تدريب Shadowing: (2006/10/21) BBC 2, The Culture Show, Thom - تعلم التحدث بالإنجليزية عبر الفيديو

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I asked loads of my friends

لقد سألت عددًا كبيرًا من أصدقائي

if you had to ask one question of Tommy York Why are you such a miserable bastard?

إذا كان عليك أن تسأل تومي يورك سؤالاً واحداً، فسيكون: لماذا أنت وغد بائس بهذا القدر؟

I think actually to be honest I think half the problem is that I have a certain sort of voice that

بصراحة أعتقد أن نصف المشكلة في الحقيقة هو أن لدي نوعًا معينًا من الصوت الذي

can make things sound worse than they are

يمكنه أن يجعل الأمور تبدو أسوأ مما هي عليه في الواقع.

It wasn't about you being miserable they wanted to ask you

لم يكن الأمر يتعلق بأنك كنت بائساً، بل كانوا يريدون أن يسألوك.

if you thought the best thing you ever did was I was like a computer.

إذا كنت تعتقد أن أفضل شيء فعلته على الإطلاق هو أنني كنت مثل الكمبيوتر.

That's funny, because people used to say the bends.

هذا مضحك، لأن الناس كانوا يقولون "داء الانخفاض الضغطي".

What do you think about that?

ما رأيك في ذلك؟

So maybe give them another five years, maybe they'll say, kid A, maybe not.

لذا ربما نعطيهم خمس سنوات أخرى، ربما سيقولون الطفل أ، وربما لا.

What made you feel you wanted to do something on your own?

Mostly it was to do with the fact

that there was a sort of growing pile of things

that I wanted to finish that would have been extremely dull if it had been a band thing, because they were done on computers.

You know, it was all programming and, um...

It wouldn't have really made sense to sit around with all five of us gazing at a screen.

The lyrics on the eraser, they're very provocative, some of them, aren't they? Are they?

Well, I found them so and...

Oh, okay.

Good.

I think.

There's the song about David Kelly.

What made you want to write a song about that?

The whole Hutton whitewash and the...

the mewing and crying of Alistair Campbell and then the...

All the lies about going to war in the first place and la la la, and going to these protests of people lining the streets eating school kids,

and all this sort of madness going on.

And then in the middle of it, this one poor guy, who just seemed to end up being like the focus of a certain terrible energy.

Do you hope or deliberately set out to try and provoke people

and provoke people to think about some of these things through your lyrics?

I don't have a problem with with writing about things

that may be seen as political

but I don't really think it's it's not political music it's just part of what's in front of me.

Do you write all this as a kind of catharsis?

Desperately trying to write songs that fantastical, life-affirming in all the right ways, but I personally think that's what the music's supposed to do.

And if you write the words correctly, you could be absorbing all this stuff.

But really, the whole point is the music flows over you.

Music basically is like mathematics, you know, and you're trying to form patterns,

patterns that make you understand what is around you and patterns that help you get through the next day.

Like, when I listen to the radio and stuff, when I hear a new piece of music, that I've just got to get a hold of it,

because I know it's going to help me through a particular thing until the next one, or it's life-affirming.

The whole point of music is life-affirming.

The sickness of it for me, the bit I couldn't deal with, was that somehow this is a reason to exist.

and somehow you get to a certain level and...

..or whatever, of exposure or fame or whatever, and then suddenly you can communicate with other famous people on a higher level.

And, like, waft around going, hi.

And that was a bit...

I just kind of thought that was a bit peculiar.

Do you think there's a sort of upside to being, you know, well-known in that you can have huge influence?

I don't think you do.

I think all you do is you turn on the media

that week for 20 seconds to something and then they turn on to the next thing.

I don't think you have influence as such.

All you do is that and then that might get someone to sort of vaguely rethink about one little thing but there's,

you know, I don't think...

I think people are perfectly capable of making their own decisions and God help them if they listen to me.

If you could pick one song that you'd like to be remembered by, what would it be?

How to Disappear, After a Day.

Why?

Because it's the most beautiful thing we ever did, I think.

We have this really amazing situation.

I'm not quite sure whether it happens with other bands, but we have all these unofficial sites that are really on top of what we're doing, more on top of what we're doing than we are.

And our site itself is just like this mad sort of collage thing of our thoughts

and also a really good way of getting directly to people when we want to.

So it's always been, I mean, from about Kid A onwards, it's been a source of directly

trying to circumnavigate the media and the media having to follow what's happening on the internet rather than the other way round.

It sort of works to varying degrees,

but I I personally think that for Radiohead, what we do on the internet is much,

much more important than, except for live performances on TV, it's by far the most important thing for us and it has been for ages.

Because it's not very messy and it's not very coherent and whatever,

but it's us, you know, and it's what we choose to put across other than making music all the time.

Do you feel that relationship has deepened over the years with your fan base?

I think so.

I mean, the most fun we have is when we do these things, the webcast things we used to do and we still do sometimes,

which is just, it's this mad situation where you you know thousands of people are watching

and they're talking about what you're doing

and you can see it on one screen and you're seeing what you're doing on the other.

Like a pirate TV thing, that's really, you get massive buzz out of that.

And also you have that other thing where we play all these new songs and they're immediately up on YouTube,

recorded on people's phones and things and there's an entire sort of energy to

that whole thing which is completely outside of your Sunday supplement music critics or whatever, which I think is, I find really exciting.

It's really amazing, especially when we travel, when we go to America and stuff, how important it's been for us and

how there's sort of like an honesty about our relationship we have with the fans when minutes through that, which I think is great.

I don't like having mediators with their own agendas, obviously no one would give them the choice.

And do the fans send you nutty things, in which case what's the nuttiest?

Oh, er, no. No, not really.

That's because you're not famous enough, obviously, in that anymore.

No, we used to get the nutty thing.

Now you have people saying, that was great the way you changed the chord in the end of it.

And you're like, okay.

Is that worse? Or better?

That's alright.

You know, sometimes they're right.

Sometimes you really should put that verse back in.

Okay?

تنزيل التطبيق

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تقييم النطق بالذكاء الاصطناعيتقييم كل جملة

تدريب IPAأتقن كل صوت

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المفردات وملاحظات التحدث لهذا الدرس

يحتوي هذا الفيديو على 94 جملة و1219 كلمة للتدرب على الترديد. مدة الكلام 7:21. يتكلم المتحدث بسرعة طبيعية، نحو 166 كلمة في الدقيقة، قريبة من المحادثة اليومية. 88% من الكلمات ضمن أكثر 3,000 كلمة شيوعًا في الإنجليزية، فالمفردات سهلة المتابعة.

أهم المفردات في هذا الفيديو

15 كلمة أقل شيوعًا من الفيديو، مع النطق والمعنى:

lyrics /ˈlɪɹ.ɪks/ (اسم) — مَنْشُود, كَلِمَات. The words to a song (or other vocal music).
miserable /ˈmɪz(ə)ɹəbəl/ (صفة) — بَائِس. In a state of misery: very sad, ill, or poor.
protest /ˈpɹoʊ.tɛst/ (اسم) — اِعْتِرَاض, اِحْتِجَاج. A formal objection, especially one by a group.
fame /feɪm/ (اسم) — شُهْرَة. One's reputation.
agenda /əˈd͡ʒɛn.də/ (اسم) — جَدْوَل, جَدْوَل أَعْمَال. A temporally organized plan for matters to be attended to.
verse /ˈvɝs/ (اسم) — نَظْم. A poetic form with regular meter and a fixed rhyme scheme.
mathematics /mæθ(.ə)ˈmæt.ɪks/ (اسم) — رِيَاضَة, رِيَاضِيَّات. An abstract representational system studying numbers, shapes, structures, quantitative change and relationships between them.
pile /paɪl/ (اسم) — كَوْم. A mass of things heaped together; a heap.
bend /bɛnd/ (فعل) — ثَنَى. To cause (something) to change its shape into a curve, by physical force, chemical action, or any other means.
supplement /ˈsʌp.lɪ.mənt/ (اسم) — ملحق. Something added; especially, such an addition added to make up for a deficiency.
deliberately /dɪˈlɪb.(ə.)ɹət.li/ (ظرف) — عُمْداً. Intentionally, or after deliberation; not accidentally.
upside /ˈʌpˌsaɪd/ (اسم) — فَوْق. The highest or uppermost side or portion of something.
madness /ˈmæd.nəs/ (اسم) — جُنُون. The state of being mad; insanity; mental disease.
pirate /ˈpaɪɹət/ (اسم) — قُرْصَان. A criminal who plunders at sea; commonly attacking merchant vessels, though often pillaging port towns.
critic /ˈkɹɪt.ɪk/ (اسم) — نَقَّاد, نَاقِد. A person who appraises the works of others.

الأفعال المركبة التي ستسمعها

talk about (فعل) — تَكَلَّمَ فِي, تَكَلَّمَ عَلَى. Used to draw attention to the speaker's characterization of someone or something.
turn on (فعل) — شَغَّلَ. To set a flow of fluid or gas running by rotating a tap or valve.

نطق يحتاج إلى انتباه

يستخدم المتحدث 26 من الصيغ المختصرة، مثل don't, you're, they're. انطقها بصيغتها القصيرة كما تسمعها.

أصوات “th”: mathematics /mæθ(.ə)ˈmæt.ɪks/, catharsis /kəˈθɑɹˌsɪs/, rethink /ɹiːˈθɪŋk/
أصوات “sh” و“zh”: exposure /ɪkˈspəʊ.ʒə(ɹ)/, unofficial /ʌn.əˈfɪʃ.əl/, collage /kəˈlɑʒ/
الكلمات الطويلة — انتبه لموضع النبر: miserable /ˈmɪz(ə)ɹəbəl/, communicate /kəˈmjuːnɪkeɪt/, mathematics /mæθ(.ə)ˈmæt.ɪks/, deliberately /dɪˈlɪb.(ə.)ɹət.li/, desperately /ˈdɛs.p(ə.)ɹət.li/

كيف تتدرب بهذا الفيديو

استمع إلى الفيديو كاملًا مرة واحدة دون أن تتكلم، ودوّن الكلمات التي لا تعرفها.
ابدأ بسرعة 0.75×، وردّد جملة جملة، ثم عُد إلى السرعة العادية عندما يصبح الأمر سهلًا.
سجّل صوتك وقارنه بالأصل، مع الانتباه إلى كلمات مثل lyrics, miserable, protest.

القواعد في هذا الفيديو

أكثر التراكيب التي يستخدمها المتحدث، مع العبارات نفسها من الفيديو:

التركيب	في الفيديو
“used to” used to + فعل — عادة أو حالة في الماضي لم تعد قائمة	used to say · used to do · used to get
المضارع التام have/has + اسم المفعول — حدث ماضٍ ما زال له أثر الآن	it's always been · has been · has deepened
المبني للمجهول be + اسم المفعول — التركيز على ما يحدث لا على من يفعله	may be seen · be remembered

ما هي تقنية التظليل الصوتي؟

التظليل الصوتي (Shadowing) تقنية تعلم لغة مدعومة علمياً، طُورت أصلاً لتدريب المترجمين الفوريين المحترفين. الطريقة بسيطة لكنها قوية: تستمع لصوت إنجليزي أصلي وتكرره فوراً بصوت عالٍ — كظل يتبع المتحدث بتأخير 1-2 ثانية. تُظهر الأبحاث تحسناً كبيراً في دقة النطق والتنغيم والإيقاع وربط الأصوات والاستماع والطلاقة.

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تدريب Shadowing: (2006/10/21) BBC 2, The Culture Show, Thom - تعلم التحدث بالإنجليزية عبر الفيديو

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