learning,chinese-style
LEARNING, CHINESE-STYLEFor a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it.Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin’s hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The “teacher”would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you -- and on occasion would frown slightly, as if considering us to be neglecting our parental duties.I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators.TWO DIFFERENT W AYS TO LEARNWith a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle?He may well get frustrated and angry -- certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key -- both of which accomplishments can (and should) in due course be modeled for him as well.We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself.Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something -- whether it be placing a key in a key slot, drawing ahen or making up for a misdeed -- he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life -- as Americans do -- as a series of situations in which one has to learn to think for oneself, to solve problems on one’s own and even to discover new problems for which creative solutions are wanted.TEACHING BY HOLDING HIS HANDIn retrospect, it became clear to me that this incident was indeed key -- and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.When our well-intentioned Chinese observers came to Benjamin’s rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin’s performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao–“teaching by holding his hand”-- so much so that he would happily come back for more.The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.CREATIVITY FIRST?In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity.American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the “Standing on the shoulders of giants”phenomenon).But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?。
LearningChinese-Style课文翻译
中国式的学习风格霍华德·加德纳1987年春，我和妻子埃伦带着我们18个月的儿子本杰明在繁忙的中国东部城市南京住了一个月，同时考察中国幼儿园和小学的艺术教育情况。
然而，我和埃伦获得的有关中美教育观念差异的最难忘的体验并非来自课堂，而是来自我们在南京期间寓居的金陵饭店的大堂。
我们的房门钥匙系在一块标有房间号的大塑料板上。
酒店鼓励客人外出时留下钥匙，可以交给服务员，也可以从一个槽口塞入钥匙箱。
由于口子狭小，你得留神将钥匙放准位置才塞得进去。
本杰明爱拿着钥匙走来走去，边走边用力摇晃着。
他还喜欢试着把钥匙往槽口里塞。
由于他还年幼，不太明白得把钥匙放准位置才成，因此总塞不进去。
本杰明一点也不在意。
他从钥匙声响中得到的乐趣大概跟他偶尔把钥匙成功地塞进槽口而获得的乐趣一样多。
我和埃伦都满不在乎，任由本杰明拿着钥匙在钥匙箱槽口鼓捣。
他的探索行为似乎并无任何害处。
但我很快就观察到一个有趣的现象。
饭店里任何一个中国工作人员若在近旁，都会走过来看着本杰明，见他初试失败，便都会试图帮忙。
他们会轻轻握牢本杰明的手，直接将它引向钥匙槽口，进行必要的重新定位，并帮他把钥匙插入槽口。
然后那位“老师”会有所期待地对着我和埃伦微笑，似乎等着我们说声谢谢——偶尔他会微微皱眉，似乎觉得我俩没有尽到当父母的责任。
我很快意识到，这件小事与我们在中国要做的工作直接相关：考察儿童早期教育（尤其是艺术教育）的方式，揭示中国人对创造性活动的态度。
因此，不久我就在与中国教育工作者讨论时谈起了钥匙槽口一事。
两种不同的学习方式我的中国同行，除了少数几个人外，对此事的态度与金陵饭店工作人员一样。
既然大人知道怎么把钥匙塞进槽口——这是走近槽口的最终目的，既然孩子还很年幼，还没有灵巧到可以独自完成要做的动作，让他自己瞎折腾会有什么好处呢？他很有可能会灰心丧气发脾气——这当然不是所希望的结果。
最新[英语学习]Unit 1 Learning_ Chinese-style教学讲义PPT课件
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directly connected with the subject, having to do with the matter at hand
n. relevance
Eg. His color is not relevant to whether he’s a good lawyer.
opp: irrelevant
✓ 1) The couple: let him explore and__e_n_jo_y_ himself.
✓ 2) The hotel staff: held his___h__a_n_d__and __t_a_u_g_h_t__him how to insert the key correctly.
Methods of Comparison and Contrast
one-side-at-a-time method: examine one subject thoroughly and then start the other.
Point-by-point method: examine two objects at the same time, discussing them point by point.
attach vt
fasten or join (one thing to another)
attach A to B A
B be attached to
✓ A price tag was attached to each article in the supermarket.
✓ Do you attach much importance to what he says?
His color is lawyer.
(完整版)learning,chinese-style
LEARNING, CHINESE-STYLEFor a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it.Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin’s hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The “teacher”would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you -- and on occasion would frown slightly, as if considering us to be neglecting our parental duties.I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators.TWO DIFFERENT W AYS TO LEARNWith a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle?He may well get frustrated and angry -- certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key -- both of which accomplishments can (and should) in due course be modeled for him as well.We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself.Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something -- whether it be placing a key in a key slot, drawing ahen or making up for a misdeed -- he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life -- as Americans do -- as a series of situations in which one has to learn to think for oneself, to solve problems on one’s own and even to discover new problems for which creative solutions are wanted.TEACHING BY HOLDING HIS HANDIn retrospect, it became clear to me that this incident was indeed key -- and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.When our well-intentioned Chinese observers came to Benjamin’s rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin’s performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao–“teaching by holding his hand”-- so much so that he would happily come back for more.The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.CREATIVITY FIRST?In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity.American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the “Standing on the shoulders of giants”phenomenon).But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?。
learning chinese style课文及翻译
learning chinese style课文及翻译中文是一门古老而丰富的语言，学习中文不仅可以帮助人们更好地了解中国文化，也可以打开一扇了解其他东方国家文化的窗户。
本文将介绍一种学习中文的风格，即"Learning Chinese Style"，并提供一些课文和翻译作为示例，以帮助读者更好地理解并掌握中文。
"Learning Chinese Style"是一种通过系统学习和实践的方式来提高中文水平的方法。
它强调学习者要全面理解和掌握语言的基础知识，如发音、词汇和语法结构。
同时，通过阅读课文和进行翻译练习，学习者可以进一步培养自己的阅读和写作能力。
接下来，我们将给出一些实际的课文和翻译示例，以便读者更好地理解和应用"Learning Chinese Style"。
课文一：《月亮代表我的心》《月亮代表我的心》是一首著名的中文歌曲，由邓丽君演唱。
这首歌曲具有浓郁的中国情怀，歌词深情而优美，旋律悠扬动人。
通过学习这首歌的歌词，我们可以了解一些常用的词汇和表达方式。
你问我爱你有多深，我的情也真，我的爱也真，月亮代表我的心。
You ask me how deep my love is for you, my love is true,my affection is true, the moon represents my heart.通过学习这首歌曲和翻译，我们可以学习到一些常用词汇和句式，如"爱你有多深"、"我的情也真"、"月亮代表我的心"等，这些都可以帮助我们更好地理解和运用中文。
课文二：《小猪佩奇》《小猪佩奇》是一部非常受欢迎的中国动画片，它讲述了一个可爱的小猪和它的家庭的故事。
通过观看这部动画片并阅读相应的课文，我们可以学习到一些实用的中文词汇和日常表达方式。
佩奇: 你好，我是小猪佩奇。
learning chinese style课文及翻译
learning chinese style课文及翻译
摘要：
1.导语：学习中文的重要性
2.课文内容概述：中国文化的特点
3.翻译技巧：中式英语的学习与应用
4.结论：学好中文，助力个人发展
正文：
【导语】
随着全球化的加速，中文作为世界第二大语言，在国际间的交流中扮演着越来越重要的角色。
掌握中文，意味着拥有了一份通往中国庞大市场的钥匙，同时也是深入了解中国文化的途径。
因此，学习中文已成为许多人的必然选择。
【课文内容概述】
Learning Chinese Style 课文以轻松幽默的方式介绍了中国文化的诸多方面，如美食、传统节日、习俗等。
通过阅读课文，你将发现中国文化的独特魅力和丰富内涵。
【翻译技巧】
在学习过程中，我们会遇到许多地道的中文表达，如何将其翻译成英文，传达出原文的含义和风格，是一门学问。
例如，“吃货”翻译成“foodie”，“接地气”翻译成“down-to-earth”等，这些都是中式英语翻译的典型案例。
在实际应用中，要注意掌握词语的内涵和语境，以避免翻译失误。
【结论】
总之，学习中文对于个人发展具有深远的意义。
通过学习中文，我们不仅可以拓宽视野，了解不同文化，还能提高自身的综合素质。
掌握中式英语的翻译技巧，更能使我们在交流中游刃有余。
unit-1-Learning--Chinese-Style.doc
Howard Gardner, a professor of education at Harvard University, reflects on a visit to China and gives his thoughts on different approaches to learning in China and the West.哈佛大学教育学教授霍华德·加德纳回忆其中国之行,阐述他对中西方不同的学习方式的看法。
Learning, Chinese-StyleHoward Gardner 1 For a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.中国式的学习风格霍华德·加德纳1987年春,我和妻子埃伦带着我们18个月的儿子本杰明在繁忙的中国东部城市南京住了一个月,同时考察中国幼儿园和小学的艺术教育情况。
然而,我和埃伦获得的有关中美教育观念差异的最难忘的体验并非来自课堂,而是来自我们在南京期间寓居的金陵饭店的大堂。
learning chinese style课文及翻译
learning chinese style课文及翻译在学习汉语的过程中，中国式学习受到了越来越多外国学习者的青睐。
这种学习方式不仅有助于提高语言应用能力，还能让学习者深入了解中国文化。
那么，中国式学习有哪些特点和优势呢？我们又应该如何进行中国式学习呢？一、中国式学习的特点1.语言环境：中国式学习最大的特点就是置身于汉语的语言环境中。
学习者在日常生活、工作和学习中，都能接触到汉语。
这种自然的语言环境有助于学习者更快地掌握汉语。
2.文化融入：中国式学习强调将语言学习与文化学习相结合。
通过学习汉语，学习者可以更好地了解中国传统节日、习俗、历史和地理等，使语言学习变得更加生动有趣。
3.口语练习：在中国式学习中，口语练习占据了重要地位。
学习者有机会与母语为汉语的人进行交流，提高口语表达能力。
4.书写和阅读能力培养：中国式学习不仅关注口语表达，还重视书写和阅读能力的培养。
学习者需要学习汉字、词汇、语法等，逐步提高阅读和写作能力。
二、中国式学习的优势1.提高语言应用能力：通过中国式学习，学习者可以在实际生活中运用所学语言，提高语言应用能力。
2.深入了解中国文化：学习汉语的过程也是了解中国文化的过程。
掌握汉语后，学习者能更好地理解中国文化的内涵和特点。
3.适应不同场景的沟通需求：在中国式学习中，学习者有机会接触到不同场景的沟通方式，使自己在实际交流中更加得心应手。
三、如何进行中国式学习1.寻找合适的学习资源：学习汉语需要大量阅读和实践。
学习者可以寻找适合自己的教材、读物和在线资源，以便更好地进行学习。
2.参加语言课程或学习小组：参加汉语课程或加入学习小组可以提高学习效果。
在学习过程中，学习者可以互相交流、提问和解答，共同进步。
3.多与母语为汉语的人交流：与母语为汉语的人多交流有助于提高口语水平。
他们可以为你提供地道的发音、语调和表达方式。
4.制定合理的学习计划和目标：为了保证学习效果，学习者需要制定合理的学习计划和目标。
Learning--Chinese-Style课文翻译
中国式的学习风格霍华德·加德纳1987年春，我和妻子埃伦带着我们18个月的儿子本杰明在繁忙的中国东部城市南京住了一个月，同时考察中国幼儿园和小学的艺术教育情况。
然而，我和埃伦获得的有关中美教育观念差异的最难忘的体验并非来自课堂，而是来自我们在南京期间寓居的金陵饭店的大堂。
我们的房门钥匙系在一块标有房间号的大塑料板上。
酒店鼓励客人外出时留下钥匙，可以交给服务员，也可以从一个槽口塞入钥匙箱。
由于口子狭小，你得留神将钥匙放准位置才塞得进去。
本杰明爱拿着钥匙走来走去，边走边用力摇晃着。
他还喜欢试着把钥匙往槽口里塞。
由于他还年幼，不太明白得把钥匙放准位置才成，因此总塞不进去。
本杰明一点也不在意。
他从钥匙声响中得到的乐趣大概跟他偶尔把钥匙成功地塞进槽口而获得的乐趣一样多。
我和埃伦都满不在乎，任由本杰明拿着钥匙在钥匙箱槽口鼓捣。
他的探索行为似乎并无任何害处。
但我很快就观察到一个有趣的现象。
饭店里任何一个中国工作人员若在近旁，都会走过来看着本杰明，见他初试失败，便都会试图帮忙。
他们会轻轻握牢本杰明的手，直接将它引向钥匙槽口，进行必要的重新定位，并帮他把钥匙插入槽口。
然后那位“老师”会有所期待地对着我和埃伦微笑，似乎等着我们说声谢谢——偶尔他会微微皱眉，似乎觉得我俩没有尽到当父母的责任。
我很快意识到，这件小事与我们在中国要做的工作直接相关：考察儿童早期教育（尤其是艺术教育）的方式，揭示中国人对创造性活动的态度。
因此，不久我就在与中国教育工作者讨论时谈起了钥匙槽口一事。
两种不同的学习方式我的中国同行，除了少数几个人外，对此事的态度与金陵饭店工作人员一样。
既然大人知道怎么把钥匙塞进槽口——这是走近槽口的最终目的，既然孩子还很年幼，还没有灵巧到可以独自完成要做的动作，让他自己瞎折腾会有什么好处呢？他很有可能会灰心丧气发脾气——这当然不是所希望的结果。
为什么不教他怎么做呢？他会高兴，他还能早些学会做这件事，进而去学做更复杂的事，如开门，或索要钥匙——这两件事到时候同样可以（也应该）示范给他看。
Book 2 Unit 1 Learning, Chinese Style ppt课件
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accomplish vt. • manage to do (sth) She has accomplished a great deal in the last few years.
accomplish one’s object/goal/task/mission
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A glimpse at… Chinese Style
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A glimpse at… Western style
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A gAligmlipmspesaet…at…WWesetestrenrnstyle
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A gAlimglpimsepsaet…at…WeWsetesrtnersntyle
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LRiesatednininggininDDeetatailisls
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What is the prLiniscctipleaasnlsivAnamlgueeirnoicfaDC?ehWitldahiyrlesaring in middle-
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principal • a. main; chief
the principal food of Indians Our principal problem is lack of time. • n. someone who is in charge the school/ university principal
continual careful shaping and molding.
Book 2 Unit 1 Learning, Chinese Style ppt课件
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Teach Your Children
Directions: Listen to the song and fill in the blanks with what you hear.
You, who are _o_n_t_h_e_r_o_a_d_ , Must _h_a_ve__a_c_o_d_e_that you can live by. And so, become yourself, Because —_th_e__p_a_st_ is just a goodbye. Teach your children well, Their father’s hell did slowly go by. And feed them _o_n_y_o_u_r_d_r_e_a_m_s_ , The one they picks, the one you’ll know by.
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A glimpse at… Chinese Style
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A glimpse at… Chinese Style
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A glimpse at… Chinese Style
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A gAlimgplimsepsaet…atC…hCinheinsesSetyle
3. The author and his wife didn’t care whether Benjamin succeeded in inserting the key into the slot. ( T )
4. For the Westerners, learning should take place by