【從發散的「中翻英寫作」變成「英文學術寫作」的重要關鍵】
學術寫作要怎樣學得好,可以從好多面向來加強。不管是「學術涵養」、「對該學科理解的深度」、「對文獻的理解、整理方法」、「邏輯」、「對學術出版文化的理解」、「思維清晰度」、「英文能力 (文法、字彙)」、還是「寫作 (段落、篇章掌握、修辭)」 等等的能力。
今天這篇文章以「結構性語塊」的角度來淺談如何 “write like a Harvard professor”。
▍學術寫作當中,充滿著很多的結構性語塊,是不分領域都會使用的。師範大學翻譯所廖伯森教授就曾經說,這些學術結構性語塊的使用,可以讓學術的溝通更有效率 。
下面有 5 組學生的實際寫作例子,讓大家感覺看看,學好這些結構性語塊,可以如何幫助我們聽起來 IQ 爆棚(笑)
學生 1️⃣:We gotta carefully interpret these data because…
調整版:These data must be interpreted with caution in that…
學生 2️⃣:X and Y are totally different in many ways.
調整版:X differs from Y in a number of aspects.
學生 3️⃣:More and more people are getting interested in XXX.
調整版:There has been an increasing interest in XXX.
學生 4️⃣:A lot of people criticized Smith’s meta-analysis.
調整版:Smith’s meta-analysis has been subject to considerable criticism.
▍使用結構性語塊還有一個好處,就是可以「侷限」住我們的表達內容。為什麼會說是好處呢?如果不了解學術文化,有些內容或想法表達可能會不太適當。我們來看看學生 5 的例子。
學生 5️⃣:Although the method is safe and effective, it is not perfect.
調整版:Despite its safety and efficacy, the method suffers from some limitations.
學生不見得能從「不完美」轉換成思維「有缺點、有限制」,但因為結構性語塊,我們可以「制約」一些相較不符合學術寫作特色的文字。
為了因應眾多學生的要求,我在 3/21 (日) 加開了一場「英語學術寫作」的免費公開課。不管是現任研究生、即將要變成研究生、工作上會用到學術寫作、或是對加強學術寫作能力有需求的你,都歡迎來聽聽!
公開課一秒報名:https://www.accupass.com/event/2103130735221904331353
時間:3/21 (日) 2:30 pm - 4:00 pm (2:00 pm 入場)
地點:台北市中山區朱崙街60號2F (MRT 南京復興站)
同時也有15部Youtube影片,追蹤數超過9萬的網紅Shiney,也在其Youtube影片中提到,เดดสเปช 3 (Dead Space 3) พากย์ไทย แปลไทย Dead Space 3 is a survival horror action-adventure video game developed by Visceral Games and published by ...
「method of criticism」的推薦目錄:
- 關於method of criticism 在 Alexander Wang 王梓沅英文 Facebook 的最佳解答
- 關於method of criticism 在 Alexander Wang 王梓沅英文 Facebook 的精選貼文
- 關於method of criticism 在 Fan-Chiang Yi 范姜毅 Facebook 的最讚貼文
- 關於method of criticism 在 Shiney Youtube 的最佳解答
- 關於method of criticism 在 Shiney Youtube 的最讚貼文
- 關於method of criticism 在 Shiney Youtube 的最讚貼文
- 關於method of criticism 在 How to give criticism - The “Sandwich Method" - YouTube 的評價
method of criticism 在 Alexander Wang 王梓沅英文 Facebook 的精選貼文
【這一招,讓「一般寫作」瞬間變像哈佛教授寫的「學術寫作」】
學術寫作要怎樣學得好,可以從好多面向來加強。不管是「學術涵養」、「對該學科理解的深度」、「對文獻的理解、整理方法」、「邏輯」、「對學術出版文化的理解」、「思維清晰度」、「英文能力 (文法、字彙)」、還是「寫作 (段落、篇章掌握、修辭)」 等等的能力。
今天這篇文章以「結構性語塊」的角度來淺談如何 “write like a Harvard professor”.
學術寫作當中,充滿著很多的結構性語塊,是不分領域都會使用的。師範大學翻譯所廖伯森教授就曾經說,這些學術結構型語塊的使用,可以讓學術的溝通更有效率 。
下面有5 組學生的實際寫作例子,讓大家感覺看看,學好這些結構性語塊,可以如何幫助我們聽起來 IQ 爆棚 (笑)。
學生 1️⃣: We gotta carefully interpret these data because…
調整版:These data must be interpreted with caution in that…
學生 2️⃣: X and Y are totally different in many ways.
調整版: X differs from Y in a number of aspects.
學生 3️⃣: More and more people are getting interested in XXX.
調整版: There has been an increasing interest in XXX.
學生 4️⃣: A lot of people criticized Smith’s meta-analysis.
調整版: Smith’s meta-analysis has been subject to considerable criticism.
有結構性語塊還有一個的好處,就是可以「侷限」住我們的表達內容。為什麼會說是好處呢?如果不了解學術文化,因為有些內容或想法可能會不太適當。我們來看看學生 5 的例子。
學生 5️⃣: Although the method is safe and effective, it is not perfect.
調整版: Despite its safety and efficacy, the method suffers from some limitations.
學生不見得能從「不完美」轉換成思維「有缺點、有限制」,但因為結構性語塊,我們可以「制約」一些相較不符合學術寫作特色的文字。
為了因應眾多學生的要求,我在9/28 (一) 加開了一場「英語學術寫作」的免費公開課。不管是現任研究生、即將要變成研究生、工作上會用到學術寫作、或是對學術寫作加油有需求的你,都歡迎來聽聽!
公開課一秒報名:https://www.accupass.com/event/2009130759009545086500
時間:9/28 (一) 7:30 pm - 9:00 pm (7:00 pm 開放入場)
地點:台北市中山區朱崙街 60 號 2F (MRT 南京復興站)
method of criticism 在 Fan-Chiang Yi 范姜毅 Facebook 的最讚貼文
🎹鋼琴的大千世界/名家名言:「為何稱我為大師?主人在這裡(指著鋼琴),我只是他的奴才。」
— 李斯特著名的弟子,德國鋼琴家、作曲家、教育家 萊森奧爾(Alfred Reisenauer)
Why, there is the master (pointing to the piano), I am only the slave.”
— Alfred Reisenauer (1 November 1863 – 3 October 1907) German pianist, composer, and music educator.
📹 跟隨在李斯特學習長達十二年至李斯特過世(1874-1886)的萊森奧爾,演奏李斯特的第十號匈牙利狂想曲:
https://youtu.be/e12YwuHiQtY
📰 延伸閱讀 - 【李斯特學派 / the school of Liszt】♩.♪
https://www.facebook.com/notes/fan-chiang-yi-%E8%8C%83%E5%A7%9C%E6%AF%85/%E6%9D%8E%E6%96%AF%E7%89%B9%E5%AD%B8%E6%B4%BE-the-school-of-liszt/289155141104454/
———————————————————————1905-1906 鋼琴名家萊森奧爾(Alfred Reisenauer)在美國進行數月的巡迴演出,並接受美國著名音樂雜誌”Etude”的專訪。文章於1906年七月出版,隔年他在德國巡迴演出期間於下榻的飯店房間內過世。
📰 藝術家的養成 - 萊森奧爾的見解
The Making of an Artist - The Views of Alfred Reisenauer.
▪️With Liszt
“When I had reached a certain grade of advancement it was my great fortune to become associated with the immortal Franz Liszt. I consider Liszt the greatest man I have ever met. By this I mean that I have never met, in any other walk of life, a man with the mental grasp, splendid disposition and glorious genius. This may seem a somewhat extravagant statement. I have met many, many great men, rulers, jurists, authors, scientists, teachers, merchants and warriors, but never have I met a man in any position whom I have not thought would have proved the inferior of Franz Liszt, had Liszt chosen to follow the career of the man in question. Liszt’s personality can only be expressed by one word, ‘colossal.’ He had the most generous nature of any man I have ever met. He had aspirations to become a great composer, greater than his own measure of his work as a composer had revealed to him. The dire position of Wagner presented itself. He abandoned his own ambitions— ambitions higher than those he ever held toward piano virtuosity—abandoned them completely to champion the difficult cause of the great Wagner. What Liszt suffered to make this sacrifice, the world does not know. But no finer example of moral heroism can be imagined. His conversations with me upon the subject were so intimate that I do not care to reveal one word.
▪️Liszt’s Pedagogical Methods
“His generosity and personal force in his work with the young artists he assisted, are hard to describe. You ask me whether he had a certain method. I reply, he abhorred methods in the modern sense of the term. His work was eclectic in the highest sense. In one way he could not be considered a teacher at all. He charged no fees and had irregular and somewhat unsystematic classes. In another sense he was the greatest of teachers. Sit at the piano and I will indicate the general plan pursued by Liszt at a lesson.”
Reisenauer is a remarkable and witty mimic of people he desires to describe. The present writer sat at the piano and played at some length through several short compositions, eventually coming to the inevitable “Chopin Valse, Op. 69, No. 1, in A flat major.” In the meanwhile, Reisenauer had gone to another room and, after listening patiently, returned, imitating the walk, facial expression and the peculiar guttural snort characteristic of Liszt in his later years. Then followed a long “kindly sermon” upon the emotional possibilities of the composition. This was interrupted with snorts and went with kaleidoscopic rapidity from French to German and back again many, many times. Imitating Liszt he said, “First of all we must arrive at the very essence of the thing; the germ that Chopin chose to have grow and blossom in his soul. It is, roughly considered, this:(見譜例圖四)
Chopin’s next thought was, no doubt:(見譜例圖五)
But with his unerring good taste and sense of symmetry he writes it so:(見譜例圖六)
Now consider the thing in studying it and while playing it from the composer’s attitude. By this I mean that during the mental process of conception before the actual transference of the thought to paper, the thought itself is in a nebulous condition. The composer sees it in a thousand lights before he actually determines upon the exact form he desires to perpetuate. For instance, this theme might have gone through Chopin’s mind much after this fashion:(見譜例圖七)
The main idea being to reach the embryo of Chopin’s thought and by artistic insight divine the connotation of that thought, as nearly as possible in the light of the treatment Chopin has given it.
“It is not so much the performer’s duty to play mere notes and dynamic marks, as it is for him to make an artistic estimate of the composer’s intention and to feel that during the period of reproduction, he simulates the natural psychological conditions which affected the composer during the actual process of composition. In this way the composition becomes a living entity—a tangible resurrection of the soul of the great Chopin. Without such penetrative genius a pianist is no more than a mere machine and with it he may develop into an artist of the highest type.”
▪️A Unique Attitude.
Reisenauer’s attitude toward the piano is unique and interesting. Musicians are generally understood to have an affectionate regard for their instruments, almost paternal. Not so with Reisenauer. He even goes so far as to make this statement: “I have always been drawn to the piano by a peculiar charm I have never been able to explain to myself. I feel that I must play, play, play, play, play. It has become a second nature to me. I have played so much and so long that the piano has become a part of me. Yet I am never free from the feeling that it is a constant battle with the instrument, and even with my technical resources I am not able to express all the beauties I hear in the music. While music is my very life, I nevertheless hate the piano. I play because I can’t help playing and because there is no other instrument which can come as near imitating the melodies and the harmonies of the music I feel. People say wherever I go, ‘Ah, he is a master.’ What absurdity! I the master? Why, there is the master (pointing to the piano), I am only the slave.”
▪️The Future of Pianoforte Music.
An interesting question that frequently arises in musical circles relates to the future possibilities of the art of composition in its connection with the pianoforte. Not a few have some considerable apprehension regarding the possible dearth of new melodic material and the technical and artistic treatment of such material. “I do not think that there need be any fear of a lack of original melodic material or original methods of treating such material. The possibilities of the art of musical composition have by no means been exhausted. While I feel that in a certain sense, very difficult to illustrate with words, one great ‘school’ of composition for the pianoforte ended with Liszt and the other in Brahms, nevertheless I can but prophesy the arising of many new and wonderful schools in the future. I base my prophecy upon the premises of frequent similiar (sic) conditions during the history of musical art.” These are Reisenauer’s views upon this matter.
Continuing, he said: “It is my ambition to give a lengthy series of recitals, with programs arranged to give a chronological aspect of all the great masterpieces in music. I hope to be enabled to do this before I retire. It is part of a plan to circle the world in a manner that has not yet been done.” When asked whether these programs were to resemble Rubinstein’s famous historical recitals in London, years ago, he replied: “They will be more extensive than the Rubinstein recitals. The times make such a series posssible (sic) now, which Rubinstein would have hesitated to give.”
As to American composers, Reisenauer is so thoroughly and enthusiastically won over by MacDowell that he has not given the other composers sufficient attention to warrant a critical opinion. I found upon questioning, that he had made a genuinely sincere effort to find new material in America, but he said that outside of MacDowell, he found nothing but indifferently good salon-music. With the works of several American composers he was, however, unfamiliar. He has done little or nothing himself as a composer and declared that it was not his forte.
▪️American Musical Taste.
Reisenauer says: “American musical taste is in many ways astonishing. Many musicians who came to America prior to the time of Thomas and Damrosch returned to Europe with what were, no doubt, true stories of the musical conditions in America at that time. These stories were given wide circulation in Europe, and it is difficult for Europeans to understand the cultured condition of the American people at the present time. America can never thank Dr. Leopold Damrosch and Theodore Thomas enough for their unceasing labors. Thanks to the impetus that they gave the movement, it is now possible to play programs in almost any American city that are in no sense different from those one is expected to give in great European capitals. The status of musical education in the leading American cities is surprisingly high. Of course the commercial element necessarily affects it to a certain extent; but in many cases this is not as injurious as might be imagined. The future of music in America seems very roseate to me and I can look back to my American concert tours with great pleasure.
▪️Concert Conditions in America.
“One of the great difficulties, however, in concert touring in America is the matter of enormous distances. I often think that American audiences rarely hear great pianists at their best. Considering the large amounts of money involved in a successful American tour and the business enterprise which must be extremely forceful to make such a tour possible, it is not to be wondered that enormous journeys must be made in ridiculously short time. No one can imagine what this means to even a man of my build.” (Reisenauer is a wonderfully strong and powerful man.) “I have been obliged to play in one Western city one night and in an Eastern city the following night. Hundreds of miles lay between them. In the latter city I was obliged to go directly from the railroad depot to the stage of the concert hall, hungry, tired, travel worn and without practice opportunities. How can a man be at his best under such conditions—yet certain conditions make these things unavoidable in America, and the pianist must suffer occasional criticism for not playing uniformly well. In Europe such conditions do not exist owing to the closely populated districts. I am glad to have the opportunity to make this statement, as no doubt a very great many Americans fail to realize under what distressing conditions an artist is often obliged to play in America.”
method of criticism 在 Shiney Youtube 的最佳解答
เดดสเปช 3 (Dead Space 3) พากย์ไทย แปลไทย
Dead Space 3 is a survival horror action-adventure video game developed by Visceral Games and published by Electronic Arts. Announced at E3 2012 and released internationally in February 2013,[2] it is the sequel to Dead Space 2 and the third main entry in the Dead Space series.
In Dead Space 3, Isaac Clarke teams up with EarthGov Sergeant John Carver as they travel to Tau Volantis, an ice-covered planet, to end the Marker and Necromorph threat for good.
Development of the game began after the completion of Dead Space 2. It is the only game in the Dead Space series to feature online co-op.
The game received positive reviews from game critics upon release; reviewers praised the game's rewarding action gameplay, although criticism was directed at the focus on action over horror, as well as a weak and unfocused story compared to its predecessors. Despite poor sales, EA and Visceral expressed interest in a sequel. However, Visceral Games was shut down in 2017, and no confirmation that a new installment in the series is being developed by another studio.
Like the other titles in the Dead Space franchise, Dead Space 3 takes place in the 26th century. Mankind has colonized the stars but is in desperate search of new energy sources. One potential method was found in the Chixulub crater on Earth: an extraterrestrial artifact, dubbed the "Black Marker", which produces a constant electromagnetic field in defiance of the law of conservation of energy. Though human scientists hoped to harness the Black Marker for its unlimited energy potential, they soon discovered that the purpose of its field is to re-animate and mutate dead flesh, resulting in outbreaks of "Necromorphs". EarthGov immediately shut down the project, but a number of Red Markers, reverse-engineered copies of the Black Marker, had already been created and needed to be hidden; even worse, one of the project's lead researchers, Michael Altman, went public with it, promising that the Markers were sent to "make us whole" through a process called "Convergence". A religious movement, Unitology, seeks the Markers in the hopes of unlocking salvation. Isaac Clarke (Gunner Wright), the protagonist of the franchise, has already survived two outbreaks of Necromorphs, as chronicled in the first two installments of the series. He is joined in this game by Ellie Langford (Sonita Henry), who also survived the second game, as well as two EarthGov soldiers, Capt. Robert Norton (Robert Gant) and Sgt. John Carver (Ricardo Chavira), in an attempt to end the Necromorph threat once and for all.
method of criticism 在 Shiney Youtube 的最讚貼文
เดดสเปช 3 (Dead Space 3) พากย์ไทย แปลไทย
Dead Space 3 is a survival horror action-adventure video game developed by Visceral Games and published by Electronic Arts. Announced at E3 2012 and released internationally in February 2013,[2] it is the sequel to Dead Space 2 and the third main entry in the Dead Space series.
In Dead Space 3, Isaac Clarke teams up with EarthGov Sergeant John Carver as they travel to Tau Volantis, an ice-covered planet, to end the Marker and Necromorph threat for good.
Development of the game began after the completion of Dead Space 2. It is the only game in the Dead Space series to feature online co-op.
The game received positive reviews from game critics upon release; reviewers praised the game's rewarding action gameplay, although criticism was directed at the focus on action over horror, as well as a weak and unfocused story compared to its predecessors. Despite poor sales, EA and Visceral expressed interest in a sequel. However, Visceral Games was shut down in 2017, and no confirmation that a new installment in the series is being developed by another studio.
Like the other titles in the Dead Space franchise, Dead Space 3 takes place in the 26th century. Mankind has colonized the stars but is in desperate search of new energy sources. One potential method was found in the Chixulub crater on Earth: an extraterrestrial artifact, dubbed the "Black Marker", which produces a constant electromagnetic field in defiance of the law of conservation of energy. Though human scientists hoped to harness the Black Marker for its unlimited energy potential, they soon discovered that the purpose of its field is to re-animate and mutate dead flesh, resulting in outbreaks of "Necromorphs". EarthGov immediately shut down the project, but a number of Red Markers, reverse-engineered copies of the Black Marker, had already been created and needed to be hidden; even worse, one of the project's lead researchers, Michael Altman, went public with it, promising that the Markers were sent to "make us whole" through a process called "Convergence". A religious movement, Unitology, seeks the Markers in the hopes of unlocking salvation. Isaac Clarke (Gunner Wright), the protagonist of the franchise, has already survived two outbreaks of Necromorphs, as chronicled in the first two installments of the series. He is joined in this game by Ellie Langford (Sonita Henry), who also survived the second game, as well as two EarthGov soldiers, Capt. Robert Norton (Robert Gant) and Sgt. John Carver (Ricardo Chavira), in an attempt to end the Necromorph threat once and for all.
method of criticism 在 Shiney Youtube 的最讚貼文
เดดสเปช 3 (Dead Space 3) พากย์ไทย แปลไทย
Dead Space 3 is a survival horror action-adventure video game developed by Visceral Games and published by Electronic Arts. Announced at E3 2012 and released internationally in February 2013,[2] it is the sequel to Dead Space 2 and the third main entry in the Dead Space series.
In Dead Space 3, Isaac Clarke teams up with EarthGov Sergeant John Carver as they travel to Tau Volantis, an ice-covered planet, to end the Marker and Necromorph threat for good.
Development of the game began after the completion of Dead Space 2. It is the only game in the Dead Space series to feature online co-op.
The game received positive reviews from game critics upon release; reviewers praised the game's rewarding action gameplay, although criticism was directed at the focus on action over horror, as well as a weak and unfocused story compared to its predecessors. Despite poor sales, EA and Visceral expressed interest in a sequel. However, Visceral Games was shut down in 2017, and no confirmation that a new installment in the series is being developed by another studio.
Like the other titles in the Dead Space franchise, Dead Space 3 takes place in the 26th century. Mankind has colonized the stars but is in desperate search of new energy sources. One potential method was found in the Chixulub crater on Earth: an extraterrestrial artifact, dubbed the "Black Marker", which produces a constant electromagnetic field in defiance of the law of conservation of energy. Though human scientists hoped to harness the Black Marker for its unlimited energy potential, they soon discovered that the purpose of its field is to re-animate and mutate dead flesh, resulting in outbreaks of "Necromorphs". EarthGov immediately shut down the project, but a number of Red Markers, reverse-engineered copies of the Black Marker, had already been created and needed to be hidden; even worse, one of the project's lead researchers, Michael Altman, went public with it, promising that the Markers were sent to "make us whole" through a process called "Convergence". A religious movement, Unitology, seeks the Markers in the hopes of unlocking salvation. Isaac Clarke (Gunner Wright), the protagonist of the franchise, has already survived two outbreaks of Necromorphs, as chronicled in the first two installments of the series. He is joined in this game by Ellie Langford (Sonita Henry), who also survived the second game, as well as two EarthGov soldiers, Capt. Robert Norton (Robert Gant) and Sgt. John Carver (Ricardo Chavira), in an attempt to end the Necromorph threat once and for all.
method of criticism 在 How to give criticism - The “Sandwich Method" - YouTube 的推薦與評價
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