跟读练习: Alison Killing: There’s a better way to die, and architecture can help - 通过YouTube学习英语口语
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I'd like to tell you a story about death and architecture.
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I'd like to tell you a story about death and architecture.
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A hundred years ago, we tended to die of infectious diseases like pneumonia, that, if they took hold, would take us away quite quickly.
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We tended to die at home, in our own beds, looked after by family, although that was the default option because a lot of people lacked access to medical care.
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And then in the 20th century a lot of things changed.
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We developed new medicines like penicillin so we could treat those infectious diseases.
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New medical technologies like x-ray machines were invented.
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And because they were so big and expensive, we needed large, centralized buildings to keep them in, and they became our modern hospitals.
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After the Second World War, a lot of countries set up universal healthcare systems so that everyone who needed treatment could get it.
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The result was that lifespans extended from about 45 at the start of the century to almost double that today.
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The 20th century was this time of huge optimism about what science could offer, but with all of the focus on life, death was forgotten, even as our approach to death changed dramatically.
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Now, I'm an architect, and for the past year and a half I've been looking at these changes and at what they mean for architecture related to death and dying.
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We now tend to die of cancer and heart disease, and what that means is that many of us will have a long period of chronic illness at the end of our lives.
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During that period, we'll likely spend a lot of time in hospitals and hospices and care homes.
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Now, we've all been in a modern hospital.
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You know those fluorescent lights and the endless corridors and those rows of uncomfortable chairs.
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Hospital architecture has earned its bad reputation.
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But the surprising thing is, it wasn't always like this.
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This is L'Ospedale degli Innocenti, built in 1419 by Brunelleschi, who was one of the most famous and influential architects of his time.
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And when I look at this building and then think about hospitals today, what amazes me is this building's ambition.
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It's just a really great building.
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It has these courtyards in the middle so that all of the rooms have daylight and fresh air, and the rooms are big and they have high ceilings, so they just feel more comfortable to be in.
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And it's also beautiful.
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Somehow, we've forgotten that that's even possible for a hospital.
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Now, if we want better buildings for dying, then we have to talk about it, but because we find the subject of death uncomfortable, we don't talk about it, and we don't question how we as a society approach death.
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One of the things that surprised me most in my research, though, is how changeable attitudes actually are.
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This is the first crematorium in the U.K., which was built in Woking in the 1870s.
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And when this was first built, there were protests in the local village.
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Cremation wasn't socially acceptable, and 99.8 percent of people got buried.
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And yet, only a hundred years later, three quarters of us get cremated.
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People are actually really open to changing things if they're given the chance to talk about them.
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So this conversation about death and architecture was what I wanted to start when I did my first exhibition on it in Venice in June, which was called "Death in Venice." It was designed to be quite playful so that people would literally engage with it.
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This is one of our exhibits, which is an interactive map of London that shows just how much of the real estate in the city is given over to death and dying, and as you wave your hand across the map, the name of that piece of real estate, the building or cemetery, is revealed.
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Another of our exhibits was a series of postcards that people could take away with them.
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And they showed people's homes and hospitals and cemeteries and mortuaries, and they tell the story of the different spaces that we pass through on either side of death.
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We wanted to show that where we die is a key part of how we die.
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Now, the strangest thing was the way that visitors reacted to the exhibition, especially the audio-visual works.
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We had people dancing and running and jumping as they tried to activate the exhibits in different ways, and at a certain point they would kind of stop and remember that they were in an exhibition about death, and that maybe that's not how you're supposed to act.
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But actually, I would question whether there is one way that you're supposed to act around death, and if there's not, I'd ask you to think about what you think a good death is, and what you think that architecture that supports a good death might be like, and mightn't it be a little less like this and a little more like this?
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Thank you. (Applause)
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关于本课
在这节课中，学习者将通过观看关于建筑与死亡关系的精彩演讲，提高英语听力和口语技能。演讲中探讨了我们对死亡的看法如何随着时代变化，并且强调了建筑在死亡过程中可以发挥的作用。学习者将会通过重复跟读来练习发音，理解演讲者的语调，同时熟悉与死亡相关的专业词汇，从而提升英语表达能力。
关键词汇与短语
- 建筑 (architecture) - 设计和建造建筑物的艺术和科学。
- 卫生保健 (healthcare) - 维护和改善健康的系统及服务。
- 火化 (cremation) - 将尸体通过火焰化为灰烬的过程。
- 慢性病 (chronic illness) - 持久且通常无法治愈的病状。
- 舒适 (comfort) - 身体或精神上的轻松状态。
- 展览 (exhibition) - 展示艺术作品的活动或地点。
- 建筑设计 (architectural design) - 设计建筑物的整体计划和结构。
- 社会接受度 (social acceptance) - 社会对某种行为或观念的认可程度。
练习建议
学习者可以通过看YouTube学英语的方式，将本段视频作为英语口语练习的材料，进行英语影子跟读。收听时，请注意演讲者的语速与情感变化。可以选择逐句话进行跟读，确保每个句子的发音和语调尽量与原声一致。同时，尽量在安静的环境中练习，便于集中精力。学习者还可以利用视频中的录像慢动作功能，逐渐熟悉演讲者的说话风格和用词，从而提升自己的口语流利度。此外，使用shadowing site进行练习时，选择合适的片段，强化词汇的同时，提升整体理解力和表达能力。一旦熟悉演讲内容，不妨尝试用自己的语言描述关于建筑和死亡的观点，进一步巩固所学知识。
什么是跟读法？
跟读法 (Shadowing) 是一种有科学依据的语言学习技巧，最初开发用于专业口译员的培训，并由多语言者Alexander Arguelles博士普及。这个方法简单而强大：您在听英语母语原声的同时立即大声重复——就像是一个延迟1-2秒紧跟说话者的影子。与被动听力或语法练习不同，跟读法强迫您的大脑和口腔肌肉同时处理并模仿真实的讲话模式。研究表明它能显着提高发音准确性，语调，节奏，连读，听力理解和口语流利度——使其成为雅思口语备考和真实英语交流最有效的方法之一。