Prática de Shadowing: This Nobel Prize Winner Has a Really Strange Theory About the Mind - Aprenda a falar inglês com vídeo
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In 2003, J .M.
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Coetzee was awarded the Nobel Prize in Literature.
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When giving his acceptance speech, he didn't discuss his career, he didn't lecture about culture or politics, he didn't thank anyone.
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He didn't even really discuss literature.
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Instead, he gave one of if not the most unusual
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Nobel Prize acceptance speeches in history.
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Following a brief reference to a childhood memory, he proceeded to recite a strange kind of parable.
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When introducing it, he said, The piece is called He and His Man, or His Man and He.
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I cannot remember which comes first, he or his man.
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This was not a lapse in Coetzee's memory.
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He knew the name of the story.
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Fundamentally, we all live two separate lives.
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One is our direct lived experience.
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That is, what our bodies and brains encounter, produce, and sense.
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All that is unconscious or external, but nonetheless real and integral to who we are.
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The second is our conscious awareness.
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That is, what our conscious mind observes, comprehends, conceptualizes, and tracks through language, ideas, beliefs, and stories.
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In Kochi's speech, he refers to two men, he and his man.
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He is an old retired sailor who has moved on from adventure
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and sea life and now spends almost all of his time alone in his room.
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His primary interaction with the world and others is through reports
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that he regularly receives from the character referred to as his man, an individual who travels around Europe encountering various events and phenomena.
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It is soon revealed that the retired sailor is Robinson Crusoe, one of the most famous fictional characters in history.
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This character originated in the 1719 novel titled Robinson Crusoe, written by the author Daniel Defoe,
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in which he is an English sailor who was shipwrecked on a remote island for 28 years before finally being rescued.
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What turns Coetzee's speech from interesting to profound, and perhaps a bit unsettling, is that Crusoe's correspondent, his man, is Daniel Defoe.
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In other words, Defoe is sending messages to the character he created in the story Coetzee created.
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In Coetzee's story, Crusoe and Defoe have a strange and ambiguous kind of relationship.
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On one hand, they seem to know and depend on each other intimately.
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On the other hand, they appear to be quite unknown and distant to each other.
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Neither really know the life of the other directly.
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Crusoe knows of Defoe's experiences only through his reports, and Defoe seems to know of Crusoe,
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if at all, only as a kind of receiving entity of his reports.
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Coetzee says, How are they to be figured, this man and he?
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As master and slave?
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As brothers, twin brothers?
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As comrades in arms?
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Or as enemies, foes?
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What name shall he give this nameless fellow, with whom he shares his evenings and sometimes his nights too,
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who is absent only in the daytime when he, Robin, walks the keys inspecting the new arrivals and his man gallops about the kingdom,
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making his inspections.
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There are many ways one could interpret the premise to such an enigmatic story and character relationship.
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On a literary level, it seems to possibly be a reflection on the relationship between writer
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or artist and the characters or things they create.
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What does a writer or artist do if not report their lived experiences to a kind of entity of reception—their work, their worlds, and their characters.
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In this, the Creator feels as though they are producing a character, story, or world.
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But in a way, they are sort of already there.
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That is, the character, story, or world already exist as a kind of nebulous entity of lived experience.
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They merely increasingly form into semi -tangible structures as they receive
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more information from the Creator's conscious mind a kind of embodiment of the creator's awareness
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and experience as they're assembled with words and features.
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Coatsy writes, How then has it come about that this man of his, who is a kind of parrot and not much loved,
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writes as well as or better than his master?
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For he wields an able pen, this man of his, no doubt of that.
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Only when he yields himself up to this man of his do such words come.
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There's also a deeper interpretation here.
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The very nature of the mind and consciousness, how we form knowledge and understanding and how we don't.
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Whether we write or not, whether we publish or not, each of us are authors.
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Our self, the conscious observer and narrator of our lives, is the product of our mind's creative work,
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the stories we tell ourselves about ourselves and the world, the concepts we form and the beliefs we hold.
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Our source material
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Our inspiration is all of the sensations of the body and brain and their interactions with the external world.
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Naturally, these two channels, experiencer and observer, are always trying to work together.
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Both born of and sharing the same fundamental substrate of being, they both operate toward the same shared goals.
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Survival and continuance.
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On the unconscious experiential level, this is fairly obvious.
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We automatically try to catch our balance when we trip, move our hand away from something hot or sharp, we blink and breathe automatically,
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our heart rate automatically increases, and we become adrenalized when we perceive a threat, and so on.
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On the conscious observer level, it's slightly less obvious, but still apparent.
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We attempt to make order, meaning, and rigidity out of our experiences through language, concepts, stories, and beliefs.
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Our conscious mind attempts to make sense of, tolerate, and rationalize events so that we can best endure and proceed onward.
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Though the miracle of human consciousness
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and the degree of our conceptual awareness is perhaps only second to the miracle of existence itself, it is of course deeply limited.
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We can only comprehend what we can perceive, and we can only perceive what the human brain has evolved to process.
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Moreover, words and concepts are always merely a proxy, symbols of reality and experience, never the real things.
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Thus, these two channels of experience don't really understand each other all that well.
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One is out in the world experiencing a chaos of phenomena, while the other is alone inside its room, trying to parse the chaos into clarity.
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What is left is a kind of dissonance between reality and consciousness.
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In Kochi's story, one of the main reports sent back to Crusoe describes what are known as duck decoy systems,
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Elaborate traps constructed to lure wild ducks to be killed for food.
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Using ponds, nets, channels, and decoy ducks, the configurations are designed to look natural and safe,
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deceiving the ducks into moving through them until they become trapped.
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From the ducks' perspectives, they aren't doing anything odd or unnatural.
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The traps work because they look completely real and safe to the ducks.
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They see waterways, food, and other ducks, and they simply follow their instincts of perception.
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But in the end, the pond is not real, and the ducks become consumed.
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Coetzee writes,
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them of, where they shall live safely and securely.
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Of course, we aren't ducks, but the distance between the abilities of our perception
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and the true nature of reality is likely inconceivably further than the distance between us and ducks.
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Like the ducks in the decoy systems, we don't misunderstand reality because we're foolish or irrational or doing anything unnatural.
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We misunderstand reality because nature deceives us.
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Reality, to us, is a human decoy system constructed out of human language, and yet its truth is entirely beyond human language.
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This interpretation maps fairly cleanly onto several philosophical theories and schools of thought.
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What is known as transcendental idealism, originally founded by 18th century philosopher Immanuel Kant, argues that, in simple terms,
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human knowledge is forever limited to the appearances of things.
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That is, we can never access the world that exists outside of human perception, the thing in itself, reality.
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What we perceive is inexorably shaped by the a priori structures of the human mind.
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Nineteenth -century philosopher Arthur Schopenhauer argued in his masterwork, The World as Will and Representation, the world is fundamentally divided into two components.
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The will, which is the unified underlying substrate of reality that endlessly strives to sustain and express itself, and representation, which is how the world,
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or the expressions of the will, appears to consciousness.
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According to Schopenhauer, we can never directly access the true reality of things, except through bodily sensations.
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The body gives us a kind of access point to the will, a direct subjective correspondent sending us reports.
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But when trying to interpret and transcribe these reports into concepts and words, we move away from the will and into representation, a distortion.
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Schopenhauer writes,
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namely, that which represents, and this is himself.
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Everything that exists for knowledge and hence the whole of this world is only object in relation to the subject, perception of the perceiver.
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In a word, representation.
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Likewise, the philosophy of Taoism suggests that the observing self, experiencing self, and external world are all inseparable in a state of constant flux,
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carried out by what is referred to as the Tao, the true underlying unified nature of reality.
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But as such, the Tao exists solely beyond concepts and language.
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It cannot be named or understood.
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Ideas and terms, including the Tao itself, can only gesture in its direction.
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Reality in this case isn't exactly a trap, but trying to comprehend and categorize it is.
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We must rather flow with it, letting go of rigidity, explanations, and certainties.
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The opening verse of the Tao Te Ching reads, The Tao that can be spoken is not the eternal Tao.
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The name that can be named is not the eternal name.
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The nameless is the origin of heaven and earth.
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The named is the mother of myriad things.
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Thus, constantly without desire, one observes its essence.
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Constantly with desire, one observes its manifestations.
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These two emerge together but differ in name.
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The unity is said to be the mystery, mystery of mysteries, the door to all wonders.
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In the end, Coetzee seems to possibly be representing a similar kind of inability to comprehend the world
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and define the self through a sequence of character relationships.
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Robinson Crusoe's relationship with his creator, Daniel Defoe, and Crusoe and Defoe's relationship with Coetzee, who, in this story, is sort of their creator.
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In this web of fiction weaved out of experience, it is an obvious what and who is real, if anything.
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Referring back to Coetzee's introduction to his story, when he says, The piece is called He and His Man, or His Man and He.
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I cannot remember which comes first, he or his man.
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There is something subtle yet deeply important in this preface that seems to cleanly summarize the authorship problem of identity and truth.
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We imagine we are the author of our thoughts and selves,
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but we are characters being written by the reports of forces we barely understand or have access to.
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We are both a character being written
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and the author of the character in the same story
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we are not solely the observing mind we are not solely the experiencing body
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and we are not the external world
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we are the sum total of all of it all in constant motion
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we are each an expression of the will the Tao a universal awareness
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or the universe itself whichever word or concept you like because in the end whichever word or concept you like is irrelevant.
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Vocabulário e dicas de fala para esta lição
Esta aula de conversação usa o vídeo “This Nobel Prize Winner Has a Really Strange Theory About the Mind”. As palavras que mais se repetem: character, reality, duck, experience. Este vídeo tem 162 frases e 2224 palavras para praticar shadowing. A fala dura 14:28. O falante fala em ritmo natural, cerca de 154 palavras por minuto, próximo de uma conversa do dia a dia. Apenas 78% das palavras estão entre as 3.000 mais comuns do inglês, por isso o vocabulário é exigente.
Vocabulário principal deste vídeo
15 palavras do vídeo que vale a pena aprender, com pronúncia e significado:
| Palavra | Pronúncia | Significado |
|---|---|---|
| duck substantivo | /dʌk/ | pato, pata |
| meal substantivo | /ˈmiːl/ | refeição |
| conscious adjetivo | /ˈkɑn.ʃəs/ | consciente |
| observe verbo | /əbˈzɜːv/ | seguir, acompanhar |
| awareness substantivo | /əˈwɛɹ.nəs/ | consciência |
| representation substantivo | /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/ | representação |
| trap substantivo | /tɹæp/ | armadilha, arapuca |
| perception substantivo | /pɚˈsɛpʃ(ə)n/ | percepção, perceção |
| consciousness substantivo | /ˈkɑnʃəsnəs/ | consciência |
| perceive verbo | /pɚˈsiv/ | perceber, entender |
| belief substantivo | /bɪˈliːf/ | crença |
| mystery substantivo | /ˈmɪs.t(ə.)ɹi/ | mistério |
| creator substantivo | /kɹiːˈeɪ̯təː/ | Criador |
| solely advérbio | /ˈsoʊl.li/ | puramente, unicamente |
| entity substantivo | /ˈɛn.tə.ti/ [-tʰi] | entidade |
Phrasal verbs que você vai ouvir
| Palavra | Pronúncia | Significado |
|---|---|---|
| carry out verbo | /ˈkæ.ɹi aʊt/ | carregar |
| get off verbo | sair |
Gramática neste vídeo
As estruturas que o falante mais usa, com as palavras exatas do vídeo:
| Estrutura | No vídeo |
|---|---|
| Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz | is sponsored · was awarded · is called |
| Present perfect have/has + particípio passado — uma ação passada que ainda importa agora | has moved · has it come · has evolved |
| Orações relativas who / which + oração — informação extra sobre uma pessoa ou coisa | will, which is · someone who tries · had, which was |
Pronúncia para ficar de olho
O falante usa 16 contrações e formas reduzidas, como didn't, I'm, don't. Diga-as na forma curta, do jeito que você ouve.
- Os sons de “th”: breathe /bɹiːð/, nonetheless /ˌnʌnðəˈlɛs/, nineteenth /ˌnaɪnˈtiːnθ/
- Os sons de “sh” e “zh”: conscious /ˈkɑn.ʃəs/, representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, perception /pɚˈsɛpʃ(ə)n/, consciousness /ˈkɑnʃəsnəs/, interaction /ˌɪn.təˈɹæk.ʃən/
- Palavras longas — acerte a sílaba tônica: representation /ˌɹɛp.ɹə.zɛnˈteɪ.ʃən/, entity /ˈɛn.tə.ti/ [-tʰi], fundamental /ˌfʌn.dəˈmɛn.təl/, interaction /ˌɪn.təˈɹæk.ʃən/, interpretation /ɪnˌtɜːpɹəˈteɪʃən/
Sons difíceis para falantes de português:
- Consoante final — sem acrescentar um “i” depois: duck /dʌk/, trap /tɹæp/, comprehend /ˌkɑmpɹɪˈhɛnd/, proceed /pɹəˈsid/, construct /ˈkɑn.stɹʌkt/
- /l/ final — a língua toca o céu da boca, não vira “u”: meal /ˈmiːl/, fundamental /ˌfʌn.dəˈmɛn.təl/, miracle /ˈmɪɹ.ə.kəl/, universal /ˌjunəˈvɜɹs(ə)l/, unusual /ʌnˈjuːʒ(u)əl/
- /h/ — um sopro suave, diferente do “r”: comprehend /ˌkɑmpɹɪˈhɛnd/, hence /ˈhɛns/
Como praticar com este vídeo
- Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
- Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
- Grave a sua voz e compare com o original, prestando atenção a palavras como duck, meal, conscious.
O que é a Técnica de Shadowing?
Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.