跟读练习: In 'The Emperor of Gladness,' Ocean Vuong explores chosen family and acts of kindness - 通过YouTube学习英语口语
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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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He's a writer who draws deeply from personal experience to explore the wider story of working class life in America.
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In his latest novel, just released, Ushun Vuong blends grief, healing, and resilience into a powerful and poetic narrative.
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Senior arts correspondent Jeffrey Brown sits down with him for our arts and culture series, Canvas.
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There's just something connected to the brain with the way the hand moves.
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He writes by hand.
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OCEAN VONG, When you're writing by hand, every sentence takes about 10, 15 seconds longer.
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JEFFREY BROWN, Author, The Emperor of Gladness, Types drafts on a vintage typewriter.
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In an age of instant output, poet and novelist Ocean Vuong takes the long way in.
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His latest novel, The Emperor of Gladness, is a meditation on pain, unexpected acts of kindness, and a reckoning with the history that shaped him personally.
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OCEAN VONG, I have always been fixated on kindness without power.
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There's so many people in America who don't have the means to alter each other's lives,
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the communities that I grew up with, working-class, poor folks, who don't have money or positions or means to rescue each other.
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And yet I have watched people still commit themselves to kindness, even though they know it won't change anything.
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JEFFREY BROWN, An immigrant from Vietnam, Vuong, now 36, spent most of his childhood in a working-class community in Hartford, Connecticut,
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much like the one where he set his novel, a fictional New England town called Gladness, where his young protagonist, like Vuong himself, is shaped by a post-industrial landscape after the 2008 financial meltdown and the ongoing opioid crisis.
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VONG, I saw the opioid epidemic before it was this convenient term used by politicians.
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I saw lunch ladies overdose overnight, teachers, your friend's mom,
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everyday Americans who lost themselves to this drug so quickly as kind of this pharmaceutical slaughter, wherein they were so ashamed of it.
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JEFFREY BROWN, Ph.D.: Vuong also tapped into another aspect of Americana he himself experienced working in fast-food restaurants, for him part of the illusion of the American dream, one offering a different kind of family.
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MARGARET WARNER, The fast-food restaurant is all about deception.
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We truly didn't cook anything.
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We were one giant microwave.
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But we presented our food as if it was home-cooked.
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It was made by some grandmother in the back, like, you know.
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And so there was...
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JEFFREY BROWN, The myth of it.
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MARGARET WARNER, The fast food, but it was made by grandma in the back.
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MARGARET WARNER, It's like impossible, right?
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A lot of this country is founded on the nuclear family.
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And one alternative to that, you can say, is the found family, chosen family.
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But there's a huge sector I think I wanted to tap into, which is the circumstantial family, the family at work, the family cobbled arbitrarily together during a shift.
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And there's an intimacy and bond and kinship there that actually corrodes ideology.
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We all had different politics.
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We came from different parts of life.
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JEFFREY BROWN, The New York Times, The New York Times, The New York Times, The New York Times, Where we all come from and how we got here is a longtime obsession of Wong's, a subject of his poetry in two volumes, Night Sky with Exit Wounds and Time as a Mother, and an earlier novel On Earth We're Briefly Gorgeous.
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He's often tackling the feeling of being an outsider, queer, an immigrant, and, as he puts it, caught in tragic history, descended from an American grandfather who served in the Vietnam War and a Vietnamese
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BROWN, How much of that past history still lives on and kind of finds itself even into a story of your, of a young man living in Hartford, Connecticut?
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DR. HENRY HENRY, History doesn't leave us.
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I think history is something that we pass through.
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through, and it's almost like this web you pass through, like a spider's web.
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You pass through a spider's web, and it clings to you.
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I have been caught by history.
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I have also been made by history.
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I joke, and I say suffering is diverse in this one, many lineages of trouble.
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JEFFREY BROWN, But sometimes you bring it to the surface in different ways, right?
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Yes, because I think we don't get to choose how we get a life.
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And we don't get to choose whether we're victims or not.
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But we do get to choose whether we live in victimhood.
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And I think, for me, being a writer, creating stories is my way of saying I'm not marked by my history.
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But also, there is no solution to my history.
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There's no easy way to say that the Vietnam War cost millions of Vietnamese lives, thousands of American soldiers who did not want to fight in this war, drafted against their will.
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And yet I owe my life to such a black page in history.
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JEFFREY BROWN, A rich history and a literary voice that has resonated with students.
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He's a professor at NYU and with many readers, especially in this moment.
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While Vong didn't set out to become a public voice, he finds himself settling into that role.
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You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG, You are representing people, and you are speaking for people, whether you like it or not.
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VONG VONG VONG, You have to now put more care and concern into the words.
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And then I thought, oh, but that's what I've been doing anyway as a writer, care and concern.
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I mean, who wakes up and decides to maneuver one of the smallest, fragile mediums in our species as letters around the smallest, fragile forms of a poem?
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Who does that without care?
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is an act of care.
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JEFFREY BROWN, The desire underneath all this that brings everything together is a central question in my life,
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trying to understand why there is so much suffering in our life as people.
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And yet, why is there so much beauty?
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Why do we suffer so much?
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yet have the capacity to recognize with absolute mystery and wonder the beauty of the world, I don't know the answer, but I'm always writing towards that and figuring that out.
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JEFFREY BROWN, For the PBS NewsHour, I'm Jeffrey Brown in New York.
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Thank you.
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关于本课
在本课中，学习者将通过分析Ocean Vuong的小说《快乐之帝王》来提高英语发音和口语表达能力。这一作品关注了情感、家庭和同情心，具备丰富的词汇和句型，将为学习者提供良好的交流素材。通过观看相关视频，学习者可以在语境中理解和记忆新单词和短语，锻炼自己的口语技能。
关键词汇与短语
- grief - 悲伤
- resilience - 韧性
- kindness - 友善
- chosen family - 选择的家庭
- opioid crisis - 阿片类药物危机
- working class - 工薪阶层
- affection - 深情
- intimacy - 亲密
练习技巧
在观看这个视频时，建议使用shadowspeak的方法进行练习。开始时，选择一个短片段，快速浏览其内容，以把握谈话的整体语调和速度。然后，反复播放该片段，尝试跟随演讲者的语速进行模仿。由于Ocean Vuong的表达通常流畅而富有情感，学习者需要注意语音的重音和语调的变化。
在练习时，可以使用看YouTube学英语的方式进行逐句重复。在每一句间停顿一下，进行思考，这样更易于掌握发音和语调。通过模仿演讲者的节奏，您将能有效地提高英语发音，增强口语流利度。记得要将学习与shadowspeaks结合，以便在不同场景下自然应用所学内容。
最后，请持续关注自己的shadow speech，记录下您的发音变化。定期与他人进行对话，以检验您的进展，并在真实环境中应用所学内容。
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。