learning-Chinese style-终稿

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。

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。

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。

我和埃伦都满‎不在乎，任由本杰明拿‎着钥匙在钥匙‎箱槽口鼓捣。

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‎牢本杰明的手‎，直接将它引向‎钥匙槽口，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。

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。

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——这是走近槽口‎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。

LEARNING, CHINESE-STYLEFor a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it.Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin’s hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The “teacher”would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you -- and on occasion would frown slightly, as if considering us to be neglecting our parental duties.I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators.TWO DIFFERENT W AYS TO LEARNWith a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle?He may well get frustrated and angry -- certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key -- both of which accomplishments can (and should) in due course be modeled for him as well.We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself.Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something -- whether it be placing a key in a key slot, drawing ahen or making up for a misdeed -- he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life -- as Americans do -- as a series of situations in which one has to learn to think for oneself, to solve problems on one’s own and even to discover new problems for which creative solutions are wanted.TEACHING BY HOLDING HIS HANDIn retrospect, it became clear to me that this incident was indeed key -- and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.When our well-intentioned Chinese observers came to Benjamin’s rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin’s performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao–“teaching by holding his hand”-- so much so that he would happily come back for more.The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.CREATIVITY FIRST?In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity.American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the “Standing on the shoulders of giants”phenomenon).But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?。

learning chinese style课文及翻译
摘要：
1.导语：学习中文的重要性
2.课文内容概述：中国文化的特点
3.翻译技巧：中式英语的学习与应用
4.结论：学好中文，助力个人发展
正文：
【导语】
随着全球化的加速，中文作为世界第二大语言，在国际间的交流中扮演着越来越重要的角色。

掌握中文，意味着拥有了一份通往中国庞大市场的钥匙，同时也是深入了解中国文化的途径。

因此，学习中文已成为许多人的必然选择。

【课文内容概述】
Learning Chinese Style 课文以轻松幽默的方式介绍了中国文化的诸多方面，如美食、传统节日、习俗等。

通过阅读课文，你将发现中国文化的独特魅力和丰富内涵。

【翻译技巧】
在学习过程中，我们会遇到许多地道的中文表达，如何将其翻译成英文，传达出原文的含义和风格，是一门学问。

例如，“吃货”翻译成“foodie”，“接地气”翻译成“down-to-earth”等，这些都是中式英语翻译的典型案例。

在实际应用中，要注意掌握词语的内涵和语境，以避免翻译失误。

【结论】
总之，学习中文对于个人发展具有深远的意义。

通过学习中文，我们不仅可以拓宽视野，了解不同文化，还能提高自身的综合素质。

掌握中式英语的翻译技巧，更能使我们在交流中游刃有余。

Howard Gardner, a professor of education at Harvard University, reflects on a visit to China and gives his thoughts on different approaches to learning 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。

Learning, Chinese-StyleHoward Gardner 1 For a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in 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。

LEARNING, CHINESE-STYLEFor a month in the spring of 1987, my wife Ellen and I lived in the bustling eastern Chinese city of Nanjing with our 18-month-old son Benjamin while studying arts education in Chinese kindergartens and elementary schools. But one of the most telling lessons Ellen and I got in the difference between Chinese and American ideas of education came not in the classroom but in the lobby of the Jinling Hotel where we stayed in Nanjing.The key to our room was attached to a large plastic block with the room number on it. When leaving the hotel, a guest was encouraged to turn in the key, either by handing it to an attendant or by dropping it through a slot into a box. Because the key slot was narrow, the key had to be positioned carefully to fit into it.Benjamin loved to carry the key around, shaking it vigorously. He also liked to try to place it into the slot. Because of his tender age and incomplete understanding of the need to position the key just so, he would usually fail. Benjamin was not bothered in the least. He probably got as much pleasure out of the sounds the key made as he did those few times when the key actually found its way into the slot.Now both Ellen and I were perfectly happy to allow Benjamin to bang the key near the key slot. His exploratory behavior seemed harmless enough. But I soon observed an interesting phenomenon. Any Chinese staff member nearby would come over to watch Benjamin and, noting his lack of initial success, attempt to assist. He or she would hold onto Benjamin’s hand and, gently but firmly, guide it directly toward the slot, reposition it as necessary, and help him to insert it. The “teacher”would then smile somewhat expectantly at Ellen or me, as if awaiting a thank you -- and on occasion would frown slightly, as if considering us to be neglecting our parental duties.I soon realized that this incident was directly relevant to our assigned tasks in China: to investigate the ways of early childhood education (especially in the arts), and to throw light on Chinese attitudes toward creativity. And so before long I began to introduce the key-slot anecdote into my discussions with Chinese educators.TWO DIFFERENT W AYS TO LEARNWith a few exceptions my Chinese colleagues displayed the same attitude as the staff at the Jinling Hotel. Since adults know how to place the key in the key slot, which is the ultimate purpose of approaching the slot, and since the child is neither old enough nor clever enough to realize the desired action on his own, what possible gain is achieved by having him struggle?He may well get frustrated and angry -- certainly not a desirable outcome. Why not show him what to do? He will be happy, he will learn how to accomplish the task sooner, and then he can proceed to more complex activities, like opening the door or asking for the key -- both of which accomplishments can (and should) in due course be modeled for him as well.We listened to such explanations sympathetically and explained that, first of all, we did not much care whether Benjamin succeeded in inserting the key into the slot. He was having a good time and was exploring, two activities that did matter to us. But the critical point was that, in the process, we were trying to teach Benjamin that one can solve a problem effectively by oneself.Such self-reliance is a principal value of child rearing in middle-class America. So long as the child is shown exactly how to do something -- whether it be placing a key in a key slot, drawing ahen or making up for a misdeed -- he is less likely to figure out himself how to accomplish such a task. And, more generally, he is less likely to view life -- as Americans do -- as a series of situations in which one has to learn to think for oneself, to solve problems on one’s own and even to discover new problems for which creative solutions are wanted.TEACHING BY HOLDING HIS HANDIn retrospect, it became clear to me that this incident was indeed key -- and key in more than one sense. It pointed to important differences in the educational and artistic practices in our two countries.When our well-intentioned Chinese observers came to Benjamin’s rescue, they did not simply push his hand down clumsily or uncertainly, as I might have done. Instead, they guided him with extreme facility and gentleness in precisely the desired direction. I came to realize that these Chinese were not just molding and shaping Benjamin’s performance in any old manner: In the best Chinese tradition, they were ba zhe shou jiao–“teaching by holding his hand”-- so much so that he would happily come back for more.The idea that learning should take place by continual careful shaping and molding applies equally to the arts. Watching children at work in a classroom setting, we were astonished by their facility. Children as young as 5 or 6 were painting flowers, fish and animals with the skill and confidence of an adult; calligraphers 9 and 10 years old were producing works that could have been displayed in a museum. In a visit to the homes of two of the young artists, we learned from their parents that they worked on perfecting their craft for several hours a day.CREATIVITY FIRST?In terms of attitudes to creativity there seems to be a reversal of priorities: young Westerners making their boldest departures first and then gradually mastering the tradition; and young Chinese being almost inseparable from the tradition, but, over time, possibly evolving to a point equally original.One way of summarizing the American position is to state that we value originality and independence more than the Chinese do. The contrast between our two cultures can also be seen in terms of the fears we both harbor. Chinese teachers are fearful that if skills are not acquired early, they may never be acquired; there is, on the other hand, no comparable hurry to promote creativity.American educators fear that unless creativity has been acquired early, it may never emerge; on the other hand, skills can be picked up later.However, I do not want to overstate my case. There is enormous creativity to be found in Chinese scientific, technological and artistic innovations past and present. And there is a danger of exaggerating creative breakthroughs in the West. When any innovation is examined closely, its reliance on previous achievements is all too apparent (the “Standing on the shoulders of giants”phenomenon).But assuming that the contrast I have developed is valid, and that the fostering of skills and creativity are both worthwhile goals, the important question becomes this: Can we gather, from the Chinese and American extremes, a superior way to approach education, perhaps striking a better balance between the poles of creativity and basic skills?。

learning chinese style课文及翻译【原创实用版】目录1.学习中文的重要性2.学习中文的方法3.学习中文的挑战4.学习中文的建议5.总结正文随着全球化的发展和中国在世界舞台上的地位日益提高，学习中文已经成为了许多人的重要任务。

无论是为了工作、旅游还是文化交流，掌握中文都能为我们带来更多的机会和便利。

但是，学习中文并非易事，需要我们付出时间和努力。

下面，我们将探讨学习中文的方法、挑战以及一些建议。

首先，学习中文的方法有很多。

我们可以通过参加课程、自学、找语伴等多种途径来学习。

参加课程可以让我们在专业老师的指导下系统地学习中文，而自学则可以让我们自由安排学习时间和进度。

此外，找语伴也是提高中文口语能力的有效方法之一。

通过与母语为中文的人交流，我们可以更好地了解中文的表达方式和语言习惯。

然而，学习中文也面临着许多挑战。

其中，最大的挑战莫过于汉字了。

汉字的书写和记忆都需要我们花费大量的时间和精力。

此外，中文的语法和发音也与许多其他语言不同，需要我们适应和掌握。

但是，只要我们坚持不懈，这些挑战都是可以克服的。

对于学习中文的建议，首先，我们要保持积极的学习态度。

学习一门新的语言是一个长期的过程，需要我们持之以恒。

其次，我们要多听、多说、多读、多写。

通过不断地练习，我们可以更好地掌握中文的各项技能。

最后，我们要善于利用资源。

互联网上有许多学习中文的网站和应用，我们可以从中获取丰富的学习资料和方法。

总之，学习中文是一项富有挑战性的任务，但也充满了乐趣和成就感。

learning chinese style课文及翻译（最新版6篇）目录（篇1）1.引言：学习中文的重要性2.学习中文的方法：理解中文语言风格3.中文语言风格的特点：汉字、语法、表达方式4.结论：学习中文的挑战与收益正文（篇1）随着全球化的推进，学习中文已经成为越来越多人的需求。

掌握中文，不仅可以帮助我们更好地了解中国文化，还能拓宽我们的视野，提高我们的竞争力。

然而，学习中文并非易事，这需要我们理解并掌握中文的语言风格。

中文的语言风格独特，主要体现在汉字、语法和表达方式上。

首先，汉字是中文的基础，也是中文与其他语言最大的区别。

每一个汉字都有其独特的含义和发音，学习汉字需要我们耐心和毅力。

其次，中文的语法与英文等其他语言不同，它更注重语序和词的运用。

例如，中文的动词一般在句子的最后，这需要我们在理解句子时注意词序。

最后，中文的表达方式通常比较含蓄，它依赖于语境和文化背景来传达信息。

因此，我们在学习中文时，需要更多地了解中国的文化和历史，以便更好地理解中文。

学习中文充满了挑战，但是，只要我们坚持不懈，就能从中获得巨大的收益。

掌握中文，不仅可以帮助我们更好地与中国人交流，还能帮助我们在工作中取得成功。

同时，学习中文也是对我们自己的一种挑战和提升，它能帮助我们拓宽视野，提高自我。

总的来说，学习中文是一次有趣的旅程，它需要我们理解中文的语言风格，掌握汉字，注意语法和表达方式。

目录（篇2）1.学习中文的重要性2.学习中文的方法3.学习中文的挑战4.学习中文的建议正文（篇2）随着全球化的发展，学习中文已经成为了很多人的必要选择。

中文是世界上使用人数最多的语言，掌握中文能够帮助我们更好地与这个世界上的大部分人口进行交流。

同时，中文也是世界上唯一一个具有五千年历史的语言，学习中文能够让我们更好地了解中国的历史和文化。

学习中文的方法有很多，我们可以通过阅读中文书籍、观看中文电影、参加中文课程等方式来学习中文。

此外，我们也可以通过与说中文的人进行交流来提高我们的中文水平。

learning chinese style课文及翻译摘要：1.引言2.学习中文的方法3.中文写作的特点4.结论正文：【引言】随着中国在国际舞台上的地位日益提高，学习中文已经成为了许多人的需求。

然而，中文作为一门与西方语言差异较大的语言，其学习方法和写作方式也与西方语言有所不同。

因此，我们需要了解学习中文的方法以及中文写作的特点，才能更好地掌握这门语言。

【学习中文的方法】学习中文的方法可以分为以下几个步骤：1.学习汉字：汉字是中文的基础，因此需要先学习汉字。

可以通过阅读课本、练习写字、使用字典等方式来学习汉字。

2.学习语法：中文的语法与西方语言不同，需要特别学习。

可以通过学习中文语法书籍、参加中文课程等方式来学习中文语法。

3.多听多说：中文的发音和语音与西方语言也有很大的不同，需要多听多说，才能够熟练掌握。

可以通过听中文歌曲、看中文电影、与中文母语人士交流等方式来提高中文听说能力。

4.多读多写：阅读中文书籍和写作练习是提高中文水平的重要方式。

可以通过阅读中文小说、写日记、写作文等方式来提高中文读写能力。

【中文写作的特点】中文写作与西方语言写作有很大的不同，其特点主要表现在以下几个方面：1.语言简练：中文写作注重语言的简练，力求用最简单的语言表达最复杂的思想。

2.表达方式含蓄：中文写作往往采用含蓄的表达方式，不直接表达思想，而是通过描写、比喻等方式来传达作者的情感和思想。

3.重视形式美：中文写作注重形式的美，包括句子的美感、段落的结构、篇章的布局等。

【结论】学习中文需要耐心和毅力，只有通过不断的学习、练习和应用，才能够真正掌握这门语言。

【2 】中国式的进修作风霍华德·加德纳1987年春,我和老婆埃伦带着我们18个月的儿子本杰明在忙碌的中国东部城市南京住了一个月,同时考核中国幼儿园和小学的艺术教导情形.然而,我和埃伦获得的有关中美教导不雅念差异的最难忘的体验并非来自教室,而是来自我们在南京时代寓居的金陵饭铺的大堂.我们的房门钥匙系在一块标有房间号的大塑料板上.酒店勉励客人外出时留下钥匙,可以交给办事员,也可以从一个槽口塞入钥匙箱.因为口儿狭窄,你得留心将钥匙放准地位才塞得进去.本杰明爱拿着钥匙走来走去,边走边用力摇摆着.他还爱好试着把钥匙往槽口里塞.因为他还年幼,不太明确得把钥匙放准地位才成,是以总塞不进去.本杰明一点也不在意.他从钥匙声响中得到的乐趣精确跟他偶然把钥匙成功地塞进槽口而获得的乐趣一样多.我和埃伦都满不在乎,任由本杰明拿着钥匙在钥匙箱槽口鼓捣.他的摸索行动似乎并无任何害处.但我很快就不雅察到一个有味的现象.饭铺里任何一个中国工作人员若在近旁,都邑走过来看着本杰明,见他初试掉败,便都邑试图帮忙.他们会轻轻握牢本杰明的手,直接将它引向钥匙槽口,进行必要的从新定位,并帮他把钥匙插入槽口.然后那位“先生”会有所等待地对着我和埃伦微笑,似乎等着我们说声感谢——偶然他会微微皱眉,似乎认为我俩没有尽到当怙恃的义务.我很如意识到,这件小事与我们在中国要做的工作直接相干：考核儿童早期教导（尤其是艺术教导）的方法,揭示中国人对创造性运动的立场.是以,不久我就在与中国教导工作者评论辩论时谈起了钥匙槽口一事.两种不同的进修方法我的中国同业,除了少数几小我外,对此事的立场与金陵饭铺工作人员一样.既然大人知道怎么把钥匙塞进槽口——这是走近槽口的最终目标,既然孩子还很年幼,还没有灵活到可以独自完成要做的动作,让他本身瞎折腾会有什么利益呢？他很有可能会泄气丧气发性格——这当然不是所愿望的成果.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,进而去学做更庞杂的事,如开门,或索要钥匙——这两件事到时刻同样可以（也应当）示范给他看.我俩颇为同情地听着这一番道理,说明道,起首,我们并不在意本杰明能不能把钥匙塞进钥匙的槽口.他玩得高兴,并且在摸索,这两点才是我们真正看重的.但症结在于,在这个进程中,我们试图让本杰明理解,一小我是可以或许很好地自行解决问题的.这种自力更生的精力是美国中产阶层最主要的一条育儿不雅.假如我们向孩子演示该若何做某件事——把钥匙塞进钥匙槽口也好,画只鸡或是填补某种错误行动也好——那他就不太可能自行想方设法去完成这件事.从更普遍的意义上说,他就不太可能——如美国人那样——将人生视为一系列的情境,在这些情境中,一小我必须学会自力思虑,学会自力解决问题,进而学会发明须要创造性地加以解决的新问题.把着手教回忆起来,当时我就清晰地意识到,这件事恰是表现了问题的症结之地点——并且不仅仅是一种意义上的症结之地点.这件事表清晰明了我们两国在教导和艺术实践上的主要差异. 那些善意的中国旁不雅者前来关心本杰明时,他们不是简略地像我可能会做的那样笨拙地或是犹迟疑豫地把他的手往下推.相反,他们极其闇练地.轻轻地把他引向所要到达的确实偏向.我逐渐熟悉到,这些中国人不是简略地以一种陈旧的方法塑造.引诱本杰明的行动：他们是在固守中国传统,把着手教,教得本杰明本身会高兴地请求再来一次.进修应经由过程不间断的精心塑造与引诱而得以实现,这一不雅念同样实用于艺术.我们不雅看了孩子们在教室里进修艺术的情景,他们的娴熟身手令我们惊奇.年仅 5.6岁的孩子就带着成人的那种技能与自负在画花.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现.有一次去两位小艺术家的家里参不雅,我们从孩子的怙恃处得知,他们天天演习数小时以完美他们的身手.创造力第一？从对创造力的立场来说,优先次序似乎是颠倒了：西方的年青人先是大胆创新,然后逐渐深谙传统;而中国的年青人则几乎离不开传统,但是,跟着时光的推移,他们同样可能成长到具有创新的境界.美国人的立场可以归纳综合起来这么说,我们比中国人更看重创新和自立.我们两种文化的差异也可以从我们各自所怀的放心中显示出来.中国先生放心,假如年青人不及早控制身手,就有可能一辈子控制不了;另一方面,他们并不同样地急于促进创造力的成长.美国教导工作者则放心,除非从一开端就成长创造力,不然创造力就有可能永不再现;而另一方面,身手可于日后获得.但我并不想夸张其辞.无论在曩昔照样在当今,中国在科学.技巧和艺术改革方面都展现了伟大的创造力.而西方的创新冲破则有被夸张的安全.假如细心审阅任何一项创新,其对以往成就的依附则都显而易见（“站在伟人肩膀之上”的现象）.然而,假定我这里所说的反差是成立的,而造就身手与创造力两者都是值得寻求的目标,那么主要的问题就在于：我们可否从中美两个极端中寻求一种更好的教导方法,它或许能在创造力与根本技能这南北极之间获得某种较好的均衡？。