Unit 1 Text ALearning, Chinese-Style
U1 课件
1. Read the first sentence of both Para 6 and Para 7, and decide what method of comparison and contrast is used here. • One-side-at-a-time method. Comparison and contrast can be organized in two major ways: 1. One-side-at-a-time method: examine one subject thoroughly and then start the other. 2. Point-by-point method: examine two subjects at the same time, discussing them point by point.
If they wish they need not attend any at all. Mainstream education in England is far more strict, demanding that children attend lessons and follow a national curriculum. This curriculum and the importance of achieving good exam results tend to reinforce a more teacher-centered approach, as both teachers and students find the pressure of time leaves less opportunity for an exploratory approach to learning.
Learning, Chinese-style
Ways to begin an essay
Stating the thesis directly Telling a story Asking a question Making a quotation Posing a controversy
Ways to develop an essay
How to begin an essay
“Is love simply a result of chemical reaction in our brains? …” “Do animals really have thoughts, what we call consciousness?” (from What Animals Really Think)
Useful words and phrases
both each as at the same time similarly like likewise too
Useful words and phrases
on the other hand on the contrary in contrast although while whereas however nevertheless
X is a better school than Y
1. X 1.1 Student body 1.2 Teaching staff 1.3 Library and other facilities 1.4 Campus 2. Y 2.1 Student body 2.2 Teaching staff 2.3 Library and other facilities 2.4 Campus
21世纪大学新英语读写译教程 第三册 课文翻译 课件 ppt Unit 1
Unit 1 Teaching and Learning
Lead-in
B. Listening Practice Post-listening task Answer the following questions.
21世纪大学新英语读写译教程 3
1. Why should a good teacher develop a variety of teaching styles? Because students have different learning styles, and _______________________________________________ different subjects require different teaching styles. ______________________________________________ 2. Why do teachers need to help students to link what they are learning to daily living experiences? Because they will keep students engaged and motivated in ____________________________________________________ the learning process. ____________________
Unit 1 Teaching and Learning
21世纪大学新英语读写译教程 3
Outline
Teaching Objectives Part 1 Part 2 Part 3 Part 4 Lead-in Reading Focus—Text A Integrated Exercises Reading Focus—Text B
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?。
新目标英语教程2 U1 Text A 参考译文
What Can Americans Learn from Confucianism?Jay McDaniel1 America’s best hope is to adopt a more Confucian lifestyle: more focused on education, more respectful of old people, better able to subordinate private needs to public good, more responsible to the needs of family, more polite in our daily lives, and more hardworking. Of course, many Americans wouldn’t call this adopting a Confucian lifestyle. They would call it becoming a good and responsible person. These are among the virtues that Americans come to admire, when they begin to learn about Confucian-influenced cultures. Confucianism is a window into these and other virtues.2 If Americans take time to study Confucianism, they may quickly realize that it is quite different from their own cultural beliefs. Its focus is on the world itself, as a place where ultimate meaning is found. If we equate ultimate meaning with what is truly sacred in life, then Confucianism finds the sacred in the secular, in the relationships of ordinary life.3 The sacred is found in preparing and sharing meals with family and friends over a dinner table; in harmonious and respectful relations in the workplace; in being a gracious and hospitable host to g uests who visit your home; in appreciating the gift of learning and taking “education” as one of life’s greatest gifts; in having a sense of inner self-discipline and restraint; in being polite and respectful to old people with rich life wisdom; in being willing to give yourself to the needs of your family even at the expense of personal sacrifice; in having the freedom to live simply and non-ostentatiously, in a humane and caring way, without needing to be famous.4 These are among the primary values of a living Confucianism: a Confucianism for ordinary life. But the values at issue are best realized, not by reading about them in books, but rather by seeing them in action, as exemplified in the humane grace of another person: a grandfather, a grandmother, an aunt, an uncle, a teacher, a cousin, a friend. In the Confucian tradition, we learn to become virtuous by seeing others who are virtuous and by being inspired by their example.5 Underlying these values is an even more fundamental value that permeates every one of them:a sense that harmony is the highest ideal in life. The harmony that is so important in East Asia has diverse expressions. It is a harmony that can be heard in music, seen in the variety of foods on a dinner table, felt in mutually respectful relations with other people and in the more general order of the natural world. This harmony is not sameness. It is not a collapse of everything into one thing. It is not the harmony of a statue that seems fixed in one place. It is a moving harmony, a changing harmony, a dynamic harmony.6 In other words, Confucianism is, above all things, a leaning toward harmony as life’s highest ideal. The harmony at issue is dynamic not static, flexible not fixed, diversified not homogenized. It is a harmony that includes healthy disagreements and has a democratic spirit, respectful of the voices of individuals as well as groups.7 Among Western philosophers, Alfred North Whitehead offers a similar vision. He sees harmonious intensity and intense harmony as the happiness —the satisfaction —which all living beings seek at every moment of their lives. Love, for Whitehead, is the ultimate form of harmony. In Confucianism this is called human-heartedness or Ren (仁). The loving person is a person whose heart is attuned to harmony and who embodies harmony in his or her own life.8 Finally here is a question: Is Confucianism enough? Can a person find its alternative way for a healthy and satisfying life? My own hope is that self-identified Christians and Buddhists, Jews and Muslims, will gradually learn more and more about the wisdom of Confucianism. Living Confucianism can enrich the practice of other cultures. There are also the large numbers of people in many parts of the world who do indeed want to be good people, who find themselves leaning toward harmony, and who find the various meanings of ordinary life —family, friendships, service —sufficient for a satisfying life. Some people speak of them as spiritual. This can simply be called being a good person.9 The living Confucianism of China and other East Asian nations can help people all over the world grow in the arts of becoming good people. It can help people of all cultures. As Americans enter into the new age we can welcome, and indeed celebrate, the living Confucianism we find in East Asianfriends. Every time we find ourselves living with respect for others; every time we help Heaven by sharing goodness with the world; every time we choose to live simply and humbly, without needing to be the center of attention, we are Confucian in our way. And there is something beautiful in it.从儒学中，美国人能学到什么？杰伊·麦克丹尼尔1 美国人最大的愿望就是过上一种更儒家式的生活：更重视教育，更尊敬老人，个人需求能更好地服从集体利益，对家人更尽责，在日常生活中更有礼貌，在工作中更努力。
learning,chinese-style说课讲解
l e a r n i n g,c h i n e s e-s t y l eLEARNING, 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 towardthe 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 WAYS 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 a hen 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 newproblems 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, theydid 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 wereba 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 arefearful 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?。
新起点大学英语Unit1-Text A
Exercises
汉译英： 今晚的作业我打算先做英语练习。
Key: Of all the homework tonight, I’m going to start with English exercises.
Reading
BACK
… if you read a daily newspaper in any major city, you’ve read the equivalent of at least four books… 如果你每天看随便哪个大城市的一 份日报，那么你每天的阅读量至少相当于四本书。
Reading
BACK
译文
Para. 4
4 你是怎么看报纸的？你只看那些自己感兴趣的东西。你 是怎么知道的？因为报纸有不同的版面，如果你对体育感兴 趣，你只看体育版；如果你想了解商业信息，你只看商业版。 即使这样，你也不会看所有的体育报道或商务文章。报纸的 标题突出了文章的要点，这就方便了你的选择。另外，报纸 的写作格式也使你很容易了解要点。在每一个标题下面，你 通常都会看到综述要点的一段文字。这样，你便可以选择只 读综述或通读全文。
Chinese
Reading
4 And how do you read a newspaper? You read only those things you are interested in. And how do you know? Because newspapers are divided into sections, you only read the sports pages if you’re
3 If you answered the first question no, and the second yes, think again, if you read a daily newspaper in any major city, you’ve read the equivalent of at least four books.
全新版大学英语第二册Unit-1-Ways-of-Learning
research.
25
另附照片，请查
Please find attached/enclosed photos
见附件
Please check the file at the attachment I enclosed. 或者说 Please find the file at the attachment.
10
Text Organization
➢Part II (Paras 6-7)
The author discussed the two different learning styles in China and the West in detail.
11
Text Organization
➢Part III (Paras 810)
Nanjing is a bustling city.
23
attach sth (to sth) (L 7)
1） to fasten or join one thing to another 把…固定，把… 附上
（反）detach e.g. Attach the coupon to the front of your letter.
8
Unit 1 Ways of Learning
Text A Learning, Chinese Style
9
Text Organization
➢Part I (Paras 1-5)
The author got to know the differences between Chinese and American ideas of education by his experience in the Jinling Hotel.
全新版大学英语(第二版)综合教程2Unit 1
Lobby (Entrance Hall)
Jinling Hotel
Deluxe Room
Executive Room
Our Internet Discount Rate More Details: Superior Room Jinling Deluxe Room
US$95 (RMB788) US$95 (RMB788)
Introduction to the Course
• Students Profile: Freshmen, non-English majors in Donghua University. Most of them are at a relatively high level in the English Placement Test . • Methodology: Teacher-student interactive teaching model in classroom assisted by students’ autonomous learning on net after class • schedule: One semester, 64 periods 4 periods (two weeks) for one unit 4 periods for reading and writing, 2 periods for Text B and Fast Reading 2 periods for speaking
Key to Q 5. Yes. Typical. Return
Key to Q 6. If the learner is very young, American way could be taken. Return
教学日历大学英语(一)
长沙理工大学教学日历教研室主任：（签字或盖章）主管教学负责人：（签字或盖章）填报时间：2011 年9 月17 日审查同意时间：年月____日教学周数：16 周自第 4 周至第19 周
教学总时数：128 学时本期总学时数：64 学时本期周学时4*2
2011 / 2012 学年第1 学期讲课：60 学时课堂讨论： 4 学时院(系、部)：外国语学院任课教师实验课：0 学时校内现场教学：0 学时课程：大学英语（1）教学班号：38,71 校外教学：0 学时大作业0 学时
注：1、教学内容包括：讲课、课堂讨论、习题课、现场教学、实验课、大作业、课程设计等。
2、本日历一式二份，经授课教师所在院（部）主管教学负责人审查同意后,一份交由授课教师留存,一份交教师所属院（部）
存档。
3、教学日历执行情况由任课教师在完成教学任务后根据教学执行情况总结备查。