續寫。不管你做什麼,都不要停止寫作。

Herman Melville understood the importance of the plunge. He, too, compared writers to divers: "..that whole corps of thought-divers, that have been diving and coming up again with bloodshot eyes since the world began." When you jump in and complete the descent, you emerge bleary-eyes and breathless. You have journeyed far.

作家Herman Melville了解跳入的重要,他也把作家比喻為跳水者。「自創世以來,一群群思想跳水者,跳入水中又帶著充血的眼睛上岸。」 當你跳入水中,下墜,然後浮出水面,你視線模糊,你喘不過氣。但是,在你的旅途中,你已往前邁進了。

創造力

From “Creativity--Unleashing the forces within”by Osho P. 71-73
摘譯自奧修的 “創造力”一書


I have heard one beautiful story. Once there was a great sculptor, a painter, a great artist. His art was so perfect that when he would make a statue of a man, it was difficult to say who was the man and who was the statue. It was so lifelike, so alive, so similar.

我聽過一個很美麗的故事。從前有個很偉大的雕塑家,又是個畫家,是個很偉大的藝術家。他的作品完美極至,如果他雕塑一個人像,你很難辨別哪個是本人,哪個是雕像。就是如此栩栩如生,如此充滿生氣,如此相像。

An astrologer told him that his death was approaching, he was going to die soon. Of course, he became very much afraid and frightened, and as every man want to avoid death, he also wanted to avoid it. He thought about it, meditated, and he found a solution. He made statues of himself, eleven in number, and when Death knocked on his door and the Angle of Death entered, he stood hidden among his own eleven statues. He stopped his breathing.

一位星象學家告訴他,死神靠近了,他不久就會死掉。當然,他變得十分害怕。每個人都想要逃避死亡,他也一樣,所以他想了很久,終於想到一個方法。他做了十一個自己的塑像。當死神前來敲門,死亡天使進門時,他就藏身在他的十一個塑像當中,停止呼吸。

The Angel of Death was puzzled, could not believe his own eyes. It had never happened—it was so irregular! God has never been known to create two persons alike; he always creates the unique. He has never believed in any routine, he is not like an assembly line. He is absolutely against carbons; he creates only originals. What has happened? Twelve persons in all, absolutely alike? Now whom to take away? Only one has to be taken…

死亡天使困惑極了,幾乎不敢相信他自己的眼睛,這是從未有過的事—太不尋常了!上帝從未創造兩個一模一樣的人,祂總是創造獨一無二的人,祂不是像工廠的生產線,祂堅決反對複製,祂只製造原版的,這到底是怎麼了?竟然有十二個一模一樣的人?現在我要帶走哪一個呢?只能帶走一個啊…

The Angel of Death could not decide. Puzzled, worried, nervous, he went back. He asked God, "What have you done? There are twelve persons exactly alike, and I am supposed to bring only one. How should I choose?"

死亡天使無法決定,他感到困惑、憂慮又緊張,他便回去了。他問上帝:你到底做了什麼呢?竟然有十二位一模一樣的人,我要如何選擇呢?

God laughed. He called the Angel of Death close to him, and he uttered the formula in his ear, the key to finding the real among the unreal. He gave him a secret code and told him, "Just go, and utter it in that room where that artist is hiding himself among his own statues."

上帝笑了,祂叫死亡天使走近些,然後在他的耳邊說了一些話,告訴他如何可以辨識真人與假人的關鍵。祂給死亡天使一個密碼,祂說:只管去吧,到藝術家藏身於他的塑像的房間,說出這些話。

The Angel of Death asked, "How is it going to work?"

他問上帝:這為何有效呢?

God said, "Don't be worried. Just go and try."

上帝說:別擔心,只管去做。

The Angel of Death went, not yet believing it was going to work, but when God has said it he has to do it. He went into the room, looked around and, not addressing anybody in particular, he said, "Sir, everything is perfect except one thing. You have done well, but you have missed one point. One error is there."

死亡天使去了,儘管他仍有些懷疑,但是上帝說他一定要去。他走進了房間,也不針對任何人,就說:先生,除了一點之外,一切都很完美。你做得很好,可惜美中不足,你仍忘了一點,這裡有一個錯誤。

The man completely forgot that he was hiding. He jumped, he said, "What error?"
Death laughed.

藝術家忘了自己仍在躲藏中,馬上跳出來說:什麼錯誤?
死亡天使笑了。

And Death said, "You are caught! This is the only error: you cannot forget yourself. Come on, follow me."

他說:你被捉到了!這是唯一的錯誤,那就是你無法忘記自己!現在跟我走吧!

美夢成真

"How Much Joy Can You Stand?" pp.40-41
書名: 你能承受多少喜悅
作者: Suzanne Fralter-Barns

The Boring Truth about Living your Dream

美夢成真: 枯燥無趣的真實面

The popular belief is that inspiration "strikes" us like a lightning bolt from the sky.Actually, it's the other way around.

一般人總以為,靈感,就像天上的閃電,會突然打在某人身上。其實,情況是反過來的。

In reality, we strike inspiration much the way miners strike gold. By ceaselessly working, reworking and reworking the old territoy, sooner or later we'll run into a little nugget of something wonderful, something better.

事實上,是我們去發掘靈感,就像礦工去發掘金礦一樣。我們在同一地區,一再努力不懈的挖掘,直到有那麼一天,我們終於挖到了一小塊的寶物。

The more we dig, the more we'll find until--if we're very lucky and very persisitent--we hit the mother lode.

我們越是挖掘,收穫就越多,如果我們很幸運,而且堅持不懈的話--我們最終會挖到母礦脈。

In reality, creative work is no different from swinging a pick. For every day of incredible divine intervention, there are porbably ten spent sifting through the dirt.

事實上,創作與揮動圓鍬並無兩樣;你可能要篩沙土十天,才能得到老天的恩賜一天。

This is the bad, boring news about going after what you want: just like any job, there are many times when the work is unexceptional, difficult, and downright demanding.

這就是追求夢想者所要面對的壞消息:就像任何職業一樣,許多時候,工作本身是枯燥乏味、困難重重,甚至是極其艱辛的。

Yet these are also the days when you hunker down and keep on doing because there simply isn't any other way to get where you are going.

然而,有時候,你繼續的做下去的理由,只是因為這是達到目標唯一的方法。

And herein lies the difference between the average dreamer and the person who goes after their dreams.

一般的夢想者和真正的尋夢者的差別,就在這裡。

The successful person is willing to put up with the hard work beause inside of it he finds a joy like nothing else on earth.

成功者願意承受各種辛苦,因為他們從中找到了無與倫比的喜悅。

But the average dreamer does not know this joy yet.
The average dreamer finds his joy in tangible rewards and gets stopped when he realizes all that hard work may ultimately "be for nothing."

但是,一般的夢想者還未找到那種喜悅。一般的夢想者只在意有形的報酬獎賞,當他們了解到一切的努力,最終可能「成空」時,就會放棄了。

**************

As you climb inside the fantastic nautilus of your creation, you begin to understand why Zen masters spend entire lifetimes perfecting the tea ceremony.
當你爬入你創造的神奇的鸚鵡螺內時,你才開始了解,禪師們為何會花一生的精力,來精進茶道了。

It is the sheer poetry of creating something from nothing and working on it until it is truly and absolutely right that ultimately keeps you coming back.

就像創作一首詩,是一種由無到有的過程,要經過不斷的反覆修改,直到絕對完美為止。

This is the magic that can only be born of hard work, and this, ultimately is realizing your dream.

只有經由努力不懈,才能產生這種魔法。也是如此,你終究實現了你的夢想。

當死亡降臨

當死亡降臨



當死亡降臨

像秋天飢餓的熊

當死亡降臨

他拿出錢包內所有的閃亮的錢幣

要買我

然後把錢包啪一聲關上

當死亡降臨

像發病的麻疹疹子

當死亡降臨

像肩胛骨中間的一座冰山



我想要充滿好奇的走進門內,猜想:

那棟黑暗的小屋內,會是什麼模樣呢?

所以,我把萬物視為兄弟姊妹

而且,我把時間視為一種概念而已

而且,我把永恆視為另一種可能

而且,我把每個生命看成一朵花,

像一朵平凡的小野菊,獨特的

把每個名字當成嘴上哼唱的一首熟悉的音樂,

而且就像所有的音樂一樣,

逐漸休止

我把每個身體看成勇氣之獅,

對地球都很寶貴



當一切都結束了,

我想說 :在這一生裡,

我是一位嫁給了驚奇的新娘,

我是一位新郎,把世界擁入懷中。



當一切都結束了,

我不希望我仍不確定

此生是否獨特和真實的活過了



我不希望看到自己嘆氣和驚慌害怕

或是一直在爭辯

我不希望最終

我只是曾經到地球一遊的訪客


When death comes
like the hungry bear in autumn;
when death comes and takes all the bright coins from his purse

to buy me, and snaps the purse shut;
when death comes
like the measle-pox:

When death comes
like an iceberg between the shoulder blades,

I want to step through the door full of curiosity, wondering
what is it going to be like, that cottage of darkness?

And therefore I look upon everything
as a brotherhood and a sisterhood,
and I look upon time as no more than an idea,
and I consider eternity as another possibility,

and I think of each life as a flower, as common
as a field daisy, and as singular,

and each name a comfortable music in the mouth,
tending, as all music does, toward silence,

and each body a lion of courage, and something
precious to the earth.

When it's over, I want to say: all my life
I was a bride married to amazement.
I was the bridegroom, taking the world into my arms.

When it's over, I don't want to wonder
if I have made of my life something particular, and real.
I don't want to find myself sighing and frightened,
or full of argument.

I don't want to end up simply having visited this world.

改變的喜悅


譯自沙克的書 "裸體吃芒果"
By Sark, p.30, "Eat Mangoes Naked"

改變的喜悅  "Pleasure of Changing "

一天深夜,我到位於舊金山的「天恩大教堂」,走了一回靜心迷宮,「與改變為友」是我靜心的主題,整個過程中,我一直在哭。

Late one night, I walked the labyrinth at Grace Cathedral in San Francisco. I dedicated my walk to "making friends with change, " and cried the whole time.

我哭,是因為我一直在逃避改變,一直想壓抑改變。當然,這是行不通的,而且新的改變一直不斷出現,不論我如何壓抑它。

I cried because I'd been running around, trying to "keep all the lids" on change. Of course, it doesn't work, and new changes were developing all the time! No matter how hard I tried with the lids, stuff kept bubbling out.

對於我所面臨的改變,我花了很多精力在合理化、解釋、抱怨,或是逃避上。 我真的開始了解,我是多麼努力想讓一切維持現狀。

I spent my energy justifying, explaining, complaining about or just avoiding the changes that I was experiencing. I really began to see how avidly I was trying to keep everything the same.

我以為如果我能夠維持某些東西不變,那麼,我就不必改變自己,或改變我的看法、觀點、態度和信念。

It seemed like if I could just keep enough things the same, then I wouldn't have to change myself, or my views, perspectives, attitudes or beliefs.

這種固執不通的態度,讓我無法享受改變的樂趣。也許當我越能接受改變和歡迎改變時, 我自己就越能改變。

This rigidity was preventing me from experiencing the pleasures of change. Perhaps the more I could accept and welcome change, the more I myself could change.

我對改變的抗拒,會不會是對宇宙運行的一種高傲態度呢?

What if all my resistance to changing was a kind of arrogance about the movements of the universe?

我對改變的不信任,會不會就是事實上對於宇宙的不信任呢?

That if I distrust change, then I am in effect distrusting the universe!

對自己這個小小的系統和生命歷程的所有一切,我都極力固守執著。對生活慣例,我也習以為樂,我被自己對時間和生活的概念所束縛。

I cling so hard to all of my little systems and processes.

I find such pleasure in my routines. I am bound by my ideas of time and life.

我想要向世界宣稱,我的生活就是一個很偉大的實驗!我想要享受和歡迎改變,主動去找尋改變,並且享受改變。我想要成為一位才華洋溢的速變藝術家!

I want to declare my life to be one big experiment!

I want to relish and welcome change, seek out change and find the pleasure in that. I want to be a gifted quick change artist.

雖然處於諸多的改變中,我希望自己仍能找到安全感,或者我能改變自己對安全感的看法!

I want to be able to find the safety within the changes, or change my ideas about safety!

這是我寫給改變的一封信。

Here is my letter to change:

親愛的改變:

我過去一直很怕你,不歡迎你來我家,我在你背後說你的壞話。我抗拒、逃避、取笑你。

Dear Change,

I've previously been very afraid of you. You weren't welcome in my home, and I spoke badly about you behind your back. I resisted you, avoided you, and made fun of you.

我現在希望能夠改善我們的關係,我希望學習如何好好尊重你,如何與你共舞,如何邀你共進晚餐。

I want to change our relationship. I want to learn to cultivate and respect you, dance with you and take you out to dinner.

讓我們一起旅行!你願意成為我永遠的好朋友嗎?

Let's travel together! Will you be my everlasting friend?

愛你的蘇珊

Love, Susan

孩子




作者 Naomi Long Madgett

我嘗試過告訴她
小枝子是這樣彎曲的
由我的樹幹而誕生
因我的樹根而穩固
妳必須把新枝
盡量向太陽靠近
那是我所不能迄及的

我很想說:
替我向大氣層延伸吧
那是我只能夢想的事

但是小枝子斷了
昨天我還看到她
走在一條不熟悉的路上
腳步自信
歪著臉朝向令人害怕的天空望著
而且
她臉上還掛著微笑
而且她是非常自由
非常有個性
不屈服
的自己

Offspring

I tried to tell her:
This way the twig is bent.
Born of my trunk and strengthened by my roots,
You must stretch new grown branches
Closer to the sun
Than I can reach.
I wanted to say:
Extend my self to that for atmosphere
Only my dreams allow.

But the twig broke,
And yesterday I saw her
Walking down an unfamiliar street,
Feet confident,
Face slanted upward toward a threatening sky.
And
She was smiling
And she wasHer very free,
Her very individual,
Unpliable
Own.
Go back to About Me




回到我的簡介

 Junie B. Jones is a Beauty Shop Guy (裘妮是個美髮師)
作者 Barbara Park

Chapter 1 My Brand-new Different Name

第一章 全新的名字

My name is Junie B. Jones. The B stands for Beatrice. Except I don't like Beatrice. I just like B and that's all.

我的名字叫裘妮‧B‧瓊斯,B代表是碧憩絲,但是我不喜歡叫碧憩絲,我只喜歡叫B,就是這樣。



Only guess what? That doesn't even matter anymore! 'Cause I am changing my name to a brand-new different name!



但是你知道嗎?那沒有關係了,因為,我要把我的名字改成一個不同的新名字了!



It popped right into my head when I waked up this morning!



今天早上醒來,這個想法突然在我腦海中出現!



That's how come I jumped out of bed. And I zoomed to the kitchen to tell Mother and Daddy.



我就跳下床,快速衝到廚房,去告訴媽媽和爸爸。



They were sitting at the breakfast table.



他們正坐在早餐桌旁。



"People! People! Guess what? Guess what? I am changing my name to a brand-new different name! And it is the loveliest name I ever hared of!"



各位!各位!你知道嗎?你知道嗎? 我要取個全新不同的名字了!那是一個我聽過最可愛的名字!



Mother was feeding my baby brother names Ollie. Daddy was reading his paper. They did not pay attention to me.



媽媽在餵我的小弟弟歐力吃東西,爸爸在看報紙,他們都沒有注意到我。



I climbed up on my chair and shouted my new name real loud.



我爬到我的椅子上,大聲的把我的新名字說出來。



"PINKIE GLADYS GUTZMAN! MY NEW NAME IS PINKIE GLADYS GUTZMAN!"



「粉紅‧葛來第斯‧嘎姿夢!我的新名字叫粉紅‧葛來第斯‧嘎姿夢!」



Just then, Daddy looked at me over the top of the paper. 'Cause now he was paying attention!



這時,爸爸抬起頭看著我,因為他現在注意到我了



"Excuse me? Could you run that by me one more time?" he asked. "Your new name is Pinkie Gladys what?"



「對不起,可以請你再說一次嗎?」他問。「你的新名字叫粉紅‧葛來第斯什麼?」



I clapped my hands real happy.



我很開心的拍拍手。



"GUTZMAN!" I shouted very thrilled. "PINKIE GLADYS GUTZMAN! SO FROM NOW ON EVERYBODY HAS TO CALL ME THAT. OR ELSE I WILL NOT EVEN ANSWER! OKAY, DADDY? OKAY?"



「嘎恣夢!」我很得意大聲說:「粉紅‧葛來第斯‧嘎恣夢!從現在開始每個人都要叫我我的新名字,不然我就不回答。可以嗎?爸爸!可以嗎?」



I hugged myself. "Isn't it just the cutest name you ever heard of? 'Cause Pinkie is the loveliest color I ever saw! Plus Gladys Gutzman is the snack lady at school. And so who wouldn't want to be named after that woman? That's what I would like to know!"



我雙手合抱著自己。 這是不是你聽過最可愛的名字呢?因為粉紅色是我見過最美麗的顏色,葛來第斯‧嘎姿夢是學校準備點心的阿姨的名字,所以誰不想取跟她相同的名字呢?我倒想知道有誰!」



Daddy shook his head. "I don't know. This doesn't really sound like a good idea to me," he said.



爸爸搖搖頭。「我不知道,我不覺得這是個很好的主意。」他說。



I did a frown at that guy."Why, Daddy? How come? How com it doesn't sound good?"



我對他皺一皺眉頭。「為什麼呢?爸爸!為何什麼不好呢?」



"Well, for one thing, it's much too long," he said. "No one will be able to remember a name as long as that one."



「嗯!比如說,名字太長了!」他說:「沒有人記得住這麼長的名字!」



I tapped on my chin. "Hmm," I said. "Hmm, hmm, hmm." Then all of a sudden, my whole face got happy.

"Hey! I got it! I got the answer!"



我拍一拍下巴。「嗯!」我說:「嗯,嗯,嗯。」 然後,突然間,我的臉又露出笑容。「嘿!我想到了!我想到答案了!」





After that, I zoomed to my room. And I got some paper. And I zoomed right back again.





接著,我衝進我的房間,拿出一些紙,又馬上衝出來。



A name tag! We will make a name tag!" I said. "That way, people can read my new name. And they won't even have to remember it!



「名牌,我們做個名牌!」我說: 「那麼,大家可以讀我的新名字,他們也不用去記住!」

9/21/2009

細節描寫

第七章 細節描寫

細節的描寫會讓你所創造的虛擬世界散發光芒。

想像你現在要去廚房拿一杯水,想像出一個畫面。杯子放在哪裡呢?你的答案就是一個細節描寫。你需要站在什麼上面才拿的到嗎?那是什麼呢?你的答案就是一個細節描寫。

是哪一種杯子呢?是什麼顏色呢?是哪種材質呢?玻璃杯?紙杯或塑膠杯?如果是玻璃杯,重不重呢?(如果對上述任一問題,你不太確定答案的話,何不去實地看一看呢?) 你的答案就是細節描寫。

當你打開水龍頭時,要等多久,水才會變冷呢?你猜對了,你的答案就是一個細節描寫。

當你關上水龍頭時,水是不是仍會滴滴答答的流一下子呢?這又是一個細節描寫。 還記得上一章我們提到要留意嗎?使用你的各種感官。你是否覺得水流硬硬的,因為水壓很大,或者你覺得水流軟軟的,因為水壓很小呢?水聲聽起來如何?你看到水槽上有什麼東西嗎?水槽裏呢?水槽是金屬作的?還是陶瓷的?水龍頭是鍍鉻的嗎?會不會發亮? 有些細節是與感官有關的,有些不是。

你現在腳上穿的是哪種鞋子?是新鞋或破鞋呢?你的答案就是一個細節描寫。如果你現在穿著襪子,襪子是什麼顏色呢?夠了,我們不要再談腳了。 你現在身上穿著什麼衣服呢?運動衫和短褲嗎?還是你盛裝打扮,要去參加哥哥的高中畢業典禮呢?你對自己的外表最滿意的地方是哪裡?最不滿意的又是哪裡呢?你的答案就是細節描寫。

我現在坐在電腦旁,我兩手腕包著支架,因為常打字,我得到腕隧道症候群。 我的左手有個婚戒,右手戴著一個戒指,是我父母送給我十一歲的生日禮物。我個頭很小,從十一歲生日後就沒長高了,所以戒指到現在都還能戴。

喔,也不全是如此,經過這些年來,我的中指和小指慢慢把戒指的圓環擠壓成橢圓形,我也就拿不下來了。戒指是金製的,有兩顆心,一顆向上,一顆向下,左邊的心刻有字母G,右邊的心刻有字母C,都是草寫的英文字母,所以C看起來有些像L,這讓我很高興,因為我本姓Carson,我先生姓Levine。

這些都叫做細節描寫。

寫作時間


你的主角參與一項神奇寶物的科學調查,她有一架顯微鏡,也有各種顯示器,來顯示心臟 、肺臟、皮膚溫度、腦功能等。有一組科學家在現場,她被帶到一個桌子前,桌上有四件神奇的寶物。 

  • 一個魔戒,凡是戴著的人就會隱形。
  • 一個助聽器,不論多遠的聲音,戴著的人都聽得到。
  • 一個神奇餅乾,吃下去的人,每分鐘就會長高一英尺。
  • 一種神奇飲料,喝下去的人,每分鐘就會縮小三吋。
你的主角要選其中之一,或戴或吃或喝,然後再用麥克風把發生的一切告訴這些科學家,不論是多小的細節,都不能漏掉一點。 比如說,如果她是選擇魔戒,當她一碰觸戒指就發生效果呢?或是她要全部套上才會發生?她的報告可能像這樣: 「戒指比我的無名指大太多了,所以我把它套在食指上,它已穿過了我的指甲,但我還沒有任何感覺。」

一個小細節也不要漏掉。當你寫完了她向科學家所作的報告後,如果你願意,也可再寫寫她和寶物如何進行了一場探險之旅!

祝你寫作愉快!把寫好的作品收好。

8/20/2009

My crayons talk 我的蠟筆在說話


說話 說話/ 我的蠟筆在說話/ 喀喀 珂珂/說話 說話

紫色大叫:口香糖,真好吃。
咖啡色唱著說:泥巴派日,好好玩。
藍色說:秋千,盪到好高的天空。
黃色啾啾的說:小雞,快點兒來。

說話 說話/
我的蠟筆在說話/喀喀 珂珂/
說話 說話

金黃色驕傲的說:裝扮時間真精彩。
銀色說著:鼓號樂隊好盛大。
紅色大吼著:停止,不准走。
綠色吶喊著:看著我跑,好有趣。

說話 說話/我的蠟筆在說話/喀喀 珂珂/
說話 說話

橘紅色問:好甜,我可以吃嗎?
黑色呼嚕的說:聰明的貓頭鷹,有著大大的眼睛。
白色尖叫:最最最  嚇人的鬼來了!
粉紅色笑著說:小丑的褲子掉下去了。

說話 說話/我的蠟筆在說話/喀喀 喀喀 珂珂/
聊天八卦說不停!

My Crayons Talk
By Patricia Hubbard

Talk, Talk./My crayons talk./Yackity. Clackity./Talk. Talk. Talk.

Brown sings, “Play, Mud-pie day.”
Blue calls, “Sky, Swing so high.”
Yellow chirps, “Quick, Baby chick.”
Talk, Talk./My crayons talk./Yackity. Clackity./Talk. Talk. Talk.

Gold brags, “Fine,Dress up time.”
Silver toots, “Grand, Marching band.”
Red roars, “No, Do not go.”
Green yells, “Fun! Watch me run.”
Talk, Talk./My crayons talk./Yackity. Clackity./Talk. Talk. Talk.

Orange asks, “Sweet, May I eat?”
Black hoots, “Wise, Big Owl eyes.”
White screams, “Most Scary ghost.”
Pink laughs, “Clown! Pants fall down!”

Talk, Talk./My crayons talk./Yack yack yackity./
Chit chat clackity./Yackity. Clackity./
Talk. Talk. Talk.

創造二十一世紀的教室經驗

最近幾年,IDEO公司花了許多時間和精力在思考教育的議題。本公司與加州一所小學合作,開始一個稱為「調查式學習」的新課程,目的是讓學生成為主動的知識追求者。我們訪問了本公司設計此一計劃的領導人「史貝秋」(Sandy Speicher),她精闢的見解可以提供創造「明日學校」的建築師和設計者參考。

第一、拉拔,不要擠推        

創造一個學習環境,讓每個學生都會提出很多問題,然後協助他們把這些問題轉變成「見解」和「了解」。教育通常被認為只是知識的傳授,然而真正的學習是:學生覺得必須去解決自己所面對的問題,而不得不去找答案。

第二、與切身有關 

當學生覺得所學的東西,是與他們有關聯的,他們就會產生興趣和發揮想像力。讓學生親身體驗你所要教授的概念,再來進行討論,能夠「動手」來解決更好,不要只是用言語解釋。

第三、不容忽視的「軟性」技能        

創造力、合作力、溝通力、同理心、適應力並不是裝飾品,當我們面對二十一世紀全球化經濟的種種艱難挑戰時,這些是我們最重要的核心能力。

第四、容許差異教學 

不論是在體系中或教室裡,容許大量量身訂製,而不是大家只用同一尺寸的心態。通常,教育平等權被認定是統一教學。事實上,每個人的起跑點不同,終點也不同。

第五、聖人下台 

參與式學習通常不是整潔有序的,學生要自己動手。他們要去感覺、經驗、操作。在互動式的學習環境中,教師的角色,由以前的全知專家,轉換為引導者。老師從前面的講台走下來,站在學生旁邊來指導他們。

第六、老師是設計師,讓他們去創造

建立一個讓學生能夠積極參與「做中學習」的環境,把對話由權威規範,轉變成接納和指導。雖然這樣的環境比較難以控制,但成效很驚人!

第七、製造一個學習社區
       
學習並不只發生在孩子的腦袋裡,透過與其他孩子、老師、家長、社區、甚至大至整個世界的互動中,孩子也從中學習。「要靠全村落來教養一個孩子」,這句話是很正確的,學校應該想辦法讓父母多多參與,並與地方性和國家性機構建立伙伴關係,這不僅對孩子有益,也能夠把資源和知識帶進你的機構。

第八、當個人類學家,不要當考古學家
      
考古學家是靠著挖掘古物和遺跡來了解過去,人類學家則是專注在研究人類的價值、需求、渴望。如果你要為未來尋找解決方案,你必須知道人們在乎什麼,再設計出因應之道。千萬不要用挖掘法來找答案,要用聯繫法。

第九、孵育未來

今天,幼稚園到十二年級的學生所面臨的挑戰是哪些呢?讓學生看到自己在這個世界上所扮演的角色,讓他們研究一些主題,像:全球暖化、交通運輸、廢料管理、醫療照顧、貧窮、教育等,重點不在找到正確答案,而是學習企圖心、參與感、責任感,不用說,還有學習科學、數學和文學。

第十、改變方針 

要鼓勵新行為,就必須要有新的評量法。像創造力、合作力這類能力無法用統計圖表來衡量,所以需要新的評鑑方式,來幫助我們了解和討論這些二十一世紀的技能進展。除了評量成果,也要評量過程;進展性評量與量化評量同樣重要。最重要的是:我們不只要有評量法,我們必須真的重視它們。

FEBRUARY 2009 • MAGAZINE

Ten Tips For Creating a 21st–Century Classroom Experience
In recent years, IDEO has spent a lot of time and effort thinking about education. The firm’s work with Ormondale Elementary School, in Portola Valley, California, helped pioneer a special “investigative-learning” curriculum that inspires students to be seekers of knowledge. We spoke to Sandy Speicher, who heads the Design for Learning efforts at IDEO. Her insights provide powerful lessons for architects and designers creating the schools of tomorrow:

1. Pull, don’t push.
Create an environment that raises a lot of questions from each of your students, and help them translate that into insight and understanding. Educa¬tion is too often seen as the transmission of knowledge. Real learning happens when the student feels the need to reconcile a question he or she is facing—and can’t help but seek out an answer.

2. Create from relevance.
Engage kids in ways that have relevance to them, and you’ll capture their attention and imagination. Allow them to experience the concepts you’re teaching firsthand, and then discuss them (or, better yet, work to address them!) instead of relying on explanation alone.

3. Stop calling them “soft” skills.
Talents such as creativity, collaboration, communication, empathy, and adaptability are not just nice to have; they’re the core capabilities of a 21st-century global economy facing complex challenges.

4. Allow for variation.
Evolve past a one- size-fits-all mentality and permit mass customization, both in the system and the classroom. Too often, equality in education is treated as sameness. The truth is that everyone is starting from a different place and going to a different place.

5. No more sage onstage.
Engaged learning can’t always happen in neat rows. People need to get their hands dirty. They need to feel, experience, and build. In this interactive environment, the role of the teacher is transformed from the expert telling people the answer to an enabler of learning. Step away from the front of the room and find a place to engage with your learners as the “guide on the side.”

6. Teachers are designers. Let them create.
Build an environment where your students are actively engaged in learning by doing. Shift the conversation from prescriptive rules to permissive guidance. Even though the resulting environment may be more complicated to manage, the teachers will produce amazing results.

7. Build a learning community.
Learning doesn’t happen in the child’s mind alone. It happens through the social interactions with other kids and teachers, parents, the community, and the world at large. It really does take a village. Schools should find new ways to engage parents and build local and national partnerships. This doesn’t just benefit the child—it brings new resources and knowledge to your institution.

8. Be an anthropologist, not an archaeologist.
An archaeologist seeks to understand the past by investigating its relics and digging for the truth of what was. An anthropologist studies people to understand their values, needs, and desires. If you want to design new solutions for the future, you have to understand what people care about and design for that. Don’t dig for the answer—connect.

9. Incubate the future.
What if our K–12 schools took on the big challenges that we’re facing today? Allow children to see their role in creating this world by studying and creating for topics like global warming, transportation, waste management, health care, poverty, and even education. It’s not about finding the right answer. It’s about being in a place where we learn ambition, involvement, responsibility, not to mention science, math, and literature.

10. Change the discourse.
If you want to drive new behavior, you have to measure new things. Skills such as creativity and collaboration can’t be measured on a bubble chart. We need to create new assessments that help us understand and talk about the developmental progress of 21st-century skills. This is not just about measuring outcomes, but also measuring process. We need formative assessments that are just as important as numeric ones. And here’s the trick: we can’t just have the measures. We actually have to value them.