跟读练习: The day you died (and didn't notice) - 通过视频学习英语口语

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102 句

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I died when I was 22 years old.

我二十二岁的时候就已经死了。

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.

就在那时我搬到了牛津，每当我回想起我的童年、成长经历和家人时，我都觉得那是我人生彻底改变的转折点。

Sometimes I even grieve the younger Johnny.

有时候我甚至会为曾经那个年轻的约翰尼感到难过。

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

我想念我的家、我的学校，还有我那只叫莉莉的狗。

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

我很想念我的父母，尽管他们都还健在，因为那段生活已经一去不复返了。

That Johnny is dead.

那个约翰尼已经死了。

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

这一观点被称为情境论，其起源可追溯至哲学家盖伦·斯特劳森及其反对叙事性的研究。

Episodism is when you have no sense

片段思维指的是一个人缺乏整体认知的状态

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

过去的你和现在的你是同一个人。

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

这并不是说不存在自我，而是说生命由一系列不同的自我组成。

There is no connecting fibre between these selves and any narrative

这些自我与任何叙事之间都不存在联结的纽带。

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

100

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

101

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

102

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

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本课的词汇与口语要点

这节 C1 级别的口语课以视频“The day you died”为素材。视频中反复出现的词有：narrative, episodic, Strawson, self, defined。这段视频共有 102 个句子、1508 个单词可供跟读。讲话部分时长为 8:42。说话人语速自然，每分钟约 173 个词，接近日常对话。只有 80% 的单词属于英语最常用的 3,000 词，词汇难度较高。

视频中的重点词汇

视频中最难的 15 个单词，附发音和释义：

单词	发音	释义
diachronic 形容词	/daɪ.əˈkɹɑnɪk/	歷時 /历时
philosopher 名词	/fəˈlɑsəfɚ/	哲學家 /哲学家
thesis 名词	/ˈθisɪs/	論點 /论点, 論題 /论题
skateboard 名词	/ˈskeɪt.bɔɹd/	滑板
coherent 形容词	/koʊˈhɛɹ.ənt/	凝聚的
pillar 名词	/ˈpɪlɚ/	柱子, 支柱
overlap 动词	/ˌəʊvəˈlæp/	重叠
revision 名词	/ɹəˈvɪʒ.ən/	復習 /复习
construct 动词	/ˈkɑn.stɹʌkt/	建造, 建設 /建设
alteration 名词	/ɔl.tɚˈeɪ.ʃən/	異動 /异动
generalize 动词	/ˈd͡ʒɛn.(ə.)ɹə.laɪz/	籠統而談 /笼统而谈
grandparent 名词	/ˈɡɹæn(d)pɛəɹənt/	祖父母
hindrance 名词	/ˈhɪndɹəns/	障礙 /障碍, 阻力
misplace 动词	/mɪsˈpleɪs/	擱忘 /搁忘, 誤放 /误放
reincarnate 动词		投胎

视频中出现的短语动词

单词	发音	释义
go through 动词		通過 /通过
make up 动词	/ˌmeɪk ˈʌp/	組成 /组成

视频中的语法

说话人最常用的结构，并附上视频中的原话：

结构	视频中的用法
被动语态 be + 过去分词 — 强调发生了什么，而不是谁做的	is divided · is defined · are reincarnated
现在完成时 have/has + 过去分词 — 过去发生但与现在仍有关联的事	has changed · have argued · has ever sat
定语从句 who / which + 从句 — 补充说明人或事物	people who might · person who went · person who does

需要注意的发音

说话人用了 15 次缩略和弱读形式，例如 I'm, doesn't, I'll。请按听到的简短形式来说。

“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/
长单词——注意重音位置: episodic /ˌɛp.ɪˈsɒd.ɪk/, diachronic /daɪ.əˈkɹɑnɪk/, philosopher /fəˈlɑsəfɚ/, alteration /ɔl.tɚˈeɪ.ʃən/, autobiographical /ˌɑtoʊˌbaɪəˈɡɹæfəkəl/

如何用这段视频练习

先完整听一遍视频，不要开口，记下不认识的单词。
先用 0.75 倍速逐句跟读，熟练之后再回到正常速度。
录下自己的声音并与原声对比，特别注意 diachronic, philosopher, thesis 这类单词。

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。

影子跟读法: 阅读完整分步指南 →

跟读练习: The day you died (and didn't notice) - 通过视频学习英语口语

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