第一篇：《羅賓遜漂流記》有感

《魯賓遜漂流記》讀后感

他毅然舍棄安逸舒適的生活，私自離家出海航行，去實(shí)現(xiàn)遨游世界的夢(mèng)想。他漂流海島,戰(zhàn)勝困難,在荒無(wú)人煙，缺乏最基本的生活條件的小島上，他孤身一人，克服了許許多多常人無(wú)法想象的困難。他以驚人的毅力頑強(qiáng)地活了下來(lái)。沒(méi)有房子，他自己搭建。沒(méi)有食物，他嘗試著打獵，種谷子，訓(xùn)養(yǎng)山羊，曬野葡萄干，他還自己摸索著做桌椅，做陶器，用圍巾曬面做面包，他著迷般地只想到如何走出這個(gè)鬼地方,最后于1868年回到闊別28年的英國(guó)。他就是《魯賓遜漂流記》中，堅(jiān)強(qiáng)不屈的--魯賓遜·克魯索。

面對(duì)人生困境，魯濱孫的所作所為，顯示了一個(gè)硬漢子的堅(jiān)毅性格和英雄本色!

《魯賓遜漂流記》之所以成為文學(xué)史上不朽的名著，還在于它的真實(shí)性和不凡的藝術(shù)表現(xiàn)力。翻開(kāi)書(shū)的第一頁(yè):“謹(jǐn)以此書(shū)奉獻(xiàn)給那些時(shí)時(shí)處處依賴父母,依賴學(xué)校的青少年朋友們。” 是啊，我們需要具備魯濱遜那樣的刻苦奮斗的精神。

在他認(rèn)為,天底下沒(méi)有什么人類克服不了的困難,只要人類充分利用自己的智慧與雙手,一切難題都將迎刃而解。

魯賓遜他自信,自立,自尊,自強(qiáng),令我肅然起敬，更值得我們學(xué)習(xí)！

第二篇：《羅賓遜漂流記》讀后感

這個(gè)寒假我去書(shū)店買(mǎi)了本名著——《魯賓遜漂流記》，不用四天，我就把 整本看完了，其實(shí)就是囫圇吞棗地看。這個(gè)故事是寫(xiě)主人公魯濱遜在前往南美 洲的一次航海中不幸遇上海難，被沖到一個(gè)荒島上，在島上生活了二十六年后 重返英國(guó)。

魯賓遜的樂(lè)觀和勇氣是可嘉的，為了生存做出了常人難以想像的事情。我 想魯賓遜之所以能逃出荒島，一定和他的樂(lè)觀向上、銳意進(jìn)取、百折不撓和人 無(wú)遠(yuǎn)慮必有近憂的生活態(tài)度有關(guān)，改變困境就得有這種信念支柱。

魯賓遜樂(lè)觀向上的精神是最值得我們學(xué)習(xí)的。在二十一世紀(jì)物質(zhì)文明高度 發(fā)達(dá)的今天，人們常會(huì)因?yàn)橐稽c(diǎn)小問(wèn)題或者小挫折而悲觀絕望，更有甚者用自 殺來(lái)逃避問(wèn)題，和魯賓遜比起來(lái)，他們是多么的渺小、多么的可笑。

當(dāng)我看完整本書(shū)的時(shí)候，心靈震動(dòng)了一下，一個(gè)問(wèn)號(hào)縈繞著我，如果我是 魯賓遜，我又會(huì)怎樣呢？

很多人看了這本書(shū)以后，都會(huì)感慨著說(shuō)：“魯賓遜真勇敢，我要做和魯賓 遜一樣的人！”但又有多少人能真正做到呢？我承認(rèn)，我做不到和魯賓遜一樣 的人，但我可以做到他的一小部分。這一小部分足以使我在荒島上活一段時(shí) 間，哪怕只有一天，這總比在島上跳海尋死強(qiáng)。

我相信，很多人面對(duì)我剛才的那個(gè)問(wèn)題，都會(huì)回答：“如果我是他，當(dāng)船 在暴風(fēng)雨中失事的時(shí)候，我不會(huì)去接受那充滿困難和挫折的生活，因?yàn)槲覜](méi)有 那份自信。”

面對(duì)魯賓遜，我不得不承認(rèn)自己的軟弱與無(wú)能，父母、學(xué)校為我們鋪設(shè)了 成長(zhǎng)的道路.我心安理得地在這條平坦的大道上走過(guò)了一年又一年，沒(méi)有挫折，沒(méi)有風(fēng)浪，而我還整天抱怨這個(gè)、抱怨那個(gè)。其實(shí)我根本沒(méi)有咀嚼過(guò)生活中的 苦澀，我是幸福的。然而幸福中的我根本沒(méi)有意識(shí)到能吃飽穿暖，背上書(shū)包去 上學(xué)，每天接受家人們的關(guān)愛(ài)，社會(huì)的關(guān)注是一種莫大的快樂(lè)。

這本名著不但告訴了我們?nèi)绾螌W(xué)會(huì)生存，學(xué)會(huì)堅(jiān)強(qiáng)，學(xué)會(huì)面對(duì)困難不畏 懼，還告訴我們要懂得珍惜眼前的一切。

我的人生也會(huì)隨著這本書(shū)而起航，在人生的航海中，勇敢前進(jìn)，永不放棄 ,永不拋棄，堅(jiān)持到最后一刻！

第三篇：2006羅賓遜爵士談學(xué)校扼殺創(chuàng)造力

2012-2013 上學(xué)期

演講辯論特色班

第八周

2006羅賓遜爵士談學(xué)校扼殺創(chuàng)造力 School kills creativity, Ken Robinson, 2006 Good morning.How are you? It's been great, hasn't it? I've been blown away by the whole thing.In fact, I'm leaving.(Laughter)There have been three themes, haven't there, running through the conference, which are relevant to what I want to talk about.One is the extraordinary evidence of human creativity in all of the presentations that we've had and in all of the people here.Just the variety of it and the range of it.The second is that it's put us in a place where we have no idea what's going to happen, in terms of the future.No idea how this may play out.I have an interest in education--actually, what I find is everybody has an interest in education.Don't you? I find this very interesting.If you're at a dinner party, and you say you work in education--actually, you're not often at dinner parties, frankly, if you work in education.(Laughter)You're not asked.And you're never asked back, curiously.That's strange to me.But if you are, and you say to somebody, you know, they say, “What do you do?” and you say you work in education, you can see the blood run from their face.They're like, “Oh my God,” you know, “Why me? My one night out all week.”(Laughter)But if you ask about their education, they pin you to the wall.Because it's one of those things that goes deep with people, am I right? Like religion, and money and other things.I have a big interest in education, and I think we all do.We have a huge vested interest in it, partly because it's education that's meant to take us into this future that we can't grasp.If you think of it, children starting school this year will be retiring in 2065.Nobody has a clue--despite all the expertise that's been on parade for the past four days---what the world will look like in five years' time.And yet we're meant to be educating them for it.So the unpredictability, I think, is extraordinary.And the third part of this is that we've all agreed, nonetheless, on the really extraordinary capacities that children have--their capacities for innovation.I mean, Sirena last night was a marvel, wasn't she? Just seeing what she could do.And she's exceptional, but I think she's not, so to speak, exceptional in the whole of childhood.What you have there is a person of extraordinary dedication who found a talent.And my contention is, all kids have tremendous talents.And we squander them, pretty ruthlessly.So I want to talk about education and I want to talk about creativity.My contention is that creativity now is as important in education as literacy, and we should treat it with the same status.(Applause)Thank you.That was it, by the way.Thank you very much.(Laughter)So, 15 minutes left.Well, I was born...no.(Laughter)

I heard a great story recently--I love telling it--of a little girl who was in a drawing lesson.She was six and she was at the back, drawing, and the teacher said this little girl hardly ever paid attention, and in this drawing lesson she did.The teacher was

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2012-2013 上學(xué)期

演講辯論特色班

第八周

fascinated and she went over to her and she said, “What are you drawing?” And the girl said, “I'm drawing a picture of God.” And the teacher said, “But nobody knows what God looks like.” And the girl said, “They will in a minute.”(Laughter)

When my son was four in England--actually he was four everywhere, to be honest.(Laughter)If we're being strict about it, wherever he went, he was four that year.He was in the Nativity play.Do you remember the story? No, it was big.It was a big story.Mel Gibson did the sequel.You may have seen it: “Nativity II.” But James got the part of Joseph, which we were thrilled about.We considered this to be one of the lead parts.We had the place crammed full of agents in T-shirts: “James Robinson IS Joseph!”(Laughter)He didn't have to speak, but you know the bit where the three kings come in.They come in bearing gifts, and they bring gold, frankincense and myrhh.This really happened.We were sitting there and I think they just went out of sequence, because we talked to the little boy afterward and we said, “You OK with that?” And he said, “Yeah, why? Was that wrong?” They just switched, that was it.Anyway, the three boys came in--four-year-olds with tea towels on their heads--and they put these boxes down, and the first boy said, “I bring you gold.” And the second boy said, “I bring you myrhh.”And the third boy said, “Frank sent this.”(Laughter)

What these things have in common is that kids will take a chance.If they don't know, they'll have a go.Am I right? They're not frightened of being wrong.Now, I don't mean to say that being wrong is the same thing as being creative.What we do know is, if you're not prepared to be wrong, you'll never come up with anything original--if you're not prepared to be wrong.And by the time they get to be adults, most kids have lost that capacity.They have become frightened of being wrong.And we run our companies like this, by the way.We stigmatize mistakes.And we're now running national education systems where mistakes are the worst thing you can make.And the result is that we are educating people out of their creative capacities.Picasso once said this--he said that all children are born artists.The problem is to remain an artist as we grow up.I believe this passionately, that we don't grow into creativity, we grow out of it.Or rather, we get educated out if it.So why is this?

I lived in Stratford-on-Avon until about five years ago.In fact, we moved from Stratford to Los Angeles.So you can imagine what a seamless transition that was.(Laughter)Actually,we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born.Are you struck by a new thought? I was.You don't think of Shakespeare having a father, do you? Do you? Because you don't think of Shakespeare being a child, do you? Shakespeare being seven? I never thought of it.I mean, he was seven at some point.He was in somebody's English class, wasn't he? How annoying would that be?(Laughter)“Must try harder.” Being sent to bed by his dad, you know, to Shakespeare, “Go to bed, now,” to William Shakespeare, “and put the pencil down.And stop speaking like that.It's confusing everybody.”(Laughter)

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2012-2013 上學(xué)期

演講辯論特色班

第八周

Anyway, we moved from Stratford to Los Angeles, and I just want to say a word about the transition, actually.My son didn't want to come.I've got two kids.He's 21 now;my daughter's 16.He didn't want to come to Los Angeles.He loved it, but he had a girlfriend in England.This was the love of his life, Sarah.He'd known her for a month.Mind you, they'd had their fourth anniversary, because it's a long time when you're 16.Anyway, he was really upset on the plane, and he said, “I'll never find another girl like Sarah.” And we were rather pleased about that, frankly, because she was the main reason we were leaving the country.(Laughter)

But something strikes you when you move to America and when you travel around the world: Every education system on earth has the same hierarchy of subjects.Every one.Doesn't matter where you go.You'd think it would be otherwise, but it isn't.At the top are mathematics and languages, then the humanities, and the bottom are the arts.Everywhere on Earth.And in pretty much every system too, there's a hierarchy within the arts.Art and music are normally given a higher status in schools than drama and dance.There isn't an education system on the planet that teaches dance every day to children the way we teach them mathematics.Why? Why not? I think this is rather important.I think math is very important, but so is dance.Children dance all the time if they're allowed to, we all do.We all have bodies, don't we? Did I miss a meeting?(Laughter)Truthfully, what happens is, as children grow up, we start to educate them progressively from the waist up.And then we focus on their heads.And slightly to one side.If you were to visit education, as an alien, and say “What's it for, public education? ”I think you'd have to conclude--if you look at the output, who really succeeds by this, who does everything that they should, who gets all the brownie points, who are the winners--I think you'd have to conclude the whole purpose of public education throughout the world is to produce university professors.Isn't it? They're the people who come out the top.And I used to be one, so there.(Laughter)And I like university professors, but you know, we shouldn't hold them up as the high-water mark of all human achievement.They're just a form of life, another form of life.But they're rather curious, and I say this out of affection for them.There's something curious about professors in my experience--not all of them, but typically--they live in their heads.They live up there, and slightly to one side.They're disembodied, you know, in a kind of literal way.They look upon their body as a form of transport for their heads, don't they?(Laughter)It's a way of getting their head to meetings.If you want real evidence of out-of-body experiences, by the way, get yourself along to a residential conference of senior academics, and pop into the discotheque on the final night.(Laughter)And there you will see it--grown men and women writhing uncontrollably, off the beat, waiting until it ends so they can go home and write a paper about it.Now our education system is predicated on the idea of academic ability.And there's a reason.The whole system was invented--around the world, there were no public systems of education, really, before the 19th century.They all came into being to meet

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2012-2013 上學(xué)期

演講辯論特色班

第八周

the needs of industrialism.So the hierarchy is rooted on two ideas.Number one, that the most useful subjects for work are at the top.So you were probably steered benignly away from things at school when you were a kid, things you liked, on the grounds that you would never get a job doing that.Is that right? Don't do music, you're not going to be a musician;don't do art, you won't be an artist.Benign advice--now, profoundly mistaken.The whole world is engulfed in a revolution.And the second is academic ability, which has really come to dominate our view of intelligence, because the universities designed the system in their image.If you think of it, the whole system of public education around the world is a protracted process of university entrance.And the consequence is that many highly talented, brilliant, creative people think they're not, because the thing they were good at at school wasn't valued, or was actually stigmatized.And I think we can't afford to go on that way.In the next 30 years, according to UNESCO, more people worldwide will be graduating through education than since the beginning of history.More people, and it's the combination of all the things we've talked about--technology and its transformation effect on work, and demography and the huge explosion in population.Suddenly, degrees aren't worth anything.Isn't that true? When I was a student, if you had a degree, you had a job.If you didn't have a job it's because you didn't want one.And I didn't want one, frankly.(Laughter)But now kids with degrees are often heading home to carry on playing video games, because you need an MA where the previous job required a BA, and now you need a PhD for the other.It's a process of academic inflation.And it indicates the whole structure of education is shifting beneath our feet.We need to radically rethink our view of intelligence.We know three things about intelligence.One, it's diverse.We think about the world in all the ways that we experience it.We think visually, we think in sound, we think kinesthetically.We think in abstract terms, we think in movement.Secondly, intelligence is dynamic.If you look at the interactions of a human brain, as we heard yesterday from a number of presentations, intelligence is wonderfully interactive.The brain isn't divided into compartments.In fact, creativity--which I define as the process of having original ideas that have value--more often than not comes about through the interaction of different disciplinary ways of seeing things.The brain is intentionally--by the way, there’s a shaft of nerves that joins the two halves of the brain called the corpus callosum.It's thicker in women.Following off from Helen yesterday, I think this is probably why women are better at multi-tasking.Because you are, aren't you? There's a raft of research, but I know it from my personal life.If my wife is cooking a meal at home--which is not often, thankfully.(Laughter)But you know, she's doing--no, she's good at some things--but if she's cooking, you know, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling, she's doing open-heart surgery over here.If I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in I get annoyed.I say, “Terry, please, I'm trying to fry an egg in here.Give me a break.”(Laughter)Actually, you

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2012-2013 上學(xué)期

演講辯論特色班

第八周

know that old philosophical thing, if a tree falls in a forest and nobody hears it, did it happen? Remember that old chestnut? I saw a great t-shirt really recently which said, “If a man speaks his mind in a forest, and no woman hears him, is he still wrong?”(Laughter)

And the third thing about intelligence is, it's distinct.I'm doing a new book at the moment called “Epiphany,” which is based on a series of interviews with people about how they discovered their talent.I'm fascinated by how people got to be there.It’s really prompted by a conversation I had with a wonderful woman who maybe most people have never heard of;she's called Gillian Lynne--have you heard of her? Some have.She's a choreographer and everybody knows her work.She did “Cats” and “Phantom of the Opera.” She's wonderful.I used to be on the board of the Royal Ballet in England, as you can see.Anyway, Gillian and I had lunch one day and I said,“ Gillian, how'd you get to be a dancer?” And she said it was interesting;when she was at school, she was really hopeless.And the school, in the '30s, wrote to her parents and said, “We think Gillian has a learning disorder.” She couldn't concentrate;she was fidgeting.I think now they'd say she had ADHD.Wouldn't you? But this was the 1930s, and ADHD hadn't been invented at this point.It wasn't an available condition.(Laughter)People weren't aware they could have that.Anyway, she went to see this specialist.So, this oak-paneled room, and she was there with her mother, and she was led and sat on this chair at the end, and she sat on her hands for 20 minutes while this man talked to her mother about all the problems Gillian was having at school.And at the end of it--because she was disturbing people;her homework was always late;and so on, little kid of eight--in the end, the doctor went and sat next to Gillian and said, “Gillian, I’ve listened to all these things that your mother’s told me, and I need to speak to her privately.” He said, “Wait here.We'll be back;we won't be very long,” and they went and left her.But as they went out the room, he turned on the radio that was sitting on his desk.And when they got out the room, he said to her mother, “Just stand and watch her.” And the minute they left the room, she said, she was on her feet, moving to the music.And they watched for a few minutes and he turned to her mother and said,“Mrs.Lynne, Gillian isn't sick;she's a dancer.Take her to a dance school.”

I said, “What happened?” She said, “She did.I can't tell you how wonderful it was.We walked in this room and it was full of people like me.People who couldn't sit still.People who had to move to think.” Who had to move to think.They did ballet;they did tap;they did jazz;they did modern;they did contemporary.She was eventually auditioned for the Royal Ballet School;she became a soloist;she had a wonderful career at the Royal Ballet.She eventually graduated from the Royal Ballet School and founded her own company--the Gillian Lynne Dance Company--met Andrew Lloyd Weber.She's been responsible for some of the most successful musical theater productions in history;she's given pleasure to millions;and she's a multi-millionaire.Somebody else might have put her on medication and told her to calm down.5 / 6

2012-2013 上學(xué)期

演講辯論特色班

第八周

Now, I think...(Applause)What I think it comes to is this: Al Gore spoke the other night about ecology and the revolution that was triggered by Rachel Carson.I believe our only hope for the future is to adopt a new conception of human ecology, one in which we start to reconstitute our conception of the richness of human capacity.Our education system has mined our minds in the way that we strip-mine the earth: for a particular commodity.And for the future, it won't serve us.We have to rethink the fundamental principle son which we're educating our children.There was a wonderful quote by Jonas Salk, who said, “If all the insects were to disappear from the earth, within 50 years all life on Earth would end.If all human beings disappeared from the earth, within 50 years all forms of life would flourish.” And he's right.What TED celebrates is the gift of the human imagination.We have to be careful now that we use this gift wisely and that we avert some of the scenarios that we've talked about.And the only way we'll do it is by seeing our creative capacities for the richness they are and seeing our children for the hope that they are.And our task is to educate their whole being, so they can face this future.By the way--we may not see this future, but they will.And our job is to help them make something of it.Thank you very much.6 / 6

第四篇：《魯兵遜漂流記》讀后感

《魯兵遜漂流記》讀后感

在這個(gè)暑假里，我讀了一本書(shū)，叫做：《魯濱遜漂流記》。這篇文章給了我很大的啟發(fā)。

這本《魯濱遜漂流記》的作者是被譽(yù)為“小說(shuō)之父”的丹尼爾·笛福。主要講的是，主人公魯濱遜為了完成自己的航海夢(mèng)想而偷偷離開(kāi)家門(mén)，懷著遠(yuǎn)游四海的高遠(yuǎn)志向，坐船穿越了大西洋和太平洋。最后，這條船經(jīng)歷了驚心動(dòng)魄的險(xiǎn)情，船中只有魯濱遜一人奇跡般的存活了下來(lái)。魯濱遜找到了一個(gè)荒無(wú)人煙的荒島，在那里頑強(qiáng)地生活了二十八年。他從一開(kāi)始的只會(huì)烤一些動(dòng)物到可以自己烤面包，從只能住在荒野外到可以自己蓋房子，這是多大的一個(gè)改變??！為什么魯濱遜會(huì)在這二十八年中頑強(qiáng)地存活下來(lái)呢？我想，是他對(duì)生活的堅(jiān)持不懈。他在這樣一個(gè)荒無(wú)人煙的島上，竟從來(lái)沒(méi)有放棄過(guò)生活，而是更加堅(jiān)定地生活了下去。

我讀完這篇小說(shuō)，又聯(lián)想到了自己的生活和學(xué)習(xí)。在學(xué)習(xí)上，我只要遇到一點(diǎn)困難就不敢去克服，總想著不付出努力就得到回報(bào)。讀完這本書(shū)以后，我下定決心，以后不管做任何事，遇到任何困難，都要盡自己最大的努力，堅(jiān)持不懈的完成好每一件事情。

第二天，我立刻做出了行動(dòng)。我寫(xiě)作業(yè)時(shí)，要求自己，不要三心二意，寫(xiě)一會(huì)就玩一會(huì)?！跋耵敒I遜一樣”這句話一直回蕩在我的腦海中。這天，我很快就完成了當(dāng)天的作業(yè)。這真是一個(gè)好辦法！

我們以后要像魯濱遜一樣，不管遇到什么樣的困難和考驗(yàn)，永遠(yuǎn)也不能退縮，而是更加堅(jiān)定地向前走！

五年級(jí):西瓜藤邊散步

第五篇：《魯兵遜漂流記》讀后感

《魯濱遜漂流記》讀后感

閆雪

書(shū)中自有顏如玉，書(shū)中自有黃金屋。書(shū)，是人類的精神食糧。書(shū)可以啟迪我們的智慧、更新我們的觀念；書(shū)可以讓我們獲取新的知識(shí)、提高我們的寫(xiě)作水平；書(shū)可以陶冶我們的情操、洗去心靈上的鉛華??

上班九年了，由于工作的需要，書(shū)架上抬手可得的地方早已經(jīng)被教科書(shū)、教育相關(guān)的理論書(shū)籍所替代。曾經(jīng)熱愛(ài)的小說(shuō)如《飄》《簡(jiǎn)愛(ài)》《平凡的世界》小說(shuō)早已被放置在書(shū)架的最上方。其實(shí)，相對(duì)于那些略顯枯燥的理論書(shū)籍，我更喜歡閱讀小說(shuō)類讀物。通過(guò)書(shū)中主人公的那鮮活的人生，讓我體驗(yàn)、感悟到不同的人生，獲得不同的情感。

幾年前，無(wú)意中在電視上看到一個(gè)電影片段：主人公獨(dú)自一人在孤島上生活，為了能夠離開(kāi)孤島，他思船心切，獨(dú)自一人著手造船。他選擇的那根大樹(shù)直徑達(dá)十六米左右，他用二十二的時(shí)間砍斷根部，又花了十四天的時(shí)間使用大斧小斧砍掉樹(shù)枝和向四周張開(kāi)的巨大的樹(shù)頂。然后，又花了一個(gè)多月的時(shí)間又砍又削，最后刮出了船底的形狀，使其下水后能浮在水面上。接著又花了將近三個(gè)月的時(shí)間用槌子和鑿子一點(diǎn)一點(diǎn)的把中間掏空，做得完全像只小船??就是這樣的一個(gè)場(chǎng)景，勾起了我的好奇心，激發(fā)了我讀一讀原著的興趣：一個(gè)人，如何在條件惡劣、沒(méi)有吃穿、沒(méi)有房住的荒島上生存的呢？

作品中，魯濱遜的人物形象是根據(jù)真人真事的啟發(fā)兒創(chuàng)作的。開(kāi)篇便以第一人稱“我”為讀者講述他的身份背景，好像我們身邊的朋友在對(duì)我們講述他的故事一般。接下來(lái)的荒島生活，作者笛福用日記的形式，用大量的詳細(xì)的時(shí)間數(shù)字向我們眼前展示了一幅幅生動(dòng)的生活畫(huà)面。如十一月五日我?guī)屚獬龃蚬贰Ｊ辉铝兆鲎雷?。十一月七日天氣晴朗起?lái)等。這些具體時(shí)間得日記體描寫(xiě)，使我有一種與主人公共同經(jīng)歷了這一系列活動(dòng)的感覺(jué)。

魯濱遜荒島生活的28年的生活經(jīng)歷和艱苦斗爭(zhēng)，正是人類自身發(fā)展和人類用自己的雙手創(chuàng)造世界創(chuàng)造歷史的艱苦歷程的一個(gè)藝術(shù)縮影。首先，他有一種不安于安逸生活，而樂(lè)于尋求漂泊、自有的冒險(xiǎn)精神；其次，從他流落荒島的28年中，又可以從魯濱遜身上看到那種面對(duì)困難不困惑、面對(duì)絕境不絕望的堅(jiān)忍不拔和永不退縮的聰明和才智。在征服大自然的斗爭(zhēng)中，他做木筏，從沉船上運(yùn)食物、帆布、槍支、彈藥、淡水、酒、衣服、工具等生活用品到島上。為了基本的生存，他搭帳篷、樹(shù)柵欄、開(kāi)山洞、蓋住所。為了更好的生活，他又捕魚(yú)獵獸、馴養(yǎng)動(dòng)物、開(kāi)辟牧場(chǎng)、種植莊稼，甚至制作面包、奶酪、家具??這一系列的活動(dòng)都表現(xiàn)了他身上那種百折不撓的開(kāi)辟精神和進(jìn)取精神。

我覺(jué)得魯濱遜就像我前兩天發(fā)的綠豆芽一樣，沒(méi)有任何壓力的綠豆長(zhǎng)出的豆芽是又瘦又小的，只有在它們稚嫩的身上壓上重重地石頭，它們才會(huì)長(zhǎng)的又粗又壯，壓力便是動(dòng)力。通過(guò)閱讀這本小說(shuō)，我想到了我自己，從剛開(kāi)始一個(gè)朝語(yǔ)字不會(huì)念，一首朝語(yǔ)歌不會(huì)唱，現(xiàn)在會(huì)讀朝文字，能夠演唱教材中的歌曲，這也是我努力的結(jié)果。當(dāng)然，我不像魯濱遜一樣孤軍奮戰(zhàn)，我有領(lǐng)導(dǎo)的支持和同事的幫助。但我不能滿足現(xiàn)狀，我要學(xué)習(xí)魯濱遜身上那種堅(jiān)忍不拔、不滿足于現(xiàn)狀、勇往直前的進(jìn)取精神和開(kāi)辟精神，在朝鮮民族教育事業(yè)中，同諸位同事、同孩子們一起創(chuàng)

造出一道藝術(shù)景觀！