曾奇峰2录音提纲
KB2 Unit2故事台词
Trevor：钟林岑Marie：李娜Maskman：龚媛媛Monty：邓沛泓KB2 Unit2故事台词：李娜：OK,every body . This bag is for school.Let’s look.（好的，所有人。
这个包包是上学用的，让我们来看一看。
）其余三人：OK,Marie. （好的，Marie。
）李娜：hmm,Is there a ruler? （嗯，里面有橡皮擦吗？）龚媛媛：Yes,there is.It’s a Maskman ruler.（是的，有。
是一把Maskman尺子。
）邓沛泓：Look,Marie.Here’s an eraser.（快看，Marie！这儿有块橡皮擦。
）李娜: Good!Can you put it in the bag,please,Monty?（很好！请你把它放进包包里好吗，Monty?）邓沛泓：Now, there’s an eraser in the bag,Marie.（现在，有块橡皮在书包里了，Marie.）李娜: Good!Thank you, Monty. （很好，谢谢你，Monty!）Now,how many pencils are there?（现在，有多少铅笔？）龚媛媛: There are 1,2.......11 pencils。
（这儿有1,2,3......11支铅笔。
）邓沛泓：11 pencils!Where’s the pencil?Trevor!(11支铅笔！还有一支铅笔到哪里去了？Trevor!）钟林岑:Sorry.Here you are.Pencils are my favourite food.（对不起，给你。
铅笔是我最喜欢的食物。
）。
正峰示范课课件
2. I believe . They won’t come to the food festival .(同上）
will come to the food festival . I don’t believe (that ) they ---------
v.想像，设想；猜测 Example: A: What will the food festival be like? Can you imagine it? B: I imagine (that) we will prepare for many delicious foods. C: …
B: Yes, I think so./ No, I don’t think so. I think they need to cook soup.
make tea cook soup make cheese pies
make chocolate cookies
set the table
make biscuits make fruit juice make strawberry pancakes make a poster
2015年4月25日，我国的友好邻邦尼泊尔发生8.1 级特大地震，目前已经造成20000多人伤亡，无家可归 的中学生面临极大困难。作为一名有爱心的中学生， 你打算怎样帮助他们？给那里的意及汉语提示完成句子： about 1. I know Lin Xin. But I don’know t ____ ____（了解）her.
2. We should ____ （考虑） how to help him. think ____ about
try our 3. We should ___ ___ best ___ (尽力) to learn English well.
Pearson BTEC International Level 2 音乐记录教程说明书
Unit 13: Music RecordingDelivery guidanceApproaching the unitLearners may have already completed Unit 3: Introduction to Music Recording or will have the equivalent knowledge of recording equipment, skills and techniques covered in that unit. . The purpose of this unit is for them to build on and develop their recording skills by carrying out a range of contrasting recording projects.Learners should be encouraged to produce recordings for different purposes and work with different ensembles, musical styles and recording environments. There will be lots of opportunities within and outside the centre for recordings to take place such as concerts, recitals and productions. Learners might produce recordings that could be used as promotional material or for use in film, TV or radio. They should not be limited to making just studio-based recordings and should explore a range of options.It is best for learners to approach this unit practically and establish a continual process of planning, recording and mixing. It is essential that learners then reflect on and log their process so that they can document their decision making and the recording skills they are developing and applying. By continually experimenting with different equipment and techniques, seeking feedback and reflecting, learners will improve their recording skills. Teachers should monitor the work of learners and offer suggestions and support as necessary based on the project being undertaken. Delivering the Learning aimsAn integrated approach to delivering the three learning aims would enable a coherent and logical approach to the unit. As learners will be working on different types of projects, the teacher should facilitate these and provide guidance and support based on the demands of the particular project and the skills required. It would be helpful to recap the unit content from Unit 3: Introduction to Recording so that learners are prepared for this unit. A skills audit may be a useful activity to undertake at the start of delivery to see which aspects of the unit content learners are familiar with and which aspects may need revising. The findings from the skills audit will guide the teacher on what areas may need to be covered and in what level of detail. It will also enable the teacher to provide bespoke support to individual learners.Learning aim A is concerned with the planning stages of a recording project. Learners should explore the different types of recording projects and their purposes and then work with musicians and ensembles at the centre to identify material to record. Learners should then undertake the relevant planning, preparation and setting up so that recording sessions can take place efficiently. At first, learners may need lots of guidance of how to structure a recording session and may need support to keep on track. As they carry out more sessions and continually reflect and receive feedback from the teacher and the musicians they work with, they will become more autonomous and efficient in the planning and setting up stages of the recording process. Learners should work on contrasting projects with different ensembles, musical styles and recording environments. Learning aim B allows requires learners to run recording sessions and develop their recording skills. Learners may have some experience of this from Unit 3 and they should now build on this as they will have more time to develop their skills. At first, learners might undertake recording projects in small groups or pairs and then could work towards carrying out an individual project. Learners should be encouraged to experiment with recording techniques and continually reflecton their decisions and ideas in a project log. Teachers should be on hand to support, model good practice and demonstrate skills and techniques to learners as appropriate to the recording project e.g. communicating with musicians, overdubbing, dropping in and critical listeningLearning aim C is where learners edit and mix the audio they have recorded. Again, they will have some experience of this from Unit 3 and should now develop and refine their skills through experimentation and in response to feedback. Teachers and peers should listen to work in progress and identify strengths and areas for improvement. Learners should be encouraged to refine and enhance their final mixes to create an effective final recording. Again, teachers should demonstrate mixing and editing techniques such as adding EQ, use of stereo field, compression,fade in/out etc.Assessment model Learning aimKey content areas Recommended assessment approachA Plan for recordingsessions A1 Types of recording project A2 Planning and schedulingrecording sessionsA3 Selecting and setting upequipmentPlanning documentation. Video and/or annotated photographs of set ups Recording process commentary. Unmixed audio tracks. A portfolio of two contrasting recordings lasting at least five minutes. B Carry out recordingsessions B1 Managing the recording sessionB2 Recording techniquesB3 Logging the recording processC Produce a portfolio ofcontrasting recordings C1 Mixing and editing C2 Presenting a portfolio Assessment guidanceThis unit is internally assessed. There is a maximum number of one summative assignment for this unit and learning aims A, B and C can be assessed together. Teachers should refer to theassessment guidance in the specification for specific detail, particularly in relation to therequirements for Pass, Merit and Distinction grades.Learners should individually undertake two contrasting recording projects to create a portfolio that demonstrates their skills. Learners might record a demo for a small pop music ensemble featuring vocals, drums, guitar and bass in a studio environment. They might then contrast this withrecording a choir with piano accompaniment in a school hall. Learners who undertake two very similar projects are unlikely to demonstrate the range of skill and thought required to achieve the higher grades. Learners should take responsibility for the planning and setting up of the recording sessions and their plans and schedules will be useful evidence of this. They might also provide annotated videos or photographs to evidence their ability to set equipment up effectively and to explain their process.Learners should then take the lead in the recording sessions and capture good quality audio. They should document their process in a project log as this will provide an insight into their contribution and decision making. Video footage could also provide evidence for key moments within therecording process that show learners making effective contributions. Learners should submit their unmixed audio recordings so that they can be compared with their final mixes to demonstrate how they have applied mixing and editing skills to enhance the audio. Again, learners shouldaccount for their editing and mixing process in their project log to draw attention to the skills and techniques they are using. The project log could be written, but learners could choose to present it as a blog or vlog and should bring it to life by including audio examples to illustrate their points. Learners should submit their two final recordings bounced down to stereo and these will provide robust evidence as to how learners have applied thought and skill to the whole recording process.Getting startedThis gives you a starting place for one way of delivering the unit, based around the recommended assessment approach in the specification.IntroductionIntroduce this unit by recapping the work completed in Unit 3: Introduction to Recording which all learners taking Unit 13 may have already completed. Learners should audit their knowledge and skills against the Unit 3 content.Learning aim A: Plan for a recording sessionLearning aim B: Carry out a recording sessionLearning aim C: Produce a portfolio of contrasting recordingsThe three learning aims are best delivered together so that learners can experience the full recording process as a holistic activity. The emphasis of this unit is for learners to continually develop their recording skills and they should have lots of opportunities for undertaking the full recording process of planning, recording and mixing and then reflecting on this before undertaking their next project.•The teacher should recap the purpose and function of recording equipment and how to set this up to capture audio. Using the findings from the skills audit, the teacher should alsodemonstrate recording skills and techniques such as talkback, critical listening, using guide and click tracks, layering tracks, overdubbing and dropping in. Learners should practice these skills and techniques. Working in pairs or small groups, learners should identify an ensemble or artist to work with in pairs. In liaison with the artist/ensemble, they should identify a piece of music to record and the most suitable environment for the recording to take place. •Learners should create a schedule for the recording which includes the timeline and resource requirements. Learners should plan out what they intend to achieve in therecording session(s).•Learners should select and safely set up the most suitable equipment for the planned recording session(s) and then undertake the recording process as planned.•Learners should reflect on the recording session(s) and its outcome and produce a log, which could be written or filmed, that outlines their process and the skills that they used.•The teacher should demonstrate and recap a range of editing and mixing techniques such as levels, EQ, panning, reverb, compression, fade in/fade out.•Learners should edit and mix their recorded tracks to produce a final multitrack recording.They should consider balance, EQ, panning and other effects before bouncing down tostereo.•Learners should complete their logs and reflect on the mixing and editing stage of the process, outlining their thought processes and the skills used.•Learners should seek and reflect on feedback from their teacher, peers and artists and identify strengths and areas for improvement.The above process should then be repeated but this time learners should work individually and on a contrasting recording project such as a different ensemble, style of music or recording environment. Learners should apply their feedback from their first project to make improvements to their process in the next project.Details of links to other BTEC units and qualifications, and to other relevant units/qualificationsThis unit links to:•Unit 3: Introduction to Recording•Unit 5: Introduction to Live Sound•Unit 6: Plan and Create a Music Product for a Brief•Unit 9: Technology in Music Performance•Unit 14: Live Sound•Unit 17: Personal Music ProjectResourcesIn addition to the resources listed below, publishers are likely to produce Pearson-endorsed textbooks that support this unit of the BTEC International L2 Qualifications in Music. Check the Pearson website at: (/endorsed-resources) for more information as titles achieve endorsement.TextbooksHuber, David M. & Runstein, Robert E., Modern Recording Techniques (Audio Engineering Society Presents), Routledge (2017)Owsinski, B.,The Mixing Engineer's Handbook (4th Edition) Bobby Owsinski Media Group (2017) Owsinski, B., The Music Producer's Handbook: Second Edition (Music Pro Guides), Applause Theatre Book Publishers (2016)Pederson, K. & Grimshaw-Aagaard, M., The Recording, Mixing, and Mastering Reference Handbook, OUP (2019)Rumsay, Francis, Sound and Recording, Routledge (2014)Websites/Pearson is not responsible for the content of any external internet sites. It is essential for teachers to preview each website before using it in class so as to ensure that the URL is still accurate, relevant and appropriate. We suggest that teachers bookmark useful websites and consider enabling students to access them through the school/college intranet.。
不一样的新概念英语第2册301丨词汇脱口秀
030.1 -【词汇脱口秀】如何讲述生活趣闻：精准“射门”东欣老师温馨提示：为强化大家的听觉记忆，建议大家：先听课，跟着录音场景造句，最后再看讲义。
大家要逐渐摆脱“仅仅用眼睛学英语”。
1. Cut v.核心意思：切割你会切西瓜吗？cut the watermelonin halfcut the watermelon inSdices / wedges【wedge 楔形，类似扇形】watermelon slices / wedges cut the watermelon into cubes引申含义1）穿过，抄近路If you cut across or through a place, you go across or through it because it is the shortest route to another place.比如：I cut across the lawn and got to the classroom on time.所以，一条捷径，小路就叫：a shortcutTaking a shortcut may save time .But you may also get lost.So you have tobe careful oftaking a shortcut.2）削减=reduceThe company will cut jobs in order to cut（c听记1）医生对你说：I suggest you cut the amount of fat and sugar in your diet.3) 口语表达：I am not cut out for a lawyer. = I am not suited for a lawyer.I am not cut out for a singer. / She is cut out for a dancer.注意：一些表示“切，剪”的表达1.剪指甲：cut my nails or trim my nails修剪：trim=to make something look neater by cutting small pieces off it剪头发：下面两句有什么区别？I need a hair cut.My hair just needs a trim.2)劈柴，砍柴：chop the firewood砍成，切成小块chop v. = to cut something into smaller pieces“磨刀不误砍柴工”如何表达？【我当年申请读MBA 的时候，面试时一个外国教授问我：You have beenworking for many years. Do you thinkgivingup your currentopportunityto pursue an MBA is worth it我当时的回答是：As an old Chinese saying goes, grinding the ax will not delay the work of chopping firbwood.3)猛砍，猛劈：slash v. = to cut something violently强调力度】The store slashed prices to increase sales.2.Row1)V.划船：When you row a boat, you make the boat move across water using oars. n. 桨】Why don’t we go for a row on the West Lake ?2)一排I sat in the front row.I sat in the second row.3)in a rowt 续的If you say something happens in a row, it happens a number of times, one after another. In the 1980s, the Chinese nationalwomen,s volleybalteam won fiveworld championships in a row.听:VOA 新闻：Consumer spending has increased eight months in a row.3.Kick v.1)核心意思：踢Kick the b踢球重要表达：kick off = beginManchester United kicked off.The soccer game has just kicked off.The show will kick off in 20 minutes’ time.2)口语俚语：Kick one,s assI,ll kick your ass if I ever see you talking to my girlfriend again.They weren,t prepared for that game, so the other team kicked their asses.kick ass vi艮棒If something kicks ass, it is really cool and impressive.The song really kicks ass.美国第45任总统Donald Trump写了一本书叫《Think big and kick a^sKick-ass adj. = impressiveThe song is really kick-ass.That is the most kick-ass song I have ever heard.That is the most kick-ass cellphone I have ever used.kick the bucket "踢水桶”=die注意，表示“死去”含义的时候，kick the bucke并不是特别尊敬的表达，如果是一个比较尊敬的说法是pass away去世了)，Pass away 的本质含义是( 听记2)4.Towards (toward)1)注意：-wards往往表示方向，最后一个s可以省略towards就是朝某个方向The house faces towards the sea.A policeman is coming towards me.2)表方向的同根词：upward adv.往上move upward 往上运动downward adv.往下move downward 往下运动forward adv往前go forward 往前走backward adv.往后go backward 往后退欣赏一句名言：“Leaders don't look backwards to condemn what has already been done; theylook forward to create a better future.”—— Mark Cuban(The owner of the National Basketball Association (NBA),s Dallas Mavericks) 所以：Greatleaders are forward-looking.复习：Look forward to ..非常期待I have been looking forward to meeting you for a long time.【look forward to +动名词】Nearly adv.核心意思：接近，将近It is nearly eight o,clock.After watching the boring movie for 15 minutes, I was nearly asleep.区别：almost 【美语中用的更多】nearl 丈英式英语更多】He knows almost nothing about China.不可以说 nearly nothing)Mary almost never speaks in clas 不可以说 nearly never)Sight n.1)核心意思就是：视力 Someone's sight is their ability to see.Helen,s sight is falling. = Helen began to lose her sight.【美国盲人和聋哑女作家Helen Kelle 的感人故事】Helen Keller lost her sight and became deaf when she was only two years old. Even though blind and deaf, Helen Keller had passed through many obstacles and she learned to live with her disabilities.海伦凯勒的老师Anne Sullivan 如何教导Helen?海伦凯勒的学习之路:Water became the first word Helen ever learned in her life. She was the first deaf-blind person to earn a bachelor of artsdegree.每次读到Helen Kelle的故事，我都感慨，正常人是靠听和读也就是听觉和视觉的输入进行语言的学习的。
曾奇峰录音5提纲
曾奇峰录音5提纲一．答疑：成功者的内疚感是怎么回事——是超我的内疚感。
指一个人成年后达到了自己的目标或超过自己的目标后，有内疚感，这常与童年早期有关性的禁忌有关。
这象一个村委书记开人大的时候，说下一屉，就把胡锦涛的位置让给你，他有强烈的内疚感，觉得自己不配，因为每个人都要有自己配什么不配什么的禁忌。
治疗的方法就是穿大鞋。
给一个抱持性的环境，让他触及边界而不受惩罚，治疗时间很长。
比如来访者在治疗中打电话，你可以说，我注意到，你打了三次电话，让他了解自己的行为，但不惩罚他。
精神分析疗程长，是一种缓慢的奢侈。
答疑2：孩子想帮别的孩子，但帮不了，很无力。
家长不希望孩子不舒服。
这是一个错误的观点，拒绝孩子去承受他生活中应该承受的不舒服。
一个人天生有忍受痛苦的能力。
让一个孩子太舒服也是在剥夺他锻炼自己心理承受力的机会。
答疑3：这个时代有些人的审美偏向中性。
喜欢中性的人，是对自己的性别有些模糊的。
另一方面，是男女之间的交流已很自由，削减了性别意识。
男女授受不亲，一方面是一种禁忌，另一方面也是恩赐，可以让男女在一起的时候更有惊心动魄的感觉。
二、古典精神分析的分期：1．口欲期。
与吃有关，相关的心理特征是依赖。
极端表现：进食障碍进食障碍，一个人对食物都要反感，一辈子都会与吃和不吃斗争。
有研究显示，严重的进食障碍，小时假都有性创伤的经历。
但当事人如果不说，不要主动提起这个事情。
厌食症：不吃，枯瘦如柴。
2．肛欲期。
中国可称为钢欲期。
控制，是肛欲期的典型表现中国有太多人的童年被钢琴破坏。
老师型偏执病人：老师当多了，就不会笑了。
一个因弹钢琴发生障碍被妈妈送来看病的严重精神分裂的孩子，她的妈妈是一个控制的老师。
武大的边缘障碍的女孩子，处在失控状态，性生活混乱，几个月时间打了两次胎。
孩子失控，是因为父母对他们控制太多，到了大学，突然没有人控制了，一下子就失控了。
所以，如果你想对孩子好的话，让他成为他自己国土上的国王，并且越早越好。
RP355中文说明书
吴奇老总2-2岛讲解词（625）
埕海2-2岛讲解词尊敬的吴总，XX、XX，各位领导，大家好欢迎您在这个阳光明媚的夏日莅临埕海二区检查指导工作。
我是这里的员工，刘敏，下面将由我来为您做全程的讲解。
首先，请允许我做一下安全提示。
……下面，我首先为您介绍一下我们埕海二区的基本情况。
埕海二区位于河北省黄骅市张巨河村以东的极浅滩区域，位于埕宁隆起向歧口凹陷过渡的斜坡地带，构造面积达75平方千米。
在我们大港油田呀，有着这样一个鼓舞人心的目标，陆地硬稳定，滩海快发展。
我作业区自2008年投入开发以来，肩负着开发海上油气田的重要而光荣的使命。
投产至今，累积产油30.38万吨，产气7492万方，在“十二五”规划期间，我们预计产量规模将达40万吨。
很荣幸，我作业区被中石油股份公司评为千队示范单位，我们的全体员工也将齐心协力，努力打造优质示范窗口。
在我们作业区有着这样几个特点，两大、两新、两个硬。
其中一大是我们的生产规模大，刚才已经为您介绍了，另一大是我们的生产区域大，我作业区下属管辖着四个作业现场，除了我们现在所在的埕海2-2人工岛，还有您刚才路过的埕海2-1人工岛和两个人工井场。
两新，则是我们的员工队伍新，生产技术新，这点在一会儿的检查工程中我将为您做重点讲解。
而这两硬，其中一硬，是我们员工的技能素质过硬，另外一硬，则是我们的海上风硬。
在这片区域，潮来是海、潮去即滩，自然环境可谓相当艰苦，但是我们全体员工甘于吃苦、勇于奉献，携手共建着我们“和谐、先进、安全、生态”的埕海家园。
下面，就请您随我一起深入到我们的生产现场，看看我们这支年轻的、素质过硬的海上开发尖兵团队，是怎样的攻坚克难，用他们的实际行动铸就着渤海湾上这颗日益璀璨的明珠。
请您这边走。
埕海2-2人工岛于2008年3月26日开工建设，2012年元月正式投产使用，该岛石油地质储量1931.94万吨，天然气储量20.07亿立方，拟建产能44.07万吨，开发断块主要为张海5，开发层系主要为沙二、沙三油藏兼沙二、沙三气藏。
提纲挈领说操练(三)谢倍伟
最后缩混的时候，才有条件根据最终的混音要求去
修改。
受不同Ｑ 值对Ｅ 效果的影响。 Ｑ 换用钟形Ｅ 、 Ｑ 搁架形Ｅ ， Ｑ 并配合频点和增益的
变化，感受其效果。
（用Ｅ ３ ） Ｑ制作电话的效果
下面给出一些调节Ｅ Ｑ的练习。这些练习可帮助
等音色。
其它手法，对声音的调控能力再上一个新台阶了，获 得的最终音效将更加理想。 有时候，在制作语言加配乐这样的节 目时，为
了不让音乐与语言 “ 打架” ，除了收小音乐的电平外， 还可以通过衰减音乐的高频，来让音乐感觉 “ 退后” ， 从而达到突出语言的目的。
当然，这只是模拟这些音效的一种最常用也最简 单的方法，现在，要模拟电话和机器人等音效，还有 很多其它更好的方法，后面会慢慢介绍。
状态，然后分别对各频点的Ｇ Ｉ ＡＮ进行调节，直至把
用Ｅ Ｑ调电 话效果时， 应该把３ ， ｚ ｋｚ ４ 以上的高 Ｈ ｋ Ｈ
频全砍掉，但往往这样调出来的声音太闷而没有那 种金属振膜的质感，所以要适当保留一些高频。由
ＧＩ ＡＮ的提升或衰减钮到极尽，并细细体味声音的变
化，做好笔记。
于不同调音台的Ｅ Ｑ品质不同， 具体的调整方法， 会
（ 把某路话筒的信号送给演播室监听，并只在 ２ ）
演播室监听信号上加混响的效果。
（ 给演员听录后的声音，在录后通路上加混响 ３ ）
效果。混响声不录进多轨机。
（ 将某一录话筒输人作为控制室对讲话筒通路， ４ ）
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曾奇峰2录音提纲
一、精神分析特点
1．决定论
2．意识分域——意识、潜意识、前意识。
强迫性重复是潜意识
二、三句话说精神分析，移情，反移情防御机制
（一）移情是精神分析第一重要的概念，其次，反移情和阻抗
1．移情辨别
移情不是病人爱上治疗师
移情是转移关系
移情是一切人际关系的基础，出现在一次亲密关系之中。
2．只要是在处理移情、反移情和阻抗，就是在搞精神分析。
3．精神分析是识别和处理移情、反移情和阻抗的工作。
4．移情的定义：过去在现在的重现。
把过去和父母（重要他人）的关系，带到当前与他人的关系中，包括与治疗师的关系中。
移情是时间的错位。
移情是一种人格的气味。
精神分析师与来访者浸泡了上千小时后，就可很敏锐地闻到来访者人格的气味，甚至能粗略闻到他在哪一个发展期出了问题：如口欲期、肛欲期。
5．现在开始要学的一招。
侦察别人的内心世界：今天开始抛弃猜别人的坏习惯，而是问自己对这个人有什么感觉。
比如我肚子疼、头痛、或者想把他乱棒打出去。
从自己的反应去推测对方投射给了自己什么。
6．在和来访者感受到有压力（无论好受还是不好受），需要在这种感觉中呆一段时间，滑动一段时间。
呆一段时间后，找一棵树停住，探索这种感觉是怎么来的？把自己和对方呆在一起的感觉反馈给他，并请对方告诉你为什么。
7．举例说明移情、反移情第16分钟开始。
反移情是帮助我们理解来访者的最好工具。
是上帝给我们了解他人的最好的仪器。
8．一切与胖瘦有关的，都与嘴有关，一切与嘴有关的，都与焦虑有关。
太严肃的人，是对自己的欲望防范太严。
用性建立关系的人，生活缺乏爱，除了性，就没有与别人建立关系的资源。
9．反移情的运用：我体验我和他在一起的感觉（快乐或不开心），然后我去探寻他做了什么让我产生了这个感觉。
10．受的训练不好的咨询师，话比较多。
好的治疗师会让来访者多说。
11．好的治疗师还需要有忍受沉默的能力，训练不好的治疗师会一沉默就率先说话，打破沉默。
12．反移情还要觉察，是咨询师的主观反移情（自己的投射造成的，治疗师的移情），还是客观反移情（被来访者勾起的反移情，所有人对来访者的这个行为都容易产生类似的反应。
）
13．我们的情绪记忆，比思维记忆要强N倍。
可以说精神分析也是一门记忆的学问。
比如我从小在一个气氛紧张的家庭里长大，我们的细胞会记住这种紧张。
14．处理移情和反移情，就是找督导。
15．如果来访者以两岁的自己来和咨询师打交道，就是移情，如果以三十岁的自己来打交道，就是活在当下。
精神分裂一般以一岁的自己来打交道。
16．心理成长象年轮，象滚雪球，第一轮，一岁之内的经验，第二层，一至四岁，第三层，四至六岁。
这个人出现在治疗室，你大概能闻出来在年轮的哪个阶段出了问题。
17．被勾起来的叫反移情，自己本身带来的，就是治疗师的移情。
18．病人来如果你讨厌他，可以想象他在生活中已被很多人讨厌过了。
他来了就是教会你成为第101个讨厌他的人。
你正好讨厌他了，说明你被他教会了，你功夫不行。
19．一致性反移情：我觉得这个人可怜，就象这个人觉得自己可怜，就叫一致性反移情，和他对自己的感觉是一样的；我讨厌他的时候，可能和他父母对他的反应是一样的，就叫互补性反移情
处理原则：出现互补性反移情的时候，需要去寻找自己的一致性反移情。
20．身份认同障碍，会发生呕吐。
一个小时候总被妈妈打的男孩子，长大后和女朋友玩性虐游戏发生呕吐，他不知道是在和女朋友做爱，还是在挨妈妈的打，呕吐，想把自己不需要的一部分吐出去。
21．心理治疗师需要耐受的智力。
22．我们在生活中瞧不起某个人的时候，你正在被他教会。
我们要小心，不要那么轻易地被人教会。
（二）防御机制：每个人在成长中都会发展出保护自己的心理机制，称为防御机制。
如果没有防御机制，你会一分钟也活不下去。
心理治疗是要加强自我功能。
自我功能实际上就是脸皮足够厚。
这一课录音主要讲压抑这个防御机制。
下文是一些知识点的摘录。
1．看一个国家怎么样，可以看她的国防，看一个人怎么样，你也可以看他的防御机制。
2．精神科的诊断只是一个症状诊断。
动力学诊断是描述性诊断，说到底发生了什么。
尽可能不用诊断。
3．弗洛伊德第二重要理论：人格理论，自我本我超我。
本我有两种趋力：性趋力，攻击趋力。
这是谈人性的学问。
弗洛伊德内趋力理论：人要满足趋力即性与攻击的需要。
性：带来快乐与繁衍；攻击：人有攻击需求。
本我追求快乐原则，超我不同意，自我就是劝架的。
4．童年有分离焦虑的人，会反复重复亲密关系的失败。
5．自我防御机制发生问题，就会出现身体或心理症状。
你总是心理不平衡，你就会出问题。
6．压抑与潜抑的区别：弗洛伊德第一个发现的防御机制是压抑，实际上是潜抑。
就是你自己都不知道的压抑。
7．准同性恋行为：只给同性打交道。
8．一个男人让另一个男人和自己最亲密的人上床，实际上在满足自己想和这个人上床的愿望。
9．防御机制失败，导致症状出现。
10．男人让自己没成就，没有钱，没有地位，没有权力，基本上是让自己没有性吸引力。
11．中国有五千万的孩子学习不好，有5%是智力障碍，其它的都是因为他们成了被攻击的对象。
让一个人把某一件事做好，就是让这个人把做这件事与所有良性的情绪结合起来。
12．男孩子只跟女孩子玩就是性压抑。
心里连鬼都没有；同时也是攻击压抑。
13．肥胖的小孩多伴学习不好。
这是因为他与母亲的关系太近了，被母亲吞噬了。
14．成长就是与妈妈的距离越来越远。
15．上网是现实层面攻击被压抑的结果。
人本的说法：在现实层面不能自我实现，到网络里自我实现。
学习跟我没关系，那是校长和爸爸妈妈的地盘，那个荣誉不属于我。
对于成年人来说，可能压抑的可能低一些，可能回避或隔离不如意的成分会多一些。
16．女性性冷淡——连欲望都没有，压抑。
男性早泄和阳瘘也是压抑。
高血压心脏病——把攻击性压抑后转来攻击自己的血管壁。
17．事业突然停滞和失败——压抑的表现。
在事业最辉煌的时候，犯一个低级错误，让自己一无所有，也是压抑的表现。
18．事业突然的失败——成功者的内疚感。
觉得自己不配。
幸存者的内疚感——我活着是不对的，我要让自己活不好。
易经里亢龙有悔，让自己不要太成功，太强大。
19．每个人自己心中，都有允许自己享受的福分的定量。
如果超过了这个量，就会潜意识里想办法让自己失败。
20．小时候得到爸爸妈妈爱多一点的人，会允许自己享受的福分多一些，如果不好，允许自己享受的福分就很少。
所以，如果你希望孩子有成就，应该对孩子好点。
21．犯罪是为了被抓住。
22．评价一个家庭是否正常的简单标准：家庭是不是好玩。
家庭需要有能力让孩子觉得生活是快乐的。