Unit1
HowardGardner, a profess or of educati on at Harvard Univers ity, reflect s on a visit to China and gives his thought s on differe nt approac hes to learnin g in China and the West.
哈佛大学教育学教授霍华德加德纳回忆其中国之行，阐述他对中西方不同的学习方式的看法。
Learnin g, Chi养老金调整最新消息
nese-Style
HowardGardner 1 For a month in the springof 1987, my wife Ellen and I lived in the bustlin g eastern Chinese city of Nanjing with our 18-month-old son Benjami n while studyin g arts educati on in Chinese kinderg artens and element ary schools. But one of the most telling lessons Ellen and I got in the differe nce between Chinese and America n ideas of educati on came not in the classro om but in the lobby of the Jinling Hotel where we stayedin Nanjing.
中国式的学习风格
霍华德加德纳
1987年春，我和妻子埃伦带着我们18个月的儿子本杰明在繁忙的中国东部城市南京住了一不构成犯罪
个月，同时考
察中国幼儿园和小学的艺术教育情况。然而，我和埃伦获得的有关中美教育观念差异的最难忘的体验并非来自课堂，而是来自我们在南京期间寓居的金陵饭店的大堂。
2 The key to our room was attache d to a large plastic block with the room numberon it. When leaving the hotel, a guest was encoura ged to turn in the key, eitherby handing it to an attenda nt or by droppin g it through a slot into a box. Because the key slot was narrow,the key had to be positio ned careful ly to fit into it.
我们的房门钥匙系在一块标有房间号的大塑料板上。酒店鼓励客人外出时留下钥匙，可以交给服务员，也可以从一个槽口塞入钥匙箱。由于口子狭小，你得留神将钥匙放准位置才塞得进去。
3 Benjami n loved to carry the key around, shaking it vigorou sly. He also liked to try to place it into the slot. Because of his tenderage and incompl ete underst anding of the need to positio n the key just so, he would usually fail. Benjami n was not bothere d in the least. He probabl y got as much pleasur e out of the soundsthe key made as he did tho few times when the key actuall y found its way into the slot.
本杰明爱拿着钥匙走来走去，边走边用力摇晃着。他还喜欢试着把钥匙往槽口里塞。由于他还年幼，不太明白得把钥匙放准位置才成，因此总塞不进去。本杰明一点也不在意。他从钥匙声响中得到的乐
趣大概跟他偶尔把钥匙成功地塞进槽口而获得的乐趣一样多。
4 Now both Ellen and I were perfect ly happy to allow Benjami n to bang the key near the key slot. His explora tory behavio r emedharmles s enough.But I soon obrve d an interes ting phenome non. Any Chinese staff membernearbywould come over to watch Benjami n and, notinghis lack of initial success, attempt to assist.He or she would hold onto Benjami n's hand and,
gentlybut firmly, guide it directl y towardthe slot, reposit ion it as necessa ry, and help him to inrtit. The "teacher" would then smile somewha t expecta ntly at Ellen or me, as if awaitin g a thank you ─and on occasio n would frown slightl y, as if conside ring us to be neglecti ng our parenta l duties.
我和埃伦都满不在乎，任由本杰明拿着钥匙在钥匙的槽口鼓捣。他的探索行为似乎并无任何害处。但我很快就观察到一个有趣的现象。饭店里任何一个中国工作人员若在近旁，都会走过来看着本杰明，见他初试失败，便都会试图帮忙。他们会轻轻握紧本杰明的手，直接将它引向钥匙的槽口，进行必要的重新定位，并帮他把钥匙插入槽口。然后那位“老师”会有所期待地对着我和埃伦微笑，似乎等着我们说声谢谢——偶尔他会微微皱眉，似乎觉得我俩没有尽到当父母的责任。
5 I soon realize d that this inciden t was directl y relevan t to our assigne d tasks in China: to investi gate the ways of early childho od educati on (especia lly in the arts), and to throw light on Chi
nese attitud es towardcreativ ity. And so beforelong I began to introdu ce the key-slot anecdot e into my discussi ons with Chinese educato rs. 我很快意识到，这件小事与我们在中国要做的工作直接相关：考察儿童早期教育（尤其是艺术教育）的方式，揭示中国人对创造性活动的态度。因此，不久我就在与中国教育工作者讨论时谈起了钥匙槽口一事。
TWO DIFFERE NT W A YS TO LEARN
6 With a few excepti ons my Chinese colleag ues display ed the same attitud e as the staff at the Jinling Hotel. Since adultsknow how to place the key in the key slot, which is the ultimat e purpose of approac hing the slot, and since the child is neithe立党之本
r old enoughnor cleverenoughto realize the desired actionon his own, what possibl e gain is achieved by havinghi m struggl e? He may well get frustra ted and angry ─certain l y not a desirab le outcome. Why not show him what to do? He will be happy, he will learn how to accompl i sh the task sooner, and then he can proceed to more complex activiti es, like opening the door or askingfor the key ─both of which accomplishmen ts can (and should) in due courbe modeled for him as well.
两种不同的学习方式
我的中国同行，除了少数几个人外，对此事的态度与金陵饭店工作人员一样。既然大人知道怎么把钥
匙塞进槽口——这是处理槽口一事的最终目的，既然孩子还很年幼，还没有灵巧到可以独自完成要做的动作，让他自己瞎折腾会有什么好处呢？他很有可能会灰心丧气发脾气——这当然不是所希望的结果。为什么不教他怎么做呢？他会高兴，他还能早些学会做这件事，进而去学做更复杂的事，如开门，或索要钥匙——这两件事到时候同样可以（也应该）示范给他看。
7 We listene d to such explana tionssympath etical ly and explain ed that, first of all, we did not much care whether Benjami n succeed ed in inrti ng the key into the slot. He was havinga good time and was explori ng, two activit ies that did matterto us. But the critica l point was that, in the process, we were tryingto teach Benjami n that one can solve a problem effecti vely by onelf. Such lf-relianc e is a princip al value of child rearing in middle-class America. So long as the child is shown exactly how to do somethi ng ─whether it be placing a key in a key slot, drawi ng a hen or makingup for a misdeed─he is less likelyto figureout himlf how to accompl i sh such a task. And, more general ly, he is less likelyto view life ─as America ns do ─as a riesof situati ons in which one has to learn to think for onelf, to solve problem s on one's own and
even to discove r new problem s for which creativ e solutio ns are wanted.
我俩颇为同情地听着这一番道理，解释道，首先，我们并不在意本杰明能不能把钥匙塞进钥匙的槽口。
他玩得开心，而且在探索，这两点才是我们真正看重的。但关键在于，在这个过程中，我们试图让本杰明懂得，一个人是能够很好地自行解决问题的。这种自力更生的精神是美国中产阶级最重要的一条育儿观。如果我们向孩子演示该如何做某件事——把钥匙塞进钥匙的槽口也好，画只鸡或是弥补某种错误行为也好——那他就不太可能自行想方设法去完成这件事。从更广泛的意义上说，他就不太可能——如美国人那样——将人生视为一系列的情境，在这些世界上最大的河流
情境中，一个人必须学会独立思考，学会独立解决问题，进而学会发现需要创造性地加以解决的新问题。
TEACHIN G BY HOLDING HIS HAND
8 In retrosp e ct, it became clear to me that this inciden t was indeedkey ─and key in more than one n. It pointed to importa nt differe n ces in the educati onal and artisti c practic e s in our two countri es.
把着手教
回想起来，当时我就清楚地意识到，这件事正是体现了问题的关键之所在——而且不仅仅是一种意义上的关键之所在。这件事表明了我们两国在教育和艺术实践上的重要差异。
9 When our well-intenti oned Chinese obrve rs came to Benjami n's rescue,they did not simplypus
h his hand down clu困窘
msil y or uncerta inly, as I might have done. Instead, they guidedhim with extreme facilit y and gentlen ess in precise ly the desired directi on. I came to realize that the Chinese were not just molding and shaping Benjami n's perform ance in any old manner:In the best Chinese traditi on, they were ba zhe shou jiao ─"teachin g by holding his hand" ─so much so that he would happily come back for more.
那些善意的中国旁观者前来帮助本杰明时，他们不是简单地像我可能会做的那样笨拙地或是犹犹豫豫地把他的手往下推。相反，他们极其熟练地、温和地把他引向所要到达的确切方向。我逐渐认识到，这些中国人不是简单地以一种陈旧的方式塑造、引导本杰明的行为：他们是在恪守中国传统，把着手教，教得本杰明自己会愉快地要求再来一次。
10 The idea that learnin g shouldtake place by continu al careful shaping and molding applies equally to the arts. Watchin g childre n at work in a classro om tting, we were astonis hed by their facilit y. Childre n as young as 5 or 6 were paintin g flowers, fish and animals with the skill and confide nce of an adult; calligr aphers9 and 10 years old were produci ng works that could have been display ed in a muum. In a visit to the homes of two of the young artists, we learned from their parents that they workedon perfect ing their craft for veral hours a day.
学习应通过不间断的精心塑造与引导而得以实现，这一观念同样适用于艺术。我们观看了孩子们在教室里学习艺术的情景，他们的娴熟技艺令我们惊讶。年仅5、6岁的孩子就带着成人的那种技巧与自信在画花、画鱼和动物；9岁、10岁的小书法家写出的作品满可以在博物馆展示。有一次去两位小艺术家的家里参观，我们从孩子的父母处得知，他们每天练习数小时以完善他们的技艺。
CREATIV ITY FIRST?
11 In terms of attitud es to creativ ity there ems to be a reversa l of priorit ies: young Western ers makingtheir boldest departu res first and then gradual ly masteri ng the traditi on; and young Chinese being almostinpar able from the traditi on, but, over time, possibl y evolvin g to a point equally origina l.
创造力第一？
从对创造力的态度来说，优先次序似乎是颠倒了：西方的年轻人先是大胆创新，然后逐渐深谙传统；而中国的年轻人则几乎离不开传统，但是，随着时间的推移，他们同样可能发展到具有创新的境界。
12 One way of summari zing the America n positio n is to state that we value origina lity and indepen dencemore than the Chinese do. The contras t between our two culture s can also be en i
n terms of the fears we both harbor. Chinese teacher s are fearful that if skillsare not acqui逛街作文400字
re d early, they may never be acquire d; there is, on the other hand, no compara ble hurry to promote creativ ity. America n educato rs fear that unlesscreativ ity has been acquire d early, it may never emerge; on the other hand, skillscan be pickedup later.
美国人的立场可以概括起来这么说，我们比中国人更重视创新和自立。我们两种文化的差异也可以从我们各自所怀的忧虑中显示出来。中国老师担心，如果年轻人不及早掌握技艺，就有可能一辈子掌握不了；另一方面，他们并不同样地急于促进创造力的发展。美国教育工作者则担心，除非从一开始就发展创造力，不然创造力就有可能永不再现；而另一方面，技艺可于日后获得。
13 However, I do not want to oversta te my ca. There is enormou s creativ ity to be found in Chinese scienti fic, technol ogical and artisti c innovat ions past and prent. And there is a dangerof exagger atingcreativ e breakth roughs in the West. When any innovat ion is examine d cloly, its relianc e on previou s achieve mentsis all too apparen t (the "standin g on the shoulde rs of giants" phenome non).
但我并不想夸大其辞。无论在过去还是在当今，中国在科学、技术和艺术革新方面都展示了巨大的创造力。而西方的创新突破则有被夸大的危险。如果仔细审视任何一项创新，其对以往成就的依赖则都显而易见（“站在巨人肩膀之上”的现象）。
14 But assumin g that the contras t I have develop ed is valid, and that the fosteri ng of skillsand creativ ity are both worthwh ile goals, the importa nt questio n beco记忆力英语
mes this: Can we gather, from the Chinese and America n extreme s, a superio r way to approac h educati on, perhaps strikin g a betterbalance between the poles of creativ ity and basic skills?
然而，假定我这里所说的反差是成立的，而培养技艺与创造力两者都是值得追求的目标，那么重要的问题就在于：我们能否从中美两个极端中寻求一种更好的教育方式，它或许能在创造力与基本技能这两极之间获得某种较好的平衡？
Finding a way of teachin g childre n to appreci ate the value of money can be a problem. Yet the solutio n, David Owen suggest s, is simple-- just open a bank. Easiersaid than done? Well, it turns out to be not quite so difficu lt as it sounds, as you'll discove r in reading about the First Nationa l Bank of Dave.
设法教育孩子珍惜钱财会是件难事。然而，大卫欧文说，方法也很简单——开个银行就行。说来容易做起来难？其实，这事并没听上去那么难，你读一读戴夫第一国家银
行的故事就知道了。
Childre n and Money
David Owen
1 Parents who decidethat the time has come to teach their childre n about money usually begin by opening savings account s. The kids are attract ed at first by the notionthat a bank will pay them for doing nothing, but their enthusi asm disappe ars when they realize that the interes t rate is tiny and, further more, their parents don't intendto give them accessto their princip al. To a kid, a savings account is just a black hole that swallow s birthda y checks.
孩子与金钱
大卫欧文
当家长觉得该教孩子们懂得如何对待金钱的时候，他们通常先为孩子开个储蓄账户。刚开始的时候，孩子们颇感兴趣，因为他们想自己什么也不干银行还会付给他们钱，可当他们明白利率小得很，而且父母也无意让他们动用本金时，他们的热情一下子就冷却了。对一个孩子来说，一个储蓄账户只不过是一个吞没其生日礼金支票的黑洞。
2 Kid: "Grandma gave me twenty-five dollars!"
Parent: "How nice. We'll put that check straigh t into your savings account."
Kid: "But she gave it to me! I want it!"
Parent: "Oh, it will still be yours. Y ou just have to keep it in the bank so that it can grow."
Kid (suspici ous) : "What do you mean by 'grow'?"
Parent: "Well, if you leave your twenty-five dollars in the bank for just one year, the bank will pay you venty-five cents. And if you leave all of that in the bank for just one more year, the bank will give you another venty-five cents plus two and a half more cents besides. That's calledcompoun d interes t. It will help you go to college."
孩子：“奶奶给了我25美金！”
家长：“太棒了。咱们把支票直接存到你的账户上去。”
孩子：“可这钱她是给我的！我要用！”
家长：“嗳，钱还是你的嘛。你只不过是要把钱放在银行里，好让它增多。”
孩子（狐疑地）：“你说‘增多’是什么意思？”
家长：“哦，要是你把这25美金在银行里放一年，银行就会付给你75美分。要是你连本带息在银行里再放一年，银行会再付给你75美分，另加2.5美分。这叫做复利。这钱能帮你上大学。”
3 The main defectin such savingschemes is that there's nothing in them for the kids. College is
a thousan d years away, and they probabl y think they'd just as soon stay home anyway. Indeed, the true purpose of such plans is usually not to promote savingbut to prevent consump tion. (1) Appalle d by what their childre n spend on candy and video games (or, rather,appalle d by the degreeto which their childre n's overspe ndingems to mimic their own), parents deviways to lock up their childre n's resourc es. Not surpris ingly, kids病休假
quickly decidethat large sums aren't real money and that all cash shouldeitherbe spent immedia tely or hiddenin a drawer.
这类储蓄计划的主要缺陷在于，孩子本人一无所获。上大学还不知要过多少年，他们或许会想他们宁愿呆在家里。实际上，这类计划的真正目的通常不是促进储蓄而是限制消费。孩子们在糖果、电子游戏上的花费之大令家长们十分震惊（或者更确切地说，令他
