学校扼杀了学生的创造力？Ken Robinson Ted英语演讲视频中英字幕,英语文本（共5则范文）

第一篇：学校扼杀了学生的创造力？Ken Robinson Ted英语演讲视频中英字幕,英语文本（共）

演讲稿英语文本：

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 学校扼杀了我们的创造力

TED演讲：学校扼杀了我们的创造力

本视频网易公开课链接：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.现在的教育提倡的是一个有风险精神的 老师能发现一个天才学生。我们一致认同，孩子拥有超凡的才能，或者说创新能力。我认为：每个孩子身上都蕴含着巨大的才能，却被成人无情地磨灭了。因此，我想谈谈教育和创造力。我相信在当今这个时代，创造力在教育中的地位同读写能力一样重要，理应得到同等程度的重视。

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.”

前些日子我听到了一个很棒的故事，我喜欢逢人就讲。有个6岁的小姑娘在上绘画课。她的老师说，这个小姑娘上课一向不怎么专心，而这次却不同。老师很好奇，于是走过去问小姑娘：“你在画什么？”“我在画上帝”，小姑娘答道。老师不解：“可是从来没有人知道上帝长什么样啊！”小姑娘答道：“等我画好他们就知道了。”

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?

毕加索曾经说过：每一个孩子都是天生的艺术家。问题在于我们长大之后能否继续保持着艺术家的个性。我坚信，随着年龄的增长，我们的创造力并非与日俱增，反而是与日俱减。甚至可以说，我们的创造力被教育扼杀了。怎么会这样呢？

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统都有着相同的学科体系，无一例外。你会想肯定有某个地方会例外的吧，可是无论你走到哪都是这样。位于顶端的是数学和语言，接着是人文学科，处在最底端的是艺术。全球普遍如此。在这颗星球上没有一个教育系统会像上数学课一样天天给孩子们上舞蹈课。为什么？为什么不这样？我觉得这非常重要。我知道数学很重要，但是舞蹈也同样重要啊。如果获得允许，孩子们可以整天跳舞，我们也是。我们都有身体可以舞动起来，不是吗？现实中的真相是：随着孩子们在长大，大人们开始逐步地训练他们，首先是腰部以上的部位，然后是集中训练他们的大脑，并且渐渐地有点偏向大脑一侧。

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?

假设你是一位外星来客，来考察地球上的教育，想知道公共教育究竟有何作用。在得出结论之前，我建议你先看看公共教育的产物，看看究竟是谁通过教育获得成功？是谁中规中矩地完成了使命？是谁得到了所有的赞许？又是谁成了最后的赢家？我想你会由此得出结论：全球公共教育的目的完全在于培养大学教授，不是吗？他们是教育体制最高端的产物。我过去也曾是其中一员，嗯，我喜欢大学教授们。不过，你知道，我们不应该将他们推崇为全人类最大的成就。他们所代表的仅仅是一种生活方式，另一种不同的生活方式。不过大学教授们还是蛮古怪的，我是出于对他们的喜爱才这么说的，虽然不是所有大学教授都这样，但他们的确有些奇特，典型表现为：他们生活在自己的思维里，住在自己的大脑中，而且还略偏向于大脑一侧。他们崇尚精神世界，躯体在他们看来不过是思维的承载工具，不是吗？

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.根据联合国教科文组织的统计预测，未来三十年内全球的教育系统毕业生人数将达到历史之最。高科技及其对工作性质的改变影响，人口以及人口大爆炸，这些我们提及过的因素加在一起将导致毕业生越来越多。学历突然缩水了。难道不是吗？我上学那会儿，只要你有一纸文凭，你就有饭碗。如果你没有工作，那是因为你不想要。坦白说，我当时就不想要（作者的自嘲）。可现在有学历的毕业生们却常常待业在家打游戏，因为工作岗位的学历要求都升级了，过去需要学士的岗位现在开始要硕士了，过去要硕士的岗位现在要博士了。这是个“学历膨胀”的过程。这一过程说明了整个教育体系正在我们眼下经历着重大转变。我们需要从根本上重新审视自己的智能观。

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.我们知道智能有三大特点：第一，智能具有多元性。我们运用各种体验方式来认知世界，比如视觉、听觉、触觉、抽象化、动态化等等。

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。大脑并不是由相互隔绝的单元组成的。事实上，创造活动往往就诞生于各学科看待事物的不同方式所产生的交互作用，在我看来，创造就是“有价值的原创思想的产生过程”。

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，智能具有独特性。目前我正在写一本新书，叫做《悟》，是根据一系列人物访谈写成的，主题围绕“你是如何发现自己才能的？”。我对人们的自我发现很感兴趣。事实上，写这本书的念头源自我和一位出色的女士之间的对话，也许这里大部分人没有听说过她，她叫吉莉安·林恩，是一名舞蹈指导，曾经给歌舞剧《猫》、《歌剧魅影》编排舞蹈，非常棒的一位女士！有一天我和吉莉安一起吃午餐，我问她：“吉莉安，你当初是怎么走上跳舞这条路的？”她告诉我，其中的故事还蛮有趣的。当年她在学校时，大家都说她没得救了。那还是在上世纪三十年代，学校写信给她父母说“我们认为吉莉安有学习障碍”。那时候的她无法集中注意力，总是坐立不安。

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.后来她妈妈就带着她去看专科。那是一间铺着橡木地板的诊室。吉莉安把双手压在屁股下，耐住性子坐了20分钟，这段时间里医生和她妈妈谈论了她在学校里出现的种种问题。最后，医生走过来坐在吉莉安身边对她说：“吉莉安，你妈妈和我讲了你的所有事情，现在我要和她私下谈谈。在这儿等着，我们很快就回来。”于是他们就留下她出去了。

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.就在他们离开房间的时候，医生拧开了他桌上的收音机。走出房间后，医生对吉莉安的妈妈 4 说道：“就在这儿观察一下她”。吉莉安说，他们刚离开房间她就站了起来，随着音乐移动步子。在外面观察了几分钟后，那位医生转向她妈妈说道：“林恩夫人，吉莉安并没有生病，她是个天生的舞蹈家。送她去舞蹈学校吧。”（感谢当年那位医生，）换了别人或许会对吉莉安进行药物治疗，并告诉她要平静下来。

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.我认为我们未来唯一的希望在于创设一种新的人文生态构想，唯有在此构想上才可重新认识到人类能力之丰富。如同获得商品的欲望驱使人类掠采矿物资源，现行的教育体制也正以此道压榨着我们的智力，而这种压榨并不能造福人类社会。

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.我们必须重新思考我们教育孩子的基本原则。我们的任务是教育所有的孩子，以便他们能够面对未来——顺便提一下，这个未来或许我们是看不见了，但是他们可以，我们的工作就是帮助他们战胜未来的挑战。

第三篇：我就这样扼杀了学生的创造力[小编推荐]

老师，松开你扼杀学生创造力的手吧！

看到书上说电视里的一个谈话节目，主持人谈及一个幽默。他说，联合国某组织在全球各大洲的儿童中搞了一个调查——“请谈一谈对其他国家粮食短缺问题的独特看法。”结果是各大洲的儿童居然都因为无法理解这个问题而不能回答。欧洲的孩子不能回答是因为不知道什么是“短缺”，非洲的孩子不能回答是因为不知道什么叫“粮食”、美国的孩子不能回答是因为不知道什么叫“其他国家”，而中国孩子不能回答是因为不知道什么叫“独特看法”„„主持人话落，满座笑起。

而我作为一个教育工作者看了这段话，却不能一笑了之。我想起自己的教学，不禁感到无比的惭愧。可以说正是像我这样的教师把中国学生的创造力扼杀了。在我短短几年的教学生涯中，我不知做了多少扼杀学生创造力的事。至今仍记忆犹新的一件事是这样的：

那天我正在教学郑振铎的《燕子》一课，课文中有一幅插图，描绘了几只黑乎乎的燕子三三两两地停息在五根电线上。观察插图时，我让学生发散想象：你觉得它们在干什么？有的学生说：它们在说话；有的说它们在聊天；有的说它们快乐地谈天说地„„其实学生们说的大都是表达燕子在谈话。这时，一个平时很调皮的男孩站起来说：老师，它们在快乐地弹琴（谈情）。话音刚落，全班哄堂大笑，对四年级的学生来说，似乎谈情很暧昧。当时我真是觉得这个学生有点故意捣乱，于是板下脸说道：就是你会瞎说。坐下。但那孩子又站起来坚

持他的观点：老师，我真的觉得它们在弹琴。你看，它们不像在弹一把竖琴吗？他边说边做弹竖琴的示范动作。

多么有创意的想法！多么有个性的想象！这时，我才恍然大悟我错得有多离谱。我多么感谢这个孩子的厚脸皮，他一而再地发表自己的意见、坚持自己的观点，才让我的罪过不那么重。我也反省自己平时的教学，这样扼杀学生创造力的行为比比皆是。

还记得我们学校有一个同学参加作文比赛，四年级组作文比赛的题目是半命题作文：

的。可以写事、写人、写景、写物，内容不限。这个同学写了如下一篇作文

我的同桌

在我的旁边有一位默默无闻的小女孩。她个子不高，总是扎着两个小辫子；一双大大的眼睛可迷人了，发起火来，两只眼睛瞪得大大的，那样子可真令人看了害怕。

她虽然长得很漂亮，可她在学习上却一点也不用功，作业总是最后几个交。有一次，老师让大家在吃午饭前抄好一段课文。别人一下课都开始认真地抄写，一会儿便把老师布置的作业工工整整地写完了。让我们再来看看她吧。瞧，她还在跳皮筋呢，看来跳得很开心，似乎把老师布置的作业都写完了。上午第三节课结束后，大家都排着整齐的队伍回家吃饭了。只有她一个人坐在教室里，用她那双大大的眼睛侦察着是否有人还没走，看来是准备逃走吧。吃过午饭，大家都拿着自己抄的课文去给老师批。过了一会儿，老师对大家说：“同学们都给我批了吧，现在大家出去玩一会儿吧。”其实，老师知道还有一个人没给她批，我想大家都知道她是谁吧？她就是我的同桌。不过她也明白老师的意思，低下了头，脸涨得通红，好象很后悔的样子。

我的同桌虽然平时不太说话，其实她非常凶，在班级里有“野蛮女生”这样一个称号。就说那一次吧，那一天，老师叫每人带一枝钢笔，说明天要举行钢笔字比赛。可到了比赛那一天，她没带，急得像热锅上的蚂蚁。她在没上课前向同学借，可同学平时都吃尽了她的苦头，都不愿借给她。终于到了上课的时间，她不得不坐到自己的座位上，这时她的心里更急了。就在她着急时，她看见了我有两枝钢笔，便问我借，我没有借给她。你们不要

说我没良心，而是我和同学们一样，受够了她的气。比赛终于开始了，老师见她没带钢笔，便狠狠地教训了她一顿，她恨得咬牙切齿。下课后，我知道情况不妙，便马上就跑，可她拦在了我的前面。看来这一顿骂是免不了的了，谁叫她是“野蛮女生”呢？

我的同桌呀，请你不要那么凶，请温柔点，成为我们班一个又漂亮又温柔的小女孩。

这篇作文被几个评委老师打了低分，理由是“思想性不好”。该名学生也因为作文写得不好，在同学面前难为情得抬不起头。我翻来覆去地看他的作文，看不出他的作文思想性不好在什么地方；我翻遍了有关学生作文的理论书，找不到一点能说这篇作文思想性不好的理由。难道仅仅是因为他写了他同桌的缺点？仅仅是因为他说了真话？仅仅是因为他没有造假？

在我看来，这位同学对他的同桌提出了善意的建议，让她认识到自己的缺点，文笔那么幽默、风趣，感情那么真诚、自然，这难道不是一种独特、一种个性、一种创新吗？这篇文章不但选准了体现同桌特点的事例，而且这些事例是他从鲜活的生活中提取出来的，带着浓浓的生活味，才那么的鲜活有生命力，让人读之有味。一个漂亮、凶悍但又不爱学习、懒惰的小女孩活灵活现地出现在我们面前。这难道不是一种“独特看法”？一种“独特视角”吗？

正是因为有了这样的课堂、有了这样扼杀学生创造力的老师，才有了前面谈话节目中那样的中国学生。作为我们教育工作者，真的应该好好地反思一下，松开我们扼杀学生创造力的手吧！让我们的孩子懂得创新、懂得个性、懂得什么叫“独特看法”！

第四篇：赵玉环单一的评价机制扼杀了多少学生的自信心

单一的评价机制扼杀了多少学生的自信心

教书20多年了，当班主任也将近20年了。大家知道，班主任不光负责自己所教学科的教学，还额外负责学生的所有事情，与学生接触最为亲密。班主任是学生最可依靠的人，但同时也是学生最畏惧的人。原因是班主任一定程度上决定着学生的情绪、做人的素质，甚至其人生发展。

社会给学校要成绩，学校给老师要成绩，最后，很大程度上把压力转嫁到了班主任身上。班主任怎么办？只能把压力转嫁到学生身上。所以，导致教育者人人都把目光盯在了学习成绩上。学习好就是好学生，就招人待见。学习不好就是差生，就招人反感。品格再好的差生也会因此发生着变化：先是脸上无光，进而可能还会想努力学习，可是如果总是靠在最后呢？他们就会慢慢失去信心和兴趣，失去热情和拼搏的精神，于是逐渐地自卑起来有的甚至不敢大声说话，连笑也不敢了，认为自己没有资格了。目睹着这些孩子的变化，我时常有一种负罪感：他们学不好文化课久没有资格抬头挺胸了吗？就必须付出自信和热情吗？就必须整日痛苦或者麻木吗？可是，这些却是他们走上社会自我发展的必备素质啊！当然，班中总会有一些学生成绩不错的，姑且称之为人才，但是，这是以多少差生的做人素质的丢失甚至被动辍学为代价的。这一切源于对学生、对学校的评价方式过于单一。这一点不改，再好的评价机制也是摆设。

目前，国家大力推行素质教育，推行与之相匹配的“中学生综合素质测评“，这让我们看到了曙光，也是广大学生的福祉。可是，问题不在于这个“中学生综合素质测评“指定地有多好，而在于如何执行，如何让选拔人才的学校不得不重视。我认为国家还应该把这种综合素质评价延伸到大学和社会。说起来不太好操作，这需要大家出主意，想对策，但至少有一点容易操作，比如从某个学校走出的学生严重违法就应该与他的就读学校的考核挂钩。这虽说不太公平，但至少是一种约束。

当然，以上情况的改变应首推国家教育部门的大政方针，那么，作为基层的教育者在评价 教师和学校政绩不变而导致良好的“中学生综合素质测评“落实不了的情况下应如何做呢？

1、首先要培养学生的热情 一个没有热情的民族是注定不会发展的，而这个责任就落在一代又一代学生身上。如何让高度的热情成为学生发展的不竭动力是一个值得研究的课题。,由于教育方法的不当、教学方式的呆板单调、课业负担的繁重、成绩不前等原因,造成许多学生学习态度冷淡,厌学情绪严重。调动学习学习积极性,培养学生的学习热情,成了教师的重要工作之一。使学生想学、乐学、会学,焕发他们身上蕴藏着的学习热情,具体要做到以下几个方面: 第一、树立远大志向,加强学习目的性教育学习并不一定都是引人入胜的,有些学习内容枯燥艰深,这就需要学生用坚强的意志克服困难。教师则平时注意对学生进行学习目的性教育,使其树立远大志向。学习目的性教育切忌空洞的理论说教。可以采用树立榜样的方法,向同学们讲述伟人少年立志、刻苦学习的故事(如周恩来总理中学立志“为中华之崛起而读书”):请身边通过学习改变命运的成功人士现身说法,更有感染力和说服力;还可以召开主题班会,以“我长大后要干什么”“学习的意义”等为主题请每位同学谈一谈自己的理想和对学习的看法。这样既可以使每位同学都有机会思考这类问题,又可以使教师及时掌握每名学生的思想动态,有针对性地进行教育。第二、制定合理的、具体的学习目标。除了远大的学习志向,每个学生还应有切合实际的具体学习目标。第三、多设置一些活动，这样就能给不同能力的学生提供不同的展示机会。比如各种内容的手抄报展评、各种内容的演讲比赛、手工制作、绘画作品等，只要注重培养学生的热情办法就会层出不穷。

2、其次要培养学生的自信心

自信心是一个人对自身价值和能力的充分认识和评价。对自己充满信心的人，容易形成积极乐观的情绪和百折不挠的意志，敢于面对新的问题和挑战，不轻易言败；而缺乏自信心的人，容易沮丧、灰心，在困难面前犹豫不决，畏缩不前，甚至逃避。如何培养小学生的自信心呢？

第一、赏识激励。赏识是树立学生信心最重要和最有效的方法，教师只有表达自己对学生的赏识才能使学生信心倍增。而学生对于老师的一言一行都很在意，他们很渴望经常得到老师的赏识。如何表现、何时表现效果最佳呢？下面几点需把握好。

（1）、赏识要真诚，使学生确信是真的。教师要细心地观察和了解，准确、具体地说出孩子的表现与成就，然后再热情地夸奖学生。这样学生不仅会确信教师的赏识是真的，从而对自己充满自信，而且会对教师心存一种感激，从而更加努力，充满、自信和活力。

（2）、表达赏识应形式多样。表达赏识的主要方法有口头表扬、赞许的眼光或微笑、恳切的鼓励、物质的奖励，手势（如竖大拇指）等。根据不同的情况，施以不同的方法。

（3）、赏识表扬要及时。如果表扬或鼓励是在第一时间提供的就会得到最令人满意的结果。因为孩子的注意力转向是很快的，因此，教师要时刻关注学生的每一点细微的进步，每一个小小的闪光点，并及时给予夸奖和鼓励，让孩子产生成就感和自豪感，促使其不断进步，从而增强自信。

（4）、赏识表扬不能过度。赏识教育主张对孩子多肯定，多鼓励，少批评，但不等于孩子犯了错误就不去批评，依然不断地赏识。再者，过度赏识，会导致孩子自满自傲、任性，不能客观正确地评价自我，若稍遇坎坷便一蹶不振。我们要适当把握赏识力度，不同孩子赏识的程度不同。如胆小呆板的孩子多肯定鼓励，少批评指责。对调皮、好动、表现差的孩子要善于捕捉其闪光点，及时肯定鼓励，扬长避短。

第二、善待学生的过失和失败，尤其是第一次，这是重树学生自信心的有效方法。

“人非圣贤，熟能无过”。当学生犯错时，教师要以包容的胸怀，善待学生的过失，诚恳地指出其不对之处，让他们明白如何做人做事，不应随意地责骂和讽刺，否则可能会一棍子打死学生，使其变得胆小或自暴自弃。这样，原本是一件坏事，处理得好就会转化为一个教育的良机，学生会因此明白了什么是对，什么是错，知道了应该怎么做才是好，对学生自信心的重建是一个很好的方法。

“胜败乃兵家常事”，老师一定要让学生明白这个道理，当然也不要让学生以此当做自己失败的借口，这个分寸要把握好。一次又一次的考试，总有学生考试失利，老师要善于观察成绩发布时学生的表现，要留心那些垂头丧气的学生，应及时采取措施给予疏导，千万不可任其发展，因为这种情绪一旦产生而学生自己又无力排解时就会形成一个巨大的阴影，严重挫败学生的自信心。

总之，小学老师要充分认识到小学阶段对学生自信心建立的重要性，要积极探索实践各种好方法，努力培养起小学生强有力的自信心，为培养更多优秀人才打下良好基础，为素质教育的健康发展做出我们应有的贡献。

单一的评价机制扼杀了多少学生的自信心

单位：石家庄市第三十八中学

作者：赵玉环