第一篇：學(xué)校扼殺了學(xué)生的創(chuàng)造力？Ken Robinson Ted英語演講視頻中英字幕,英語文本（共）

演講稿英語文本：

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.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, you're not asked.And you'll never ask 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.” But if you ask people 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 capacity 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.Soooo, 15 minutes left.Well, I was born.I heard a great story recently, I love telling it, of a little girl who was in a drawing lesson, she was 6 and she was at the back, drawing, and the teacher said this little girl hardly paid attention, and in this drawing lesson she did.The teacher was 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.”

When my son was 4 in England--actually he was 4 everywhere, to be honest;if we're being strict about it, wherever he went, he was 4 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!” 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 myrrh.This really happened--we were sitting there and we think they just went out of sequence, 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, I think that was it.Anyway, the three boys came in, little 4-year-olds with tea towels on their heads, and they put these boxes down, and the first boy said, “I bring you gold.” The second boy said, “I bring you myrhh.” And the third boy said, “Frank sent this.”

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, 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 of 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 this was.Actually we lived in a place called Snitterfield, just outside Stratford, which is where Shakespeare's father was born.Were 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 7? I never thought of it.I mean, he was 7 at some point;he was in somebody's English class, wasn't he? How annoying would that be? “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.”

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.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 nomally 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 maths 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?

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 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.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 them, not all of them but typically, they live in their heads, they live up there, and slightly to one side.They're disembodied.They look upon their bodies as a form of transport for their heads, don't they? 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, 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 round the world there were no public systems of education really before the 19th century.They all came into being to meet 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're not going to 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.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 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 collosum, and it's thicker in women.Following on from Helen yesterday, I think this is probably why women are better at multitasking, 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, but you know, she's doing(oh, 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.”(You know that old philosophical thing, if a tree falls in the forest and nobody hears it, did it happen, remember that old chestnut, I saw a great T-shirt recently that said, “If a man speaks his mind in a forest, and no woman hears him, is he still wrong?”)

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, and 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 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.People weren't aware they could have that.Anyway she went to see this specialist, in this oak-paneled room, and she was there with her mother and she was led and sat on a chair at the end, and she sat on her hands for 20 minutes while this doctor 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 8--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, and 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 multimillionaire.Somebody else might have put her on medication and told her to calm down.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 principles on 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.

第二篇：TED 學(xué)校扼殺了我們的創(chuàng)造力

TED演講：學(xué)校扼殺了我們的創(chuàng)造力

本視頻網(wǎng)易公開課鏈接：http://v.163.com/movie/2006/2/V/E/M7SP3QUET_M7SP3T0VE.html

What are you have is a person of extraodinary dedication who found a talent.We've all agreed on the really extraordinary capacity that children have, their capacities for innovation.And my contention is, all kids have tremendous talents and we squander them, pretty ruthlessly.So I want to talk about education and creativity.My contention is that creativity now is as important in education as literacy, and we should treat it with the same status.現(xiàn)在的教育提倡的是一個有風(fēng)險精神的 老師能發(fā)現(xiàn)一個天才學(xué)生。我們一致認同，孩子擁有超凡的才能，或者說創(chuàng)新能力。我認為：每個孩子身上都蘊含著巨大的才能，卻被成人無情地磨滅了。因此，我想談?wù)劷逃蛣?chuàng)造力。我相信在當今這個時代，創(chuàng)造力在教育中的地位同讀寫能力一樣重要，理應(yīng)得到同等程度的重視。

I heard a great story recently, I love telling it, of a six-year-old girl who was in a drawing lesson.The teacher said usually this little girl hardly paid attention, but in this drawing lesson she did.The teacher was fascinated and she went over to her and 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.”

前些日子我聽到了一個很棒的故事，我喜歡逢人就講。有個6歲的小姑娘在上繪畫課。她的老師說，這個小姑娘上課一向不怎么專心，而這次卻不同。老師很好奇，于是走過去問小姑娘：“你在畫什么？”“我在畫上帝”，小姑娘答道。老師不解：“可是從來沒有人知道上帝長什么樣?。　毙」媚锎鸬溃骸暗任耶嫼盟麄兙椭懒??！?/p>

Picasso once said that all children are born artists.The problem is remaining an artist as we grow up.I believe passionately that we don't grow into creativity, we grow out of it.Or rather we get educated out of it.So why is this?

畢加索曾經(jīng)說過：每一個孩子都是天生的藝術(shù)家。問題在于我們長大之后能否繼續(xù)保持著藝術(shù)家的個性。我堅信，隨著年齡的增長，我們的創(chuàng)造力并非與日俱增，反而是與日俱減。甚至可以說，我們的創(chuàng)造力被教育扼殺了。怎么會這樣呢？

Every education system on earth has the same hierarchy of subjects—every one;it 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.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 maths 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? 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.世界上所有的教育系統(tǒng)都有著相同的學(xué)科體系，無一例外。你會想肯定有某個地方會例外的吧，可是無論你走到哪都是這樣。位于頂端的是數(shù)學(xué)和語言，接著是人文學(xué)科，處在最底端的是藝術(shù)。全球普遍如此。在這顆星球上沒有一個教育系統(tǒng)會像上數(shù)學(xué)課一樣天天給孩子們上舞蹈課。為什么？為什么不這樣？我覺得這非常重要。我知道數(shù)學(xué)很重要，但是舞蹈也同樣重要啊。如果獲得允許，孩子們可以整天跳舞，我們也是。我們都有身體可以舞動起來，不是嗎？現(xiàn)實中的真相是：隨著孩子們在長大，大人們開始逐步地訓(xùn)練他們，首先是腰部以上的部位，然后是集中訓(xùn)練他們的大腦，并且漸漸地有點偏向大腦一側(cè)。

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 they should, who gets all the brownie points, who are the winner the whole purpose of public education throughout the world is to produce university professors.Isn't it? They're the people who come out on top.And I used to be one, so there.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 them, not all of them but typically, they live in their heads, they live up there, and slightly to one side.They're disembodied.They look upon their bodies as a form of transport for their heads, don't they?

假設(shè)你是一位外星來客，來考察地球上的教育，想知道公共教育究竟有何作用。在得出結(jié)論之前，我建議你先看看公共教育的產(chǎn)物，看看究竟是誰通過教育獲得成功？是誰中規(guī)中矩地完成了使命？是誰得到了所有的贊許？又是誰成了最后的贏家？我想你會由此得出結(jié)論：全球公共教育的目的完全在于培養(yǎng)大學(xué)教授，不是嗎？他們是教育體制最高端的產(chǎn)物。我過去也曾是其中一員，嗯，我喜歡大學(xué)教授們。不過，你知道，我們不應(yīng)該將他們推崇為全人類最大的成就。他們所代表的僅僅是一種生活方式，另一種不同的生活方式。不過大學(xué)教授們還是蠻古怪的，我是出于對他們的喜愛才這么說的，雖然不是所有大學(xué)教授都這樣，但他們的確有些奇特，典型表現(xiàn)為：他們生活在自己的思維里，住在自己的大腦中，而且還略偏向于大腦一側(cè)。他們崇尚精神世界，軀體在他們看來不過是思維的承載工具，不是嗎？

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.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.根據(jù)聯(lián)合國教科文組織的統(tǒng)計預(yù)測，未來三十年內(nèi)全球的教育系統(tǒng)畢業(yè)生人數(shù)將達到歷史之最。高科技及其對工作性質(zhì)的改變影響，人口以及人口大爆炸，這些我們提及過的因素加在一起將導(dǎo)致畢業(yè)生越來越多。學(xué)歷突然縮水了。難道不是嗎？我上學(xué)那會兒，只要你有一紙文憑，你就有飯碗。如果你沒有工作，那是因為你不想要。坦白說，我當時就不想要（作者的自嘲）?？涩F(xiàn)在有學(xué)歷的畢業(yè)生們卻常常待業(yè)在家打游戲，因為工作崗位的學(xué)歷要求都升級了，過去需要學(xué)士的崗位現(xiàn)在開始要碩士了，過去要碩士的崗位現(xiàn)在要博士了。這是個“學(xué)歷膨脹”的過程。這一過程說明了整個教育體系正在我們眼下經(jīng)歷著重大轉(zhuǎn)變。我們需要從根本上重新審視自己的智能觀。

We know three things about intelligence: One, it's diverse.We think about the world in all the ways we experience it.We think visually, we think in sound, we think kinesthetically.We think in abstract terms, we think in movement.我們知道智能有三大特點：第一，智能具有多元性。我們運用各種體驗方式來認知世界，比如視覺、聽覺、觸覺、抽象化、動態(tài)化等等。

Secondly, intelligence is dynamic.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.第二，智能具有交互性。大腦并不是由相互隔絕的單元組成的。事實上，創(chuàng)造活動往往就誕生于各學(xué)科看待事物的不同方式所產(chǎn)生的交互作用，在我看來，創(chuàng)造就是“有價值的原創(chuàng)思想的產(chǎn)生過程”。

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, Gillian Lynne.She's a choreographer.She did Cats, and Phantom of the Opera, she's wonderful.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 her parents and said, “We think Gillian has a learning disorder.” She couldn't concentrate, she was fidgeting.第三，智能具有獨特性。目前我正在寫一本新書，叫做《悟》，是根據(jù)一系列人物訪談寫成的，主題圍繞“你是如何發(fā)現(xiàn)自己才能的？”。我對人們的自我發(fā)現(xiàn)很感興趣。事實上，寫這本書的念頭源自我和一位出色的女士之間的對話，也許這里大部分人沒有聽說過她，她叫吉莉安·林恩，是一名舞蹈指導(dǎo)，曾經(jīng)給歌舞劇《貓》、《歌劇魅影》編排舞蹈，非常棒的一位女士！有一天我和吉莉安一起吃午餐，我問她：“吉莉安，你當初是怎么走上跳舞這條路的？”她告訴我，其中的故事還蠻有趣的。當年她在學(xué)校時，大家都說她沒得救了。那還是在上世紀三十年代，學(xué)校寫信給她父母說“我們認為吉莉安有學(xué)習(xí)障礙”。那時候的她無法集中注意力，總是坐立不安。

Anyway, she went to see a specialist in an oak-paneled room with her mother 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.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.Wait here, we'll be back, we won't be very long,” and they went and left her.后來她媽媽就帶著她去看?？啤Ｄ鞘且婚g鋪著橡木地板的診室。吉莉安把雙手壓在屁股下，耐住性子坐了20分鐘，這段時間里醫(yī)生和她媽媽談?wù)摿怂趯W(xué)校里出現(xiàn)的種種問題。最后，醫(yī)生走過來坐在吉莉安身邊對她說：“吉莉安，你媽媽和我講了你的所有事情，現(xiàn)在我要和她私下談?wù)?。在這兒等著，我們很快就回來?！庇谑撬麄兙土粝滤鋈チ恕?/p>

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.” Somebody else might have put her on medication and told her to calm down.就在他們離開房間的時候，醫(yī)生擰開了他桌上的收音機。走出房間后，醫(yī)生對吉莉安的媽媽 4 說道：“就在這兒觀察一下她”。吉莉安說，他們剛離開房間她就站了起來，隨著音樂移動步子。在外面觀察了幾分鐘后，那位醫(yī)生轉(zhuǎn)向她媽媽說道：“林恩夫人，吉莉安并沒有生病，她是個天生的舞蹈家。送她去舞蹈學(xué)校吧?！保ǜ兄x當年那位醫(yī)生，）換了別人或許會對吉莉安進行藥物治療，并告訴她要平靜下來。

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.我認為我們未來唯一的希望在于創(chuàng)設(shè)一種新的人文生態(tài)構(gòu)想，唯有在此構(gòu)想上才可重新認識到人類能力之豐富。如同獲得商品的欲望驅(qū)使人類掠采礦物資源，現(xiàn)行的教育體制也正以此道壓榨著我們的智力，而這種壓榨并不能造福人類社會。

We have to rethink the fundamental principles on which we're educating our children.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.我們必須重新思考我們教育孩子的基本原則。我們的任務(wù)是教育所有的孩子，以便他們能夠面對未來——順便提一下，這個未來或許我們是看不見了，但是他們可以，我們的工作就是幫助他們戰(zhàn)勝未來的挑戰(zhàn)。

第三篇：我就這樣扼殺了學(xué)生的創(chuàng)造力[小編推薦]

老師，松開你扼殺學(xué)生創(chuàng)造力的手吧！

看到書上說電視里的一個談話節(jié)目，主持人談及一個幽默。他說，聯(lián)合國某組織在全球各大洲的兒童中搞了一個調(diào)查——“請談一談對其他國家糧食短缺問題的獨特看法。”結(jié)果是各大洲的兒童居然都因為無法理解這個問題而不能回答。歐洲的孩子不能回答是因為不知道什么是“短缺”，非洲的孩子不能回答是因為不知道什么叫“糧食”、美國的孩子不能回答是因為不知道什么叫“其他國家”，而中國孩子不能回答是因為不知道什么叫“獨特看法”??主持人話落，滿座笑起。

而我作為一個教育工作者看了這段話，卻不能一笑了之。我想起自己的教學(xué)，不禁感到無比的慚愧?？梢哉f正是像我這樣的教師把中國學(xué)生的創(chuàng)造力扼殺了。在我短短幾年的教學(xué)生涯中，我不知做了多少扼殺學(xué)生創(chuàng)造力的事。至今仍記憶猶新的一件事是這樣的：

那天我正在教學(xué)鄭振鐸的《燕子》一課，課文中有一幅插圖，描繪了幾只黑乎乎的燕子三三兩兩地停息在五根電線上。觀察插圖時，我讓學(xué)生發(fā)散想象：你覺得它們在干什么？有的學(xué)生說：它們在說話；有的說它們在聊天；有的說它們快樂地談天說地??其實學(xué)生們說的大都是表達燕子在談話。這時，一個平時很調(diào)皮的男孩站起來說：老師，它們在快樂地彈琴（談情）。話音剛落，全班哄堂大笑，對四年級的學(xué)生來說，似乎談情很曖昧。當時我真是覺得這個學(xué)生有點故意搗亂，于是板下臉說道：就是你會瞎說。坐下。但那孩子又站起來堅

持他的觀點：老師，我真的覺得它們在彈琴。你看，它們不像在彈一把豎琴嗎？他邊說邊做彈豎琴的示范動作。

多么有創(chuàng)意的想法！多么有個性的想象！這時，我才恍然大悟我錯得有多離譜。我多么感謝這個孩子的厚臉皮，他一而再地發(fā)表自己的意見、堅持自己的觀點，才讓我的罪過不那么重。我也反省自己平時的教學(xué)，這樣扼殺學(xué)生創(chuàng)造力的行為比比皆是。

還記得我們學(xué)校有一個同學(xué)參加作文比賽，四年級組作文比賽的題目是半命題作文：

的?？梢詫懯?、寫人、寫景、寫物，內(nèi)容不限。這個同學(xué)寫了如下一篇作文

我的同桌

在我的旁邊有一位默默無聞的小女孩。她個子不高，總是扎著兩個小辮子；一雙大大的眼睛可迷人了，發(fā)起火來，兩只眼睛瞪得大大的，那樣子可真令人看了害怕。

她雖然長得很漂亮，可她在學(xué)習(xí)上卻一點也不用功，作業(yè)總是最后幾個交。有一次，老師讓大家在吃午飯前抄好一段課文。別人一下課都開始認真地抄寫，一會兒便把老師布置的作業(yè)工工整整地寫完了。讓我們再來看看她吧。瞧，她還在跳皮筋呢，看來跳得很開心，似乎把老師布置的作業(yè)都寫完了。上午第三節(jié)課結(jié)束后，大家都排著整齊的隊伍回家吃飯了。只有她一個人坐在教室里，用她那雙大大的眼睛偵察著是否有人還沒走，看來是準備逃走吧。吃過午飯，大家都拿著自己抄的課文去給老師批。過了一會兒，老師對大家說：“同學(xué)們都給我批了吧，現(xiàn)在大家出去玩一會兒吧?！逼鋵崳蠋熤肋€有一個人沒給她批，我想大家都知道她是誰吧？她就是我的同桌。不過她也明白老師的意思，低下了頭，臉漲得通紅，好象很后悔的樣子。

我的同桌雖然平時不太說話，其實她非常兇，在班級里有“野蠻女生”這樣一個稱號。就說那一次吧，那一天，老師叫每人帶一枝鋼筆，說明天要舉行鋼筆字比賽?？傻搅吮荣惸且惶欤龥]帶，急得像熱鍋上的螞蟻。她在沒上課前向同學(xué)借，可同學(xué)平時都吃盡了她的苦頭，都不愿借給她。終于到了上課的時間，她不得不坐到自己的座位上，這時她的心里更急了。就在她著急時，她看見了我有兩枝鋼筆，便問我借，我沒有借給她。你們不要

說我沒良心，而是我和同學(xué)們一樣，受夠了她的氣。比賽終于開始了，老師見她沒帶鋼筆，便狠狠地教訓(xùn)了她一頓，她恨得咬牙切齒。下課后，我知道情況不妙，便馬上就跑，可她攔在了我的前面?？磥磉@一頓罵是免不了的了，誰叫她是“野蠻女生”呢？

我的同桌呀，請你不要那么兇，請溫柔點，成為我們班一個又漂亮又溫柔的小女孩。

這篇作文被幾個評委老師打了低分，理由是“思想性不好”。該名學(xué)生也因為作文寫得不好，在同學(xué)面前難為情得抬不起頭。我翻來覆去地看他的作文，看不出他的作文思想性不好在什么地方；我翻遍了有關(guān)學(xué)生作文的理論書，找不到一點能說這篇作文思想性不好的理由。難道僅僅是因為他寫了他同桌的缺點？僅僅是因為他說了真話？僅僅是因為他沒有造假？

在我看來，這位同學(xué)對他的同桌提出了善意的建議，讓她認識到自己的缺點，文筆那么幽默、風(fēng)趣，感情那么真誠、自然，這難道不是一種獨特、一種個性、一種創(chuàng)新嗎？這篇文章不但選準了體現(xiàn)同桌特點的事例，而且這些事例是他從鮮活的生活中提取出來的，帶著濃濃的生活味，才那么的鮮活有生命力，讓人讀之有味。一個漂亮、兇悍但又不愛學(xué)習(xí)、懶惰的小女孩活靈活現(xiàn)地出現(xiàn)在我們面前。這難道不是一種“獨特看法”？一種“獨特視角”嗎？

正是因為有了這樣的課堂、有了這樣扼殺學(xué)生創(chuàng)造力的老師，才有了前面談話節(jié)目中那樣的中國學(xué)生。作為我們教育工作者，真的應(yīng)該好好地反思一下，松開我們扼殺學(xué)生創(chuàng)造力的手吧！讓我們的孩子懂得創(chuàng)新、懂得個性、懂得什么叫“獨特看法”！

第四篇：趙玉環(huán)單一的評價機制扼殺了多少學(xué)生的自信心

單一的評價機制扼殺了多少學(xué)生的自信心

教書20多年了，當班主任也將近20年了。大家知道，班主任不光負責(zé)自己所教學(xué)科的教學(xué)，還額外負責(zé)學(xué)生的所有事情，與學(xué)生接觸最為親密。班主任是學(xué)生最可依靠的人，但同時也是學(xué)生最畏懼的人。原因是班主任一定程度上決定著學(xué)生的情緒、做人的素質(zhì)，甚至其人生發(fā)展。

社會給學(xué)校要成績，學(xué)校給老師要成績，最后，很大程度上把壓力轉(zhuǎn)嫁到了班主任身上。班主任怎么辦？只能把壓力轉(zhuǎn)嫁到學(xué)生身上。所以，導(dǎo)致教育者人人都把目光盯在了學(xué)習(xí)成績上。學(xué)習(xí)好就是好學(xué)生，就招人待見。學(xué)習(xí)不好就是差生，就招人反感。品格再好的差生也會因此發(fā)生著變化：先是臉上無光，進而可能還會想努力學(xué)習(xí)，可是如果總是靠在最后呢？他們就會慢慢失去信心和興趣，失去熱情和拼搏的精神，于是逐漸地自卑起來有的甚至不敢大聲說話，連笑也不敢了，認為自己沒有資格了。目睹著這些孩子的變化，我時常有一種負罪感：他們學(xué)不好文化課久沒有資格抬頭挺胸了嗎？就必須付出自信和熱情嗎？就必須整日痛苦或者麻木嗎？可是，這些卻是他們走上社會自我發(fā)展的必備素質(zhì)??！當然，班中總會有一些學(xué)生成績不錯的，姑且稱之為人才，但是，這是以多少差生的做人素質(zhì)的丟失甚至被動輟學(xué)為代價的。這一切源于對學(xué)生、對學(xué)校的評價方式過于單一。這一點不改，再好的評價機制也是擺設(shè)。

目前，國家大力推行素質(zhì)教育，推行與之相匹配的“中學(xué)生綜合素質(zhì)測評“，這讓我們看到了曙光，也是廣大學(xué)生的福祉?？墒?，問題不在于這個“中學(xué)生綜合素質(zhì)測評“指定地有多好，而在于如何執(zhí)行，如何讓選拔人才的學(xué)校不得不重視。我認為國家還應(yīng)該把這種綜合素質(zhì)評價延伸到大學(xué)和社會。說起來不太好操作，這需要大家出主意，想對策，但至少有一點容易操作，比如從某個學(xué)校走出的學(xué)生嚴重違法就應(yīng)該與他的就讀學(xué)校的考核掛鉤。這雖說不太公平，但至少是一種約束。

當然，以上情況的改變應(yīng)首推國家教育部門的大政方針，那么，作為基層的教育者在評價 教師和學(xué)校政績不變而導(dǎo)致良好的“中學(xué)生綜合素質(zhì)測評“落實不了的情況下應(yīng)如何做呢？

1、首先要培養(yǎng)學(xué)生的熱情 一個沒有熱情的民族是注定不會發(fā)展的，而這個責(zé)任就落在一代又一代學(xué)生身上。如何讓高度的熱情成為學(xué)生發(fā)展的不竭動力是一個值得研究的課題。,由于教育方法的不當、教學(xué)方式的呆板單調(diào)、課業(yè)負擔的繁重、成績不前等原因,造成許多學(xué)生學(xué)習(xí)態(tài)度冷淡,厭學(xué)情緒嚴重。調(diào)動學(xué)習(xí)學(xué)習(xí)積極性,培養(yǎng)學(xué)生的學(xué)習(xí)熱情,成了教師的重要工作之一。使學(xué)生想學(xué)、樂學(xué)、會學(xué),煥發(fā)他們身上蘊藏著的學(xué)習(xí)熱情,具體要做到以下幾個方面: 第一、樹立遠大志向,加強學(xué)習(xí)目的性教育學(xué)習(xí)并不一定都是引人入勝的,有些學(xué)習(xí)內(nèi)容枯燥艱深,這就需要學(xué)生用堅強的意志克服困難。教師則平時注意對學(xué)生進行學(xué)習(xí)目的性教育,使其樹立遠大志向。學(xué)習(xí)目的性教育切忌空洞的理論說教。可以采用樹立榜樣的方法,向同學(xué)們講述偉人少年立志、刻苦學(xué)習(xí)的故事(如周恩來總理中學(xué)立志“為中華之崛起而讀書”):請身邊通過學(xué)習(xí)改變命運的成功人士現(xiàn)身說法,更有感染力和說服力;還可以召開主題班會,以“我長大后要干什么”“學(xué)習(xí)的意義”等為主題請每位同學(xué)談一談自己的理想和對學(xué)習(xí)的看法。這樣既可以使每位同學(xué)都有機會思考這類問題,又可以使教師及時掌握每名學(xué)生的思想動態(tài),有針對性地進行教育。第二、制定合理的、具體的學(xué)習(xí)目標。除了遠大的學(xué)習(xí)志向,每個學(xué)生還應(yīng)有切合實際的具體學(xué)習(xí)目標。第三、多設(shè)置一些活動，這樣就能給不同能力的學(xué)生提供不同的展示機會。比如各種內(nèi)容的手抄報展評、各種內(nèi)容的演講比賽、手工制作、繪畫作品等，只要注重培養(yǎng)學(xué)生的熱情辦法就會層出不窮。

2、其次要培養(yǎng)學(xué)生的自信心

自信心是一個人對自身價值和能力的充分認識和評價。對自己充滿信心的人，容易形成積極樂觀的情緒和百折不撓的意志，敢于面對新的問題和挑戰(zhàn)，不輕易言??；而缺乏自信心的人，容易沮喪、灰心，在困難面前猶豫不決，畏縮不前，甚至逃避。如何培養(yǎng)小學(xué)生的自信心呢？

第一、賞識激勵。賞識是樹立學(xué)生信心最重要和最有效的方法，教師只有表達自己對學(xué)生的賞識才能使學(xué)生信心倍增。而學(xué)生對于老師的一言一行都很在意，他們很渴望經(jīng)常得到老師的賞識。如何表現(xiàn)、何時表現(xiàn)效果最佳呢？下面幾點需把握好。

（1）、賞識要真誠，使學(xué)生確信是真的。教師要細心地觀察和了解，準確、具體地說出孩子的表現(xiàn)與成就，然后再熱情地夸獎學(xué)生。這樣學(xué)生不僅會確信教師的賞識是真的，從而對自己充滿自信，而且會對教師心存一種感激，從而更加努力，充滿、自信和活力。

（2）、表達賞識應(yīng)形式多樣。表達賞識的主要方法有口頭表揚、贊許的眼光或微笑、懇切的鼓勵、物質(zhì)的獎勵，手勢（如豎大拇指）等。根據(jù)不同的情況，施以不同的方法。

（3）、賞識表揚要及時。如果表揚或鼓勵是在第一時間提供的就會得到最令人滿意的結(jié)果。因為孩子的注意力轉(zhuǎn)向是很快的，因此，教師要時刻關(guān)注學(xué)生的每一點細微的進步，每一個小小的閃光點，并及時給予夸獎和鼓勵，讓孩子產(chǎn)生成就感和自豪感，促使其不斷進步，從而增強自信。

（4）、賞識表揚不能過度。賞識教育主張對孩子多肯定，多鼓勵，少批評，但不等于孩子犯了錯誤就不去批評，依然不斷地賞識。再者，過度賞識，會導(dǎo)致孩子自滿自傲、任性，不能客觀正確地評價自我，若稍遇坎坷便一蹶不振。我們要適當把握賞識力度，不同孩子賞識的程度不同。如膽小呆板的孩子多肯定鼓勵，少批評指責(zé)。對調(diào)皮、好動、表現(xiàn)差的孩子要善于捕捉其閃光點，及時肯定鼓勵，揚長避短。

第二、善待學(xué)生的過失和失敗，尤其是第一次，這是重樹學(xué)生自信心的有效方法。

“人非圣賢，熟能無過”。當學(xué)生犯錯時，教師要以包容的胸懷，善待學(xué)生的過失，誠懇地指出其不對之處，讓他們明白如何做人做事，不應(yīng)隨意地責(zé)罵和諷刺，否則可能會一棍子打死學(xué)生，使其變得膽小或自暴自棄。這樣，原本是一件壞事，處理得好就會轉(zhuǎn)化為一個教育的良機，學(xué)生會因此明白了什么是對，什么是錯，知道了應(yīng)該怎么做才是好，對學(xué)生自信心的重建是一個很好的方法。

“勝敗乃兵家常事”，老師一定要讓學(xué)生明白這個道理，當然也不要讓學(xué)生以此當做自己失敗的借口，這個分寸要把握好。一次又一次的考試，總有學(xué)生考試失利，老師要善于觀察成績發(fā)布時學(xué)生的表現(xiàn)，要留心那些垂頭喪氣的學(xué)生，應(yīng)及時采取措施給予疏導(dǎo)，千萬不可任其發(fā)展，因為這種情緒一旦產(chǎn)生而學(xué)生自己又無力排解時就會形成一個巨大的陰影，嚴重挫敗學(xué)生的自信心。

總之，小學(xué)老師要充分認識到小學(xué)階段對學(xué)生自信心建立的重要性，要積極探索實踐各種好方法，努力培養(yǎng)起小學(xué)生強有力的自信心，為培養(yǎng)更多優(yōu)秀人才打下良好基礎(chǔ)，為素質(zhì)教育的健康發(fā)展做出我們應(yīng)有的貢獻。

單一的評價機制扼殺了多少學(xué)生的自信心

單位：石家莊市第三十八中學(xué)

作者：趙玉環(huán)