第一篇：《我是艾利》讀后感

我所看清的事實就在于，世界上的每個人都一樣，無論你是誰，從哪兒來，從事什么職業(yè)，身份地位如何，只要作為人，就會有七情六欲，《我是艾利》讀后感。

所以人們總喜歡把人分出三六九等。

我們應該選擇做一個好人，縱使所從事的職業(yè)不是個好職業(yè)，可我們的心靈是美好的。

那樣，作為一個人而言，就已經(jīng)算是很偉大了。

——《我是艾利》

人，總是在走了很長一段路之后，才會想著要停下來，往后看看，這時候，我們才發(fā)現(xiàn)，到底我們都做了些什么，那些事是對，那些事是錯，但凡事無絕對的對于錯，當你認為是好的，那它就是對的，讓它違背你的意愿時，它就變成了錯的。

每天我們都在告訴自己，不知道下一秒會發(fā)生什么樣的事情，或許會被樓頂?shù)粝碌幕ㄆ吭业?，因此而送去醫(yī)院；

又或者，走在路上被劫匪搶劫，而恐慌害怕；所以我們要好好珍惜每一分鐘，可誰又愿意每天過著擔驚受怕的日子呢？所以我們不知道該怎樣來好好珍惜我們上一秒鐘，也不愿意為下一秒而考慮太多，因為在你考慮的時候，時間又過去了一秒，也說不定下一秒，會給你個好的驚喜。

我想我們應該時刻準備，迎接下一秒所發(fā)生的事情，不管是好，還是壞，就像拍一部電影，每一秒就是一幀，然后把每一幀連接成一個動作，然后不斷的反復重復，而“我”就是那個操作者，自編自導自演。

很多人都相信命運，認為一切都上帝安排好了的，逃也逃不掉，其實不是上帝安排好了所有的命運，而是你自己的思欲掌控了一切，你的憤怒、貪婪、欲望、渴求、仇恨，人生不能總是過的匆匆忙忙，不然你永遠不知道在過去的時光里你都失去了些什么，也不能懶懶散散，那樣你就像一個提線木偶，被所謂的“上帝”所操控，然后怨天尤人，讀后感《《我是艾利》讀后感》。

生活有時候很殘酷，我們會感嘆自己的無奈，但我們是可以做出選擇的，是做開心的人，還是傷心的人，我很喜歡樂觀的人，也會佩服他們，因為在做選擇的時候，他們是選擇做開心的人，則更多的人選擇了傷心，然后用煙，酒來麻痹自己的知覺，終究是渾渾噩噩過著日子。

人，是有靈魂的，但并不是每個人的靈魂都是純潔的，或許我們犯了很多大大小小的錯誤，并不代表我們就一定是個壞人，每個人都有他善良的一面，在活著的時候，應該多做一些善事，多幫組他人，在這個渾噩的社會，好人并不多，所以你做的每一件好事也算得上是一件偉大的事，其實，每當我們做了一件好事，心情都是無比欣喜的。

人，應該有個一夢想，或者一個目標，作為一個支撐點，來支撐你那空空的軀殼，不需要這個夢有多偉大，這個目標有多大，只需要你用心去實現(xiàn)它，有太多的人會嘲笑你那愚昧的念想，因為他們不曾有這種念想，認為你沒那能力，他們更多的喜歡規(guī)規(guī)矩矩過生活，不愿意做一些“越軌”的事。

每個人都有他的潛在能力，只是自己還不知道，只要你去做了，哪怕最后你失敗了，可你所擁有的是別人不曾擁有的東西，或許他一輩子也擁有不了的東西，那是誰也奪不走的東西。也可以于他們分享你的這份榮耀，你會倍感驕傲。

我做了一個對于我一生來說都很重要的抉擇，其實我也不知道以后是否會如愿以償，風險有多大，我也不清楚，但它對我來說，就是一個支撐點，我想要去完成它，努力去完成它，當它在你生命中變得有意義的時候，其實過程就顯的更為重要。

當我們光著身子來的時候，注定也會光著身子回去，可為什么是光著身子呢？我想是因為，不想被束縛，想自由，所以在漫漫人生中，勿過多在乎利益的少得多失，我們的思想要豐富，眼界要寬廣。

就像繞了一個圈，最后又回到了原點。

第二篇：2014艾利印刷培訓總結

2014艾利印刷學院培訓報告總結

為期兩天的艾利印刷學院的學習，學到了很多重要的知識，學院的老師不僅擁有淵博的知識，而且在技術方面非常的精湛，從印前到印中再到印后以及在印刷過程中遇到的問題及解決方案都全面的講了一下，學員們全神貫注的聽講，不時的提出在印刷過程中提出的問題，大家互相討論獻言獻策，呈現(xiàn)出百花齊放的場面。

兩天的學習，我對靜電在印刷過程的影響深得體會：

印刷的過程中包含著頻繁的撞擊、摩擦以及接觸——分離的過程，結果是使參與印刷過程的幾乎所有物體都帶有靜電。靜電的危害有兩方面：一是影響產(chǎn)品印刷質量，二是影響生產(chǎn)安全。

消除印刷中的靜電現(xiàn)象的方法有5種：

1.接地。這是最簡單的消除靜電的辦法。即把金屬導體與大地連接，電荷便經(jīng)大地而泄露。但這種方法對于絕緣體幾乎沒有效果。

2.離子中和法。這是將空氣離子化，使其產(chǎn)生正負兩種離子，以中和紙張上的靜電。

3.控制相對濕度。增加空氣的相對濕度，就可以提高紙張表面的電導率，加速電荷的泄露。在印刷車間，濕度為20度左右，相對濕度在65%上下是合適的。所以，在印刷周圍環(huán)境中灑一些水，有條件的可使用空氣加濕器，可以有效地消除靜電。

4.調整油墨黏度。把油墨的黏度調大一些，也可以有效地減少（消除）油墨中的靜電，提高印刷質量。

5.在油墨中加入抗靜電劑或異丙醇。最好使用抗靜電劑，因為異丙醇加多了會導致油墨“反渣”，許多書上介紹異丙醇的加入量不要超過２％，但是，根據(jù)實踐證明，非要遠遠超過這個量才會有效果。

第三篇：艾利森.杰克遜看名人

I'm a contemporary artist and I show in art galleries and museums.I show a number of photographs and films, but I also make television programs, books and some advertising, all with the same concept.And it's about our fixation with celebrity and celebrity culture, and the importance of the image: celebrity is born of photography.I'm going to start with how I started with this concept seven years ago, when Princess Diana died.There was a sort of a standstill in Britain the moment of her death, and people decided to mourn her death in a sort of mass way.I was fascinated by this phenomenon, so I wondered:could one erase the image of Diana, actually quite crudely and physically? So, I got a gun and started to shoot at the image of Diana, but I couldn't erase this from my memory and certainly it was not being erased from the public psyche.Momentum was being built.The press wrote about her death in rather, I felt, pornographic ways--like, “Which bit of artery left which bit of body?” and “How did she die in the back of the car?”--and I was intrigued by this sort of mass voyeurism, so I made these rather gory images.I then went on wondering whether I could actually replace her image, so I got a look-alike of Diana and posed her in the right positions and angles and created something that was in, or existed in, the public imagination.So people were wondering: was she going to marry Dodi?Was she in love with him? Was she pregnant? Did she want his baby? Was she pregnant when she died? So I created this image of Diana, Dodi and their imaginary mixed-race child and this image came out, which caused a huge public outcry at the time.I then went on to make more comments on the media and press imagery, so I started making reference to media imagery--made it grainy, shot through doorways and so on and so forth--to titillate the public or the viewer further in terms of trying to make the viewer more aware of their own voyeurism.So, this is an image of Diana looking at Camilla kissing her husband, and this was a sequence of images.And this gets shown in art galleries like this, as a sequence.And similarly with the Di-Dodian baby imagery--this is another art gallery installation.I'm particularly interested in how you can't rely on your own perception.This is Jane Smith and Jo Bloggs, for instance, but you think it's Camilla and the Queen, and I'm fascinated how what you think is real isn't necessarily real.And the camera can lie, and it makes it very, very easywith the mass bombardment of imagery to tell untruths.So, I continued to work on this project of how photography seduces us and is more interesting to look at than the actual real subject matter.And at the same time, it removes us from the real subject matter,and this acts as a sort of titillating thing.So, the photograph becomes this teaser and incites desire and voyeurism;what you can't have, you want more.In the photograph, the real subject doesn't exist so it makes you want that person more.And that is the way, I think, that celebrity magazines work now: the more pictures you see of these celebrities, the more you feel you know them, but you don't know them and you want to know them further.Of course, the Queen goes to her stud often to watch her horses...watch her horses.(Laughter).And then I was sort of making imagery.In England there's an expression: “you can't imagine the Queen on the loo.” So I'm trying to penetrate that.Well, here is the image.All this imagery was creating a lot of fuss and I was cited as a disgusting artist.The press were writing about this, giving full pages about how terrible this was.Which I found very interesting that it was going full cycle: I was making comments about the press and about how we know facts and information only by media--because we don't know the real people;very few of us know the real people--but it was going back into the press and they were publicizing, effectively, my filthy work.So, these are broadsheets, tabloids, debates were being had all about this work, films were being banned before people had actually had the look at the work,politicians were getting involved--all sorts of things--great headlines.Then suddenly, it started to get on front pages.I was being asked and paid to do front covers.Suddenly I was becoming sort of acceptable, which I found also fascinating.How one moment--it was disgusting--journalists would lie to me to get a story or a photograph of me, saying my work was wonderful, and the next minute there were terrible headlines about me.But then this changed suddenly.I then started to work for magazines and newspapers.This was, for example, an image that went into Tatler.This was another newspaper image.It was an April fool actually, and to this day some people think it's real.I was sitting next to someone at dinner the other day, and they were saying there's this great image of the Queen sitting outside William Hill.They thought it was real.I was exploring, at the time, the hyperbole of icons--and Diana and Marilyn--and the importance of celebrity in our lives.How they wheedle their way into the collective psychewithout us even knowing, and how that should happen.I explored with actually dressing up as the celebrities myself.There's me as Diana--I look like the mass murderer Myra Hindley, I think, in this one.(Laughter).And me as the Queen.I then continued on to make a whole body of work about Marilyn--the biggest icon of all--and trying to titillate by shooting through doorways and shutters and so on and so forth, and only showing certain angles to create a reality that, obviously, is completely constructed.This is the look-alike, so the crafting elements of this is completely enormous.She looks nothing like Marilyn, but by the time we've made her up and put wigs and makeup on, she looks exactly like Marilyn, to the extent that her husband couldn't recognize her--or recognize this look-alike--in these photographs, which I find quite interesting.So, all this work is getting shown in art galleries.Then I made a book.I was also making a TV series for the BBC at the time.Stills from the TV series went into this book.But there was a real legal problem because it looks real, but how do you get over that? Because obviously it's making a comment about our culture right now: that we can't tell what's real.How do we know when we're looking at something whether it's real or not? So, from my point of view, it's important to publish it, but at the same time it does cause a confusion--intentional on my behalf, but problematic for any outlet that I'm working with.So a big disclaimer is put on everything that I do, and I made narratives about all the European or Brit celebrities and comments about our public figures.You know, what does Tony Blair get up to in private with his fashion guru? And also dealing with the perceptions that are put about Bin Laden, Saddam Hussein, the links that were put about pre-Iraq war.And what is going to happen to the monarchy? Because obviously the British public, I think, would prefer William to Charles on the throne.And it's that wish, or that desire, that I suppose I'm dealing with in my work.I'm not really interested in the celebrity themselves.I'm interested in the perception of the celebrity.And with some look-alikes, they are so good you don't know whether they're real or not.I did an advertising campaign for Schweppes, which is Coca-Cola, and so that was very interesting in terms of the legalities.It's highly commercial.But it was a difficulty for me--because this is my artwork;should I do advertising?--at the time.So I made sure the work was not compromised in any way and that the integrity of the work remained the same.But the meanings changed in the sense that with the logo on, you're closing all the lines of interpretation down to selling a product and that's all you're doing.When you take the logo off, you're opening up the interpretations and making the work inconclusive, opposed to conclusive when you are advertising.This image is quite interesting, actually, because I think we made it three years ago.And it's Camilla in her wedding dress, which, again, nearly got re-used now, recently prior to her wedding.Tony Blair and Cherie.And again, the legalities--we had to be very careful.It's obviously a very big commercial company, and so this little, “Shh--it's not really them,” was put on the side of the imagery.And Margaret Thatcher visiting Jeffery Archer in jail.I then was asked by Selfridges to do a series of windows for them, so I built a sauna bath in one of their windows and created little scenes--live scenes with look-alikes inside the windows, and the windows were all steamed up.So, it's Tony Blair reading and practicing his speech;I've got them doing yoga inside there with Carole Caplin;Sven making out with Ulrika Jonsson, who he was having an affair with at that time.This was a huge success for them because the imagery got shown in the press the day after in every single newspaper, broadsheets and tabloids.It was a bit of a road stopper, which was problematic because the police kept on trying to clear away the crowds, but huge fun--it was great for me to do a performance.Also, people were taking photographs of this, so it was being texted around the world extremely quickly, all this imagery.And the press were interviewing, and I was signing my book.(Laughter).Further imagery.I'm making a new book now with Taschen that I'm working on really for a sort of global market--my previous book was only for the U.K.market--that I suppose it could be called humorous.And I suppose I come from a sort of non-humorous background with serious intent,and then suddenly my work is funny.I think it doesn't really matter that my work is considered humorous, in a way;I think it's a way in for me to deal with the importance of imagery and how we read all our information through imagery.It's an extremely fast way of getting information.It's extremely difficult if it's constructed correctly, and there are techniques of constructing iconic imagery.This image, for example, is sort of spot-on because it exactly sums up what Elton may be doing in private, and also what might be happening with Saddam Hussein, and George Bush reading the Koran upside-down.For example, George Bush target practice--shooting at Bin Laden and Michael Moore.And then you change the photograph he's shooting at, and it suddenly becomes rather grim and maybe less accessible.(Laughter).Tony Blair being used as a mounting block,and Rumsfeld and Bush laughing with some Abu Ghraib photos behind, and the seriousness, or the intellect, of Bush.And also, commenting on the behind the scenes--well, as we know now--what goes on in prisons.And in fact, George Bush and Tony Blair are having great fun during all of this.And really commenting, you know, based on the perception we have of the celebrities.What Jack Nicholson might be up to in his celebrity life, and the fact that he tried to...he had a bit of road rage and golf-clubbed a driver the other day.I mean, it's extremely difficult to find these look-alikes, so I'm constantly going up to people in the street and trying to ask people to comeand be in one of my photographs or films.And sometimes asking the real celebrity, mistaking them for someone who just looks like the real person, which is highly embarrassing.(Laughter).I've also been working with The Guardian on a topical basis--a page a week in their newspaper--which has been very interesting, working topically.So, Jamie Oliver and school dinners;Bush and Blair having difficulty getting alongside Muslim culture;the whole of the hunting issue, and the royal family refusing to stop hunting;and the tsunami issues;and obviously Harry;Blair'sik views on Gordon Brown, which I find very interesting;Condi and Bush.This image I've decided to show having a reservation about it.I made it a year ago.And just how meanings change, and there were a terrible thing that has happened, but the fear is lurking around in our minds prior to that.That's why this image was made one year ago, and what it means today.So, I'll leave you with these clips to have a look.(Music)Chris Anderson: Thank you.

第四篇：艾利思密爾學院（本站推薦）

Ellesmere College 艾利思密爾學院

校名：Ellesmere College

地址：Ellesmere College Ellesmere Shropshire, SY12 9AB

創(chuàng)校年份：1884年

英國人氣最高A-Level學校排名：24

學校介紹

Ellesmere College(艾利思密爾學院)是英國一所著名的男女同校寄宿制私立學校，它位于英國西部美麗的北詩洛普希爾湖區(qū)。一個多世紀以來，學院一直在為學生創(chuàng)造一個愉快和優(yōu)良的學習環(huán)境，在發(fā)揮其潛力方面作出了很多成績，享有很高聲譽。

學校的特色是一年的高中預科課程，旨在幫助學生順利進入A-Level課程或者國際(IB)課程作準備。特色的英語教學是針對英語水平優(yōu)秀的學生而開設的高級英語課程，對語言水平有待提高的學生則開設中級英語課程。目前學院提供的A-Level課程主要有：財會、藝術、生物、經(jīng)濟、化學、科技與設計、電子、英語、法語、地理、德語、歷史、信息技術、拉丁語、法律、數(shù)學、音樂、物理、政治、西班牙語、宗教研究、社會學、戲劇、心理學等。學校為學生提供了安全與舒適的住宿環(huán)境。學生在這里互相幫助，建立起了長久的友誼。學生在校期間都有指派的監(jiān)護老師和生活老師，他們負責監(jiān)督學生的在校學習進度，就其生活中遇到的問題提出建議，同時還負責與學生的父母保持聯(lián)系，向他們及時通知學生的在校情況，并就學生選擇GCSE和A-Level課程給予指導。學校的就業(yè)指導部與學生的監(jiān)督教師、生活老師和學習教師互相溝通，在學生畢業(yè)時提供各種就業(yè)資料以及面試輔導，使學生能夠形成合理的深造和工作計劃。

學校強調學生課余活動的開展與參與，學院的高質量音樂教育在當?shù)叵碛惺⒚?。每學期舉辦展覽、音樂會、話劇和演講，旨在加強學生與當?shù)匚幕瘓F體的交流，使學生更加了解當?shù)匚幕L俗，有利于培養(yǎng)學生的開放性思維和互相配合的能力。該校還設有攝影協(xié)會、棋類協(xié)會、橋牌協(xié)會等社團。

留學專家推薦理由

Ellesmere College(艾利思密爾學院)注重課內外的教學質量，遵循小班制授課，從而保證學生在學習的過程中，老師可以因材施教，學生在課堂和研討會上能夠有足夠的機會闡述和發(fā)展自己的觀點。

目前，學院共有學生約560人，師生比例為1:8。學院的教學宗旨是培養(yǎng)學生有能力去面對未來世界的挑戰(zhàn)，不僅僅是通過考試。因此，學院十分重視培養(yǎng)學生的自我個體意識，鼓勵學生在廣泛的領域里充分開發(fā)其興趣與潛力。

第五篇：艾莫讀后感

《讓新員工更好的工作》讀后感

看了艾莫老師的演講《讓新員工更好的工作》之后，我從中受益匪淺，感觸很多，但更多的是反思與決心。通過這幾天的學習，我深深的感覺到作為一名新員工，應該以公司的利益為重，應多思考自己如何在工作中做好本職工作，如何做一名稱職的新員工，如何為公司創(chuàng)造價值。

這個演講分為八講，這八講的內容都很豐富，每一講的內容都可以使我受用終身。

一、態(tài)度贏在起點

這一講中大師講了自己的成長經(jīng)歷，他說努力可以改變自己的命運。我相信除了努力他更有一個感恩的心，感恩父母，感恩老師。15歲時他就對自己說：“要改變，要改變，一定要改變”。堅定的決心和目標或許是他后來成功的關鍵。在很早的時候（起點上）就學好一個本領或者說是一個技能，這個技能就能陪伴你終生。有的人在自己的職業(yè)生涯中，得到了自己想要的東西，但是有的人什么也沒有，我認為這在一定程度上取決于個人的態(tài)度。

“一個人之所以贏，不是贏在終點，而是贏在起點；一個人之所以輸，也不是輸在終點，是輸在起點?！币虼耍谄瘘c上我們應該給自己的人生做一個合理的規(guī)劃，在工作中我會自我培養(yǎng)自身的基本素質和能力、學習豐富的知識以及敏捷的思維，我會以工作為重心，以提高公司的利益為己任。我相信只有把基礎打好，在起點上就不懈怠，才會在以后的工作中熱愛工作、踏實工作，才能有更高的工作熱情。

二、溝通創(chuàng)造價值

通過這一講，我發(fā)現(xiàn)溝通在工作中的重要性。好好說好一句話，對自己、對公司的發(fā)展會起到很重要的作用。顧客至上，這是一句很真誠的話。在與客戶的合作中，需要很好的溝通才能將我公司的產(chǎn)品介紹給他們，彼此才能長久合作。在向領導匯報工作時，需要跟領導很好的交流與溝通，才能讓領導了解自己的工作情況以及工作進展。在工作中跟同事需要很好的溝通，才能有很好的合作，才能共同進步，為公司的發(fā)展創(chuàng)造價值。艾莫大師說：“人才未必有口才，但是有口才一定是人才”，在以后的工作中，我會鍛煉自己的口才，成為一位對公司有用的人才。

“用嘴溝通，百溝不通；用心溝通，一溝自通”，這句話是父親教育我的，他教育我，與他人交流需要真誠。因此在以后的工作中，我要通過自己與客戶、領導以及同事之間的真誠溝通與交流，創(chuàng)造價值，為公司的發(fā)展盡自己的綿薄之力。

三、形象推銷自信

給別人留下良好的第一印象，非常重要。如果第一印象非常不好，那就需要花費很昂貴的時間成本和努力去改變別人對你的印象。在工作中要修飾好自己的儀表，保持健康、干凈、自信的形象。在跟不同的客戶交流前，要想給他們留下好的印象，好的自我介紹，必不可少。好的自我介紹才能把自己更好地推銷給別人。學會傾聽別人的談話，也是工作中的一門技巧。因為很多客戶不是你說出來的，而是他講出來的，在你聽他們的需求時，無形之中會建立起一個合作關系，這些都是我應該銘記在心的。維護自己的形象的時候，要肯定別人，不要過多的跟別人爭論，尤其是第一次見面的時候。我認為事情沒有太絕對的對錯好壞，只

有適合不適合，爭論或許會激發(fā)矛盾，這樣沒有好的工作環(huán)境，就不會實現(xiàn)自己的價值。

四、贊美拉近距離

贊美別人需要有技巧。贊美別人要看清楚要贊美的對象。懷著真誠的心，準確的找到美點，不斷的肯定和贊美對方，這樣會塑造好的第一印象，還會得到別人的尊重。在與他人交流時，在交流時，應注意細節(jié)問題。應該保持適當?shù)木嚯x，不同的距離給別人的感受不同。而且在與他人交往時，應該禮貌相待，見面時握手、打招呼也需要合適的禮儀。

五、在不同的圈子做好角色轉換

在人的一生中有5個交際圈：學院及家庭交際圈、地緣交際圈、組織交際圈、業(yè)余交際圈、輿論交際圈。在5個交際圈中，應能很好的轉化，好好駕馭著5個交際圈，首先要扮演好自己的角色。在公司中，要維護好自己與他人的交際關系，遵守角色規(guī)范。最重要的是注意角色變換。所以我要做的是在處理與客戶、領導及同事的關系時，及時轉換；而且不把自己在家庭及工作之外的個人情緒帶到自己的工作中，在工作中全身心投入。

六、塑造好自己所擔當?shù)慕巧?/p>

在這一講中，我也學到如何為人處事，不要談論不在場的人，提高自己的素質。我要努力做好自己感興趣的事情也要做有意義的事情；我要做自己能做的事情，還要努力做應該做的事情。合理定位自己在公司中的地位，真誠待人，尊重領導，尊重同事。通過學習，我意識到每個角色都有一定的規(guī)范，我會遵守規(guī)范，塑造好自己的角色，系統(tǒng)學習，踏實工作，做好自己那個崗位上的工作，實現(xiàn)自己的夢想。

七、合理規(guī)劃，做有價值的事情

通過這一講的學習，我意識到打好基礎最重要。首先要以感恩的心進入職場，感恩父母這么多年從小就培養(yǎng)我，感恩老師耐心教育我，更要感恩領導、老板給了我一個工作機會，感恩同事這些天對我的照顧與工作上的合作。在工作中，我要把在學校學習的理論知識更好的應用到工作中去。合理規(guī)劃自己的職業(yè)生涯，正確處理好各種關系。在工作中，調整好自己的心態(tài)，安排好自己的工作，制定好每一段時間的工作目標。

八、經(jīng)營自己，從現(xiàn)在開始改變

通過這一講，我意識到，在工作起步階段，要盡量避免人生中的重大挫折，正確看待成功，盡量不走彎路，遇到挫折的時候應努力打敗挫折。另外，還要學會選擇，能夠做出一個偉大的決定，選擇了就要用心看待這個工作，好好經(jīng)營它，才能得到別人的認同，做一個對企業(yè)最有用的人，做一個有價值的人。我想從現(xiàn)在開始，改正自己身上存在的不利于公司發(fā)展的缺點，完善自己，我希望自己能夠通過自己的努力與改變，創(chuàng)造價值。

如何好好經(jīng)營我們自己，這是艾莫大師在演講開始留下的問題。只有好好經(jīng)營我們自己，才能讓自己得到自己想要的東西。只有每個人都經(jīng)營好自己，這個公司才有很好的發(fā)展前景。

總結：

通過這次的學習，我深刻的理解了這八講的內容。我相信它對我在今后工作中所起的作用不容忽視。它讓我明白態(tài)度決定一切，體會到了溝通的重要性，教我如何給別人留下好的印象，明白了贊美別人也是一門藝術，應該做好角色轉換，塑造好自己的角色，合理規(guī)劃，經(jīng)營自己，努力做到這基本的八條，時刻以這基本的八條規(guī)范自己的行為，做好自己的工作，維護好公司的形象，以為公司創(chuàng)造價值為己任。雖然我是一名新員工，但是我要嚴格要求自己，虛心請教，努力工作，去實現(xiàn)自己的目標與人生價值。