跟讀練習: The day you died (and didn't notice) - 通過影片學習英語口語

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102 句

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I died when I was 22 years old.

我二十二歲的時候就已經死了。

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.

就在那時我搬到了牛津，每當我回想起我的童年、成長經歷和家人時，我都覺得那是我人生徹底改變的轉折點。

Sometimes I even grieve the younger Johnny.

有時候我甚至會為曾經那個年輕的約翰尼感到難過。

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

我想念我的家、我的學校，還有我那隻叫莉莉的狗。

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

我很想念我的父母，儘管他們都還健在，因為那段生活已經一去不復返了。

That Johnny is dead.

那個約翰尼已經死了。

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

這一觀點被稱為情境論，其起源可追溯至哲學家蓋倫·斯特勞森及其反對敘事性的研究。

Episodism is when you have no sense

片段思維指的是一個人缺乏整體認知的狀態

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

過去的你和現在的你是同一個人。

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

這並不是說不存在自我，而是說生命由一系列不同的自我組成。

There is no connecting fibre between these selves and any narrative

這些自我與任何敘事之間都不存在聯結的紐帶。

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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本課的詞彙與口語要點

這節 C1 級別的口語課以影片“The day you died”為素材。影片中反覆出現的詞有：narrative, episodic, Strawson, self, defined。這段影片共有 102 個句子、1508 個單詞可供跟讀。講話部分時長為 8:42。說話人語速自然，每分鐘約 173 個詞，接近日常對話。只有 80% 的單詞屬於英語最常用的 3,000 詞，詞彙難度較高。

影片中的重點詞彙

影片中最難的 15 個單詞，附發音和釋義：

單詞	發音	釋義
diachronic 形容詞	/daɪ.əˈkɹɑnɪk/	歷時 /歷時
philosopher 名詞	/fəˈlɑsəfɚ/	哲學家 /哲學家
thesis 名詞	/ˈθisɪs/	論點 /論點, 論題 /論題
skateboard 名詞	/ˈskeɪt.bɔɹd/	滑板
coherent 形容詞	/koʊˈhɛɹ.ənt/	凝聚的
pillar 名詞	/ˈpɪlɚ/	柱子, 支柱
overlap 動詞	/ˌəʊvəˈlæp/	重疊
revision 名詞	/ɹəˈvɪʒ.ən/	復習 /複習
construct 動詞	/ˈkɑn.stɹʌkt/	建造, 建設 /建設
alteration 名詞	/ɔl.tɚˈeɪ.ʃən/	異動 /異動
generalize 動詞	/ˈd͡ʒɛn.(ə.)ɹə.laɪz/	籠統而談 /籠統而談
grandparent 名詞	/ˈɡɹæn(d)pɛəɹənt/	祖父母
hindrance 名詞	/ˈhɪndɹəns/	障礙 /障礙, 阻力
misplace 動詞	/mɪsˈpleɪs/	擱忘 /擱忘, 誤放 /誤放
reincarnate 動詞		投胎

影片中出現的短語動詞

單詞	發音	釋義
go through 動詞		通過 /通過
make up 動詞	/ˌmeɪk ˈʌp/	組成 /組成

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
被動語態 be + 過去分詞 — 強調發生了什麼，而不是誰做的	is divided · is defined · are reincarnated
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	has changed · have argued · has ever sat
定語從句 who / which + 從句 — 補充說明人或事物	people who might · person who went · person who does

需要注意的發音

說話人用了 15 次縮略和弱讀形式，例如 I'm, doesn't, I'll。請按聽到的簡短形式來說。

“th” 音: thesis /ˈθisɪs/, thinker /ˈθɪŋ.kɚ/, ethical /ˈɛθɪkəl/
“sh” 和 “zh” 音: revision /ɹəˈvɪʒ.ən/, alteration /ɔl.tɚˈeɪ.ʃən/, unconsciously /ˌʌnˈkɑnʃəsli/, insufficient /ɪnsəˈfɪʃənt/, reconstruction /ˌɹiːkənˈstɹʌkʃən/
長單詞——注意重音位置: episodic /ˌɛp.ɪˈsɒd.ɪk/, diachronic /daɪ.əˈkɹɑnɪk/, philosopher /fəˈlɑsəfɚ/, alteration /ɔl.tɚˈeɪ.ʃən/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 diachronic, philosopher, thesis 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: The day you died (and didn't notice) - 通過影片學習英語口語

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