Практика Shadowing: The day you died (and didn't notice) - Изучайте разговорный английский по видео

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I died when I was 22 years old.

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.

Sometimes I even grieve the younger Johnny.

I miss my house, my school and my dog called Lily.

I miss my parents even though they are both still alive because that life is gone.

That Johnny is dead.

This is a view known as episodism and it goes back to the philosopher Galen Strawson and his work against narrativity.

Episodism is when you have no sense

that who you were in the past is the same as who you are right now.

It is not saying that there is no self but rather that life is divided into a series of different selves.

There is no connecting fibre between these selves and any narrative

or story that we build that tries to do so will always be insufficient and artificial.

Who you are now is a detailed, coherent and individual personality.

Sure there will be bits and bobs that overlap such as your music preferences

or even people who might be here today who were once there in the past.

But the sense of now is defined by these essential and all-consuming elements or pillars.

and when these pillars change your sense of self will change as well it will essentially cease to be

and so then you are reincarnated as a new person for many the idea

that they are a perpetually written story is a kind of comfort we're told by psychologists like oliver sacks

that each of us constructs and lives a narrative and

that narrative is then our identity but for the episodic person and that doesn't make any sense.

The episodic sees their life in terms of these discrete blocks that overlap a bit, but they have no meaning overall.

Strawson makes a distinction between a human being and a self.

I know that I am the same biological entity that went skateboarding with Sam Leatt when I was nine years old.

But as a self, the person talking to you now and having these thoughts in my head, I know I wasn't there.

The writer Henry James once remarked that he thought his earlier masterpieces were written by somebody else entirely.

And Marcel Proust wrote that we are a series of cells which die one after the other.

I feel like a completely different person today as the person who went skateboarding with Sam Liat.

So are you an episodic person or are you a narrative kind of thinker?

Well, episodism is defined by three feelings or beliefs.

Let's go through them and see if they relate to you.

First, there is this lack of persistence.

The episodic does not see themselves as something that was there in the past or will be there even in the future.

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.

I'll look back at now and think, wow, so much has changed.

Life has changed completely.

And there are past episodes which feel the same.

I feel completely disconnected to who I once was.

Second, there is temporal displacement.

While an episodic will possess certain factual from the inside memories, they do not feel that those memories apply to who you are now.

So for example, I remember my grandparents' house.

I remember playing an open presence and eating creamed corn.

But that happened to a different person.

That happened to childhood Johnny.

When I think back to some of my best friends at school and university, I remember them fondly, but that wasn't me.

It's not the same person who does mini philosophy right now.

And then third, there is the present focus.

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.

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.

If none of this resonates at all then you are probably not an episodic person and according to Strawson the opposite kind,

the narrative kind, is somebody called the diachronic.

They will see their lives as a long-term continuous stretch and will often view the episodic life as chilling or even empty.

They'll wonder how How can you have any sense of loyalty?

How can you have any identity at all if you are just this collection of disconnected blobs?

Strawson argues that in a lot of academia, in psychology and even medicine, the diachronic or the narrative view is the dominant one.

It says that to be a full person you have to be narrative

and this is what Strawson calls the psychological narrativity thesis, that we do live our lives as stories.

But the problem is

that this can then spill out into an ethical narrativity thesis where we say

that we ought to live our lives as stories, and the episodic person is somehow a half person.

Philosophers like Charles Taylor have argued

that making sense of ourselves requires us to understand our lives as a kind of unfolding story.

Some people go further and suggest that you only have a true identity by forming an autobiographical narrative.

Without it you aren't developing fully as a person because they see a good life in terms of a quest.

If anybody has ever sat through a self-help lecture talking about your journey

or if you ever heard a friend talking about growth you will appreciate how dominant the diachronic narrative view really is.

But is this actually how everybody works?

Strawson argues that this narrative outlook is often a product of an intellectual fashion,

and the misplaced confidence of people who generalise their own experience as being the recipe for the entire human race.

But the diachronic view is not necessarily the case, nor has it always been the case.

For example, the French philosopher Michel de Montaigne claimed

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.

The Earl of Shaftesbury once said that he lived only for the now

and he didn't care if he became 20 successive selves.

Writers like Virginia Woolf felt their life existed in his brilliant and disjointed flashes rather than as a linear plot.

For these people, the idea of a quest or a single unified narrative isn't a requirement for a good life.

In fact, it's a gross hindrance to self-understanding at all.

Strawson argues that this dominant narrativity thesis is a problem.

It might even be dangerous.

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.

Narrative people often become virtuoso novelists.

They unconsciously delete, edit, and reorder their past to make it cohere.

And as Nietzsche famously put it, I have done that, says my memory, but I cannot have done that, says my pride.

Eventually memory surrenders to what you want it to say, you stop caring or focusing on the facts,

and you spend your time engaging in a kind of cognitive bias that constructs a perfect and moral saintly self.

For Strawson, revision takes two forms.

First is the charged form, and this is when it is motivated by pride, by shame, or the need for self-love.

is a kind of ego protection.

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.

In other words, we make up stories and even memories to bridge the part of ourselves that we cannot remember.

Every time we retell our past, we shift further and further away from the facts.

Recent neurophysiological research shows that the very act of conscious recall brings an alteration of the memory itself.

The narrative person in their ham-fisted breaking

and making reconstruction of their daily experiences is often drifting further and further away from the truth of their actual being.

The episodic by contrast doesn't need a story to be moral or responsible or even necessarily coherent.

Montaigne was famous for his deep loyalty and friendship despite claiming to have no memory of the past shared experiences.

Friendship for the episodic is shown in how one is in the present.

It's how you and I relate right now.

So do you think your life is defined by episodes

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or do you think there is one long overarching narrative which connects who you are?

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Is the luxury or the habit of a life story actually a trap

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that keeps you from the beauty of being in the moment.

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FOR YOU

Лексика и советы по произношению к этому уроку

Этот урок разговорной практики уровня C1 построен на видео «The day you died». Чаще всего повторяются слова: narrative, episodic, Strawson, self, defined. В этом видео 102 предложений и 1508 слов для шедоуинга. Речь длится 8:42. Говорящий говорит в естественном темпе, около 173 слов в минуту, близком к повседневной речи. Только 80% слов входят в 3000 самых частых слов английского языка, поэтому лексика сложная.

Ключевая лексика этого видео

Самые сложные слова из видео (15), с произношением и значением:

Слово	Произношение	Значение
episodic прилагательное	/ˌɛp.ɪˈsɒd.ɪk/	эпизоди́ческий, эпизоди́чный
diachronic прилагательное	/daɪ.əˈkɹɑnɪk/	диахронический
philosopher существительное	/fəˈlɑsəfɚ/	фило́соф
thesis существительное	/ˈθisɪs/	те́зис, положе́ние
disconnect глагол	/dɪskəˈnɛkt/	отключа́ть, отключи́ть
skateboard существительное	/ˈskeɪt.bɔɹd/	скейтбо́рд, скейт
coherent прилагательное	/koʊˈhɛɹ.ənt/	свя́зный
pillar существительное	/ˈpɪlɚ/	столб, коло́нна
overlap глагол	/ˌəʊvəˈlæp/	накрыва́ть, перекрыва́ть
revision существительное	/ɹəˈvɪʒ.ən/	перерабо́тка, исправле́ние
construct глагол	/ˈkɑn.stɹʌkt/	стро́ить, постро́ить
alteration существительное	/ɔl.tɚˈeɪ.ʃən/	измене́ние, переде́лка
autobiographical прилагательное	/ˌɑtoʊˌbaɪəˈɡɹæfəkəl/	автобиографи́ческий
discreet прилагательное	/dɪˈskɹiːt/	такти́чный
generalize глагол	/ˈd͡ʒɛn.(ə.)ɹə.laɪz/	обобща́ть, обобщи́ть

Фразовые глаголы, которые вы услышите

Слово	Произношение	Значение
make up глагол	/ˌmeɪk ˈʌp/	составля́ть, соста́вить

Грамматика в этом видео

Конструкции, которые говорящий использует чаще всего, с точными словами из видео:

Конструкция	В видео
Пассивный залог be + причастие прошедшего времени — важно, что происходит, а не кто это делает	is divided · is defined · are reincarnated
Present Perfect have/has + причастие прошедшего времени — прошлое действие, важное сейчас	has changed · have argued · has ever sat
Придаточные определительные who / which + предложение — уточнение о человеке или предмете	people who might · person who went · person who does

Произношение, на которое стоит обратить внимание

Говорящий использует 15 сокращённых и редуцированных форм, например I'm, doesn't, I'll. Произносите их коротко, так, как слышите.

Звуки «th»: thesis /ˈθisɪs/, thinker /ˈθɪŋ.kɚ/, ethical /ˈɛθɪkəl/
Звуки «sh» и «zh»: revision /ɹəˈvɪʒ.ən/, alteration /ɔl.tɚˈeɪ.ʃən/, unconsciously /ˌʌnˈkɑnʃəsli/, insufficient /ɪnsəˈfɪʃənt/, reconstruction /ˌɹiːkənˈstɹʌkʃən/
Длинные слова — следите за ударением: episodic /ˌɛp.ɪˈsɒd.ɪk/, diachronic /daɪ.əˈkɹɑnɪk/, philosopher /fəˈlɑsəfɚ/, alteration /ɔl.tɚˈeɪ.ʃən/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/

Как заниматься с этим видео

Прослушайте всё видео один раз молча и выпишите незнакомые слова.
Начните со скорости 0,75×, повторяйте предложение за предложением и вернитесь к обычной скорости, когда станет легко.
Запишите себя и сравните с оригиналом, обращая внимание на такие слова, как episodic, diachronic, philosopher.

Что такое техника Shadowing?

Shadowing — это научно обоснованная техника изучения языка, изначально разработанная для подготовки профессиональных переводчиков и популяризированная полиглотом доктором Александром Аргуэльесом. Метод прост, но эффективен: вы слушаете аудио на английском от носителей языка и немедленно повторяете вслух — как тень, следующая за говорящим с задержкой в 1–2 секунды. В отличие от пассивного прослушивания или грамматических упражнений, Shadowing заставляет мозг и мышцы рта одновременно обрабатывать и воспроизводить реальные речевые паттерны. Исследования показывают, что это значительно улучшает точность произношения, интонацию, ритм, связную речь, понимание на слух и беглость речи — что делает его одним из самых эффективных методов для подготовки к IELTS Speaking и реального общения на английском.

Техника шедоуинга: читать полное пошаговое руководство →

Практика Shadowing: The day you died (and didn't notice) - Изучайте разговорный английский по видео

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