تدريب Shadowing: The day you died (and didn't notice) - تعلم التحدث بالإنجليزية عبر الفيديو
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كل وضع يفتح غرفة تدريب بملء الشاشة.
102 جمل
إذا كانت الجمل قصيرة أو طويلة جدًا، انقر على Edit لتعديلها.
1
I died when I was 22 years old.
لقد متُّ عندما كنت في الثانية والعشرين من عمري.
2
That was when I moved to Oxford and when I think back to my childhood, my upbringing and my family, I think that that was the moment that I died.
كان ذلك عندما انتقلت إلى أكسفورد، وعندما أتأمل طفولتي وتربيتي وعائلتي، أعتقد أن تلك كانت اللحظة التي ماتت فيها ذاتي القديمة.
3
Sometimes I even grieve the younger Johnny.
4
I miss my house, my school and my dog called Lily.
5
I miss my parents even though they are both still alive because that life is gone.
6
That Johnny is dead.
7
This is a view known as episodism and it goes back to the philosopher Galen Strawson and his work against narrativity.
8
Episodism is when you have no sense
9
that who you were in the past is the same as who you are right now.
10
It is not saying that there is no self but rather that life is divided into a series of different selves.
11
There is no connecting fibre between these selves and any narrative
12
or story that we build that tries to do so will always be insufficient and artificial.
13
Who you are now is a detailed, coherent and individual personality.
14
Sure there will be bits and bobs that overlap such as your music preferences
15
or even people who might be here today who were once there in the past.
16
But the sense of now is defined by these essential and all-consuming elements or pillars.
17
and when these pillars change your sense of self will change as well it will essentially cease to be
18
and so then you are reincarnated as a new person for many the idea
19
that they are a perpetually written story is a kind of comfort we're told by psychologists like oliver sacks
20
that each of us constructs and lives a narrative and
21
that narrative is then our identity but for the episodic person and that doesn't make any sense.
22
The episodic sees their life in terms of these discrete blocks that overlap a bit, but they have no meaning overall.
23
Strawson makes a distinction between a human being and a self.
24
I know that I am the same biological entity that went skateboarding with Sam Leatt when I was nine years old.
25
But as a self, the person talking to you now and having these thoughts in my head, I know I wasn't there.
26
The writer Henry James once remarked that he thought his earlier masterpieces were written by somebody else entirely.
27
And Marcel Proust wrote that we are a series of cells which die one after the other.
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I feel like a completely different person today as the person who went skateboarding with Sam Liat.
29
So are you an episodic person or are you a narrative kind of thinker?
30
Well, episodism is defined by three feelings or beliefs.
31
Let's go through them and see if they relate to you.
32
First, there is this lack of persistence.
33
The episodic does not see themselves as something that was there in the past or will be there even in the future.
34
For example, I'm well aware that I will one day be old, Greg, and I'll find it hard to get out of a chair.
35
I'll look back at now and think, wow, so much has changed.
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Life has changed completely.
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And there are past episodes which feel the same.
38
I feel completely disconnected to who I once was.
39
Second, there is temporal displacement.
40
While an episodic will possess certain factual from the inside memories, they do not feel that those memories apply to who you are now.
41
So for example, I remember my grandparents' house.
42
I remember playing an open presence and eating creamed corn.
43
But that happened to a different person.
44
That happened to childhood Johnny.
45
When I think back to some of my best friends at school and university, I remember them fondly, but that wasn't me.
46
It's not the same person who does mini philosophy right now.
47
And then third, there is the present focus.
48
The episodic is by definition more located in the now, and they identify more with their current values, their current thoughts, and their current environment.
49
For example, I am defined by my children, I'm defined by my family, I'm defined by the village I live in now and the projects I'm doing right here.
50
If none of this resonates at all then you are probably not an episodic person and according to Strawson the opposite kind,
51
the narrative kind, is somebody called the diachronic.
52
They will see their lives as a long-term continuous stretch and will often view the episodic life as chilling or even empty.
53
They'll wonder how How can you have any sense of loyalty?
54
How can you have any identity at all if you are just this collection of disconnected blobs?
55
Strawson argues that in a lot of academia, in psychology and even medicine, the diachronic or the narrative view is the dominant one.
56
It says that to be a full person you have to be narrative
57
and this is what Strawson calls the psychological narrativity thesis, that we do live our lives as stories.
58
But the problem is
59
that this can then spill out into an ethical narrativity thesis where we say
60
that we ought to live our lives as stories, and the episodic person is somehow a half person.
61
Philosophers like Charles Taylor have argued
62
that making sense of ourselves requires us to understand our lives as a kind of unfolding story.
63
Some people go further and suggest that you only have a true identity by forming an autobiographical narrative.
64
Without it you aren't developing fully as a person because they see a good life in terms of a quest.
65
If anybody has ever sat through a self-help lecture talking about your journey
66
or if you ever heard a friend talking about growth you will appreciate how dominant the diachronic narrative view really is.
67
But is this actually how everybody works?
68
Strawson argues that this narrative outlook is often a product of an intellectual fashion,
69
and the misplaced confidence of people who generalise their own experience as being the recipe for the entire human race.
70
But the diachronic view is not necessarily the case, nor has it always been the case.
71
For example, the French philosopher Michel de Montaigne claimed
72
that his memory was so poor that he could hardly find a trace of himself in the past, something that I can relate to as well.
73
The Earl of Shaftesbury once said that he lived only for the now
74
and he didn't care if he became 20 successive selves.
75
Writers like Virginia Woolf felt their life existed in his brilliant and disjointed flashes rather than as a linear plot.
76
For these people, the idea of a quest or a single unified narrative isn't a requirement for a good life.
77
In fact, it's a gross hindrance to self-understanding at all.
78
Strawson argues that this dominant narrativity thesis is a problem.
79
It might even be dangerous.
80
Because Strawson thinks that the more you try to turn your life into a good story, the more you are forced to engage in what he calls revision.
81
Narrative people often become virtuoso novelists.
82
They unconsciously delete, edit, and reorder their past to make it cohere.
83
And as Nietzsche famously put it, I have done that, says my memory, but I cannot have done that, says my pride.
84
Eventually memory surrenders to what you want it to say, you stop caring or focusing on the facts,
85
and you spend your time engaging in a kind of cognitive bias that constructs a perfect and moral saintly self.
86
For Strawson, revision takes two forms.
87
First is the charged form, and this is when it is motivated by pride, by shame, or the need for self-love.
88
is a kind of ego protection.
89
And second there is the uncharged form, which is simply a kind of form-finding tendency that tries to fill in the gaps of an often faulty memory.
90
In other words, we make up stories and even memories to bridge the part of ourselves that we cannot remember.
91
Every time we retell our past, we shift further and further away from the facts.
92
Recent neurophysiological research shows that the very act of conscious recall brings an alteration of the memory itself.
93
The narrative person in their ham-fisted breaking
94
and making reconstruction of their daily experiences is often drifting further and further away from the truth of their actual being.
95
The episodic by contrast doesn't need a story to be moral or responsible or even necessarily coherent.
96
Montaigne was famous for his deep loyalty and friendship despite claiming to have no memory of the past shared experiences.
97
Friendship for the episodic is shown in how one is in the present.
98
It's how you and I relate right now.
99
So do you think your life is defined by episodes
100
or do you think there is one long overarching narrative which connects who you are?
101
Is the luxury or the habit of a life story actually a trap
102
that keeps you from the beauty of being in the moment.
تنزيل التطبيق
كل ما تحتاجه للتحدث بطلاقة
تقييم النطق بالذكاء الاصطناعيتقييم كل جملة
تدريب IPAأتقن كل صوت
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المفردات وملاحظات التحدث لهذا الدرس
هذا الدرس في المحادثة بمستوى C1 مبني على الفيديو “The day you died”. أكثر الكلمات تكرارًا في الفيديو: narrative, episodic, Strawson, self, defined. يحتوي هذا الفيديو على 102 جملة و1508 كلمة للتدرب على الترديد. مدة الكلام 8:42. يتكلم المتحدث بسرعة طبيعية، نحو 173 كلمة في الدقيقة، قريبة من المحادثة اليومية. 80% فقط من الكلمات ضمن أكثر 3,000 كلمة شيوعًا في الإنجليزية، فالمفردات صعبة نسبيًا.
أهم المفردات في هذا الفيديو
أصعب 15 كلمة في الفيديو، مع النطق والمعنى:
| الكلمة | النطق | المعنى |
|---|---|---|
| philosopher اسم | /fəˈlɑsəfɚ/ | فَيْلَسُوف |
| thesis اسم | /ˈθisɪs/ | أُطْرُوحَة |
| skateboard اسم | /ˈskeɪt.bɔɹd/ | لَوْح اَلتَّزَلُّج, سكيتبورد |
| coherent صفة | /koʊˈhɛɹ.ənt/ | مُلْتَحِم, مُتَرَابِط |
| pillar اسم | /ˈpɪlɚ/ | عمود |
| revision اسم | /ɹəˈvɪʒ.ən/ | تَنْقِيح |
| alteration اسم | /ɔl.tɚˈeɪ.ʃən/ | تَغْيِيْر |
| generalize فعل | /ˈd͡ʒɛn.(ə.)ɹə.laɪz/ | عَمَّمَ |
| grandparent اسم | /ˈɡɹæn(d)pɛəɹənt/ | جَدّ, جَدَّة |
| retell فعل | /ɹiˈtɛl/ | سَرَدَ, نَقَلَ |
| thinker اسم | /ˈθɪŋ.kɚ/ | مُفَكِّر |
| unconsciously ظرف | /ˌʌnˈkɑnʃəsli/ | لَاشُعُورِيًّا |
| upbringing اسم | /ˈʌpˌbrɪŋɪŋ/ | تَرْبِيَة |
| persistence اسم | /pəˈsɪst(ə)ns/ | إِلْحَاح |
| motivate فعل | /ˈmoʊ.tɪ.veɪt/ | حَثَّ |
القواعد في هذا الفيديو
أكثر التراكيب التي يستخدمها المتحدث، مع العبارات نفسها من الفيديو:
| التركيب | في الفيديو |
|---|---|
| المبني للمجهول be + اسم المفعول — التركيز على ما يحدث لا على من يفعله | is divided · is defined · are reincarnated |
| المضارع التام have/has + اسم المفعول — حدث ماضٍ ما زال له أثر الآن | has changed · have argued · has ever sat |
| جمل الوصل who / which + جملة — معلومة إضافية عن شخص أو شيء | people who might · person who went · person who does |
نطق يحتاج إلى انتباه
يستخدم المتحدث 15 من الصيغ المختصرة، مثل I'm, doesn't, I'll. انطقها بصيغتها القصيرة كما تسمعها.
- أصوات “th”: thesis /ˈθisɪs/, thinker /ˈθɪŋ.kɚ/, ethical /ˈɛθɪkəl/
- أصوات “sh” و“zh”: revision /ɹəˈvɪʒ.ən/, alteration /ɔl.tɚˈeɪ.ʃən/, unconsciously /ˌʌnˈkɑnʃəsli/, insufficient /ɪnsəˈfɪʃənt/, reconstruction /ˌɹiːkənˈstɹʌkʃən/
- الكلمات الطويلة — انتبه لموضع النبر: episodic /ˌɛp.ɪˈsɒd.ɪk/, diachronic /daɪ.əˈkɹɑnɪk/, philosopher /fəˈlɑsəfɚ/, alteration /ɔl.tɚˈeɪ.ʃən/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/
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 philosopher, thesis, skateboard.
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.