一篇文章轻松搞定《英语演讲艺术读书笔记》的写作。（精选5篇）

更新日期:2025-07-15 11:44

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英语演讲艺术读书笔记作文是阅读关于英语演讲艺术书籍后，对书中内容进行总结和思考的写作。在撰写此类作文时，以下事项需要注意：
1. 确定主题：首先，明确读书笔记作文的主题，即对书中哪一部分内容或观点进行总结和思考。这有助于使文章结构清晰，有针对性。
2. 概述书籍背景：在作文开头，简要介绍所读书籍的作者、出版时间、主要内容等，让读者对书籍有一个初步的了解。
3. 总结核心观点：针对所选主题，概括书中核心观点，并用自己的语言进行阐述。注意保持观点的准确性和完整性。
4. 结合实际案例：在阐述观点时，可以结合实际案例进行说明，使文章更具说服力。案例可以是自己的亲身经历，也可以是他人或社会现象。
5. 分析论证：对所选主题进行深入分析，提出自己的见解。在论证过程中，注意逻辑严密，论据充分。
6. 举例说明：在阐述观点时，适当举例说明，使文章更具说服力。举例应具有代表性，避免过于冗长。
7. 语言表达：注意语言表达的准确性和流畅性，避免出现语法错误和语义不清的情况。同时，注意运用恰当的词汇和句式，使文章更具文采。
8. 结构安排：合理安排文章结构，使文章层次分明。一般包括引言、主体和结尾三个部分。引言

英文演讲短篇：隐喻的艺术（中英文）

When we talk. Sometimes we say things directly. I'm going to the store. I'll be back in five minutes. Other times, though, we talk in a way that conjures up a small scene. It's raining cats and dogs out, we say.

当我们交谈时，有时会直截了当地表达。比如"我要去趟商店"，或是"五分钟后回来"。但另一些时候，我们的话语会勾勒出一幅生动的画面——就像我们说"外面下着倾盆大雨"那样。

Or I was waiting for the other shoe to drop. Metaphors are a way to talk about one thing by describing something else. That may seem roundabout, but it's not seeing and hearing and tasting are how we know anything.

又或者，我在等着另一只鞋掉下来。隐喻是一种通过描述他物来谈论某事的方式。这或许看似绕弯子，但就像我们通过看、听、尝来认知万物一样。

First, the philosopher William James described the world of new born infants as a buzzing and blooming confusion. Abstract ideas are pale things compared to those first bees and blossoms. Metaphors think with the imagination and the senses.

首先，哲学家威廉·詹姆斯将新生婴儿眼中的世界描述为"嗡嗡作响、繁花乱目的混沌"。与那些最初的蜜蜂和花朵相比，抽象概念显得苍白无力。隐喻通过想象力和感官进行思考。

The hot chill peppers in them explode in the mouth and the mind. They're also precise. We don't really stop to think about a raindrop the size of an actual cat or dog. But as soon as I do I realize that I'm quite certain the dog has to be a small one, a cocker spaniel or a dachshund, and not a golden lab or Newoundland.

那些辣椒在口中迸发，在脑海炸裂。它们的滋味精准得可怕。我们平时根本不会去细想"猫狗大小的雨滴"这种比喻——可一旦认真琢磨，我立刻意识到：那条狗肯定得是小型犬，比如可卡犬或腊肠犬，绝不可能是金毛寻回犬或纽芬兰犬。

I think about Beagle might be about right. A metaphor isn't true or untrue in any ordinary sense. Metaphors are art, not science, but they can still feel right or wrong. A metaphor that isn't good leaves you confused.

我觉得用"比格犬"这个比喻可能恰到好处。隐喻无所谓对错——至少不是我们通常理解的那个意义上的对错。隐喻是艺术而非科学，但它依然能给人以恰当或失当的感受。一个糟糕的隐喻只会让人一头雾水。

You know what it means to feel like a square wheel, but not what it's like to be. Tired as a whale, there's a paradox to metaphor. They almost always say things that aren't true. If you say there's an elephant in the room, there isn't an actual one looking for the peanut dish on the table.

你知道"像方轮子一样格格不入"是什么感觉，却未必明白真正成为方轮子是何种体验。累得像头鲸鱼——隐喻本身就充满悖论。它们几乎总在陈述不真实的事物。当你说"房间里的大象"时，屋里并不存在一头正在寻找桌上花生碟的大象。

Metaphors get under your skin by ghosting right past the logical mind. Plus, we're used to thinking in images. Every night we dream impossible things. And when we wake up that way of thinking still in us, we take off our dream shoes and button ourselves into our lives.

隐喻能悄无声息地渗入你的内心，因为它绕过了理性的思维防线。况且，我们本就习惯以意象来思考——每夜梦境里，我们徜徉于不可能之事；而当晨光唤醒意识，那种思维方式却仍驻留心间。于是我们脱下梦的鞋履，系紧生活的纽扣，继续前行。

Some metaphors include the words like or as sweet as honey, strong as a tree. Those are called similes. A simile is a metaphor that admits it's, making a comparison. Similes tend to make you think. Metaphors let you feel things directly.

有些比喻会使用“像”或“如同”这样的词，比如“甜如蜜”“壮如树”。这类比喻被称为明喻。明喻是一种坦承自身在进行比较的隐喻。明喻往往能促使你去思考，而隐喻则让你直接感受事物。

Take Shakespeare's, famous metaphor, all the world's, a stage, the world is like a stage, just seems thinner and more boring. Metaphors can also live in verbs. Emily Dickinson begins a poem. I saw no way the heavens were stitched, and we know instantly what it would feel like if the sky were a fabric sown shut.

以莎士比亚那句著名的比喻"整个世界是一座舞台"为例——世界就像个舞台，只不过显得更单薄、更乏味。隐喻同样可以栖身于动词之中。艾米莉·狄金森在诗作开篇写道："我不见天穹如何缝就"，我们瞬间就能体会倘若天空真是一块缝合闭合的织物会是何种感受。

They can live in adjectives too. Still. Waters run deep, we say of some one quiet and thoughtful. And the deep matters as much as the stillness and the water do. One of the clearest places to find good metaphors is in poems.

它们也能栖居于形容词之中。静水深流，我们常以此形容那些沉静而富有思想的人。而水的深度，与它的静谧和水性本身同样重要。诗歌正是寻觅精妙隐喻最澄明的所在之一。

Take this haiku by the 18 century Japanese poet Isa on a branch floating down river. A cricket singing. The first way to meet a metaphor is just to see the world through its eyes. An insect sing from a branch passing by in the middle of the river.

且看这首十八世纪日本俳句诗人芭蕉的短诗：

一枝随波逐流，

蟋蟀枝头鸣唱。

邂逅隐喻的第一重境界，便是以它的眼眸观照世界——一只虫儿在顺流而下的枝杈间放歌。

Even as you see that, though some part of you recognizes in the image a small portrait of what it's like to live in this world of change and time, our human fate is to vanish as surely as that small cricket will.

即便你目睹此景，内心某处仍能从这画面中瞥见一丝我们栖居于变幻时空之世的缩影——可人类的宿命终究与那只小蟋蟀无异，终将消逝无踪。

And still we do what it does. We lived, we sang. Sometimes a poem takes a metaphor and extends it, building on one idea in many ways, here's. The beginning of Langston Hughes famous poem mother to son well son.

而我们依旧如它所行。我们活着，我们歌唱。有时一首诗会撷取一个隐喻并加以延展，以万千方式铺陈一个核心意象——以下便是兰斯顿·休斯名作《母亲致儿子》的开篇

I'll tell you life for me. Ain't been no crystal stare it's had tacks in it, and splinters and boards torn up and places with no carpet on the floor. Langston Hughes is making a metaphor that compares a hard life to a wrecked house you still have to live in.

让我告诉你，我的人生是什么模样。它从不是水晶般璀璨的宫殿——里面扎着钉子，横着木刺，地板支离破碎，有些地方甚至没有铺地毯。兰斯顿·休斯用了一个隐喻，将艰难的人生比作一座虽已破败却仍需栖身的房屋。

Those splinters and tacks feel real. They hurt your own feet and your own heart. But the mother is describing her life here, not her actual house. And hunger and cold exhausting work and part poverty are what's also inside those splinters metaphors aren't always about our human lives and feelings.

那些木刺和图钉触感真实，扎得你脚底生疼，更刺痛你的心。但这位母亲描述的并非她真实的居所，而是她的人生境遇。饥饿、严寒、疲惫劳作，还有挥之不去的贫困，都藏在这些木刺的隐喻之中——要知道，隐喻所映射的，从来不只是人类的情感与生活。

The Chicago poet Carl Sandberg wrote, the fog comes on little cat feet. It sits looking over harbour and city on silent haunches and then moves on. The comparison here is simple. Fog is being described as a cat, but a good metaphor isn't a puzzle or a way to convey hidden meanings.

芝加哥诗人卡尔·桑德堡曾写道："雾来了，迈着小猫的脚步。它蹲伏在港口与城市上空静默地窥视，继而悄然消散。"这个比喻十分简洁——将雾比作猫。但优秀的隐喻并非谜题，也不是传递隐含意义的工具。

It's a way to let you feel and know something differently. No one who's heard this poem forgets it. You see fog, and there's a small gray cat. Nearby metaphors give words away to go beyond their own meaning.

这是一种让你以不同方式去感受与认知事物的途径。听过这首诗的人，无人能够忘怀。你眼前浮现雾霭，还有一只灰色的小猫。那些近在咫尺的隐喻，让词语挣脱自身意义的桎梏，奔向更广阔的天地。

Their handles on the door of what we can know and of what we can imagine. Each door leads to some new house and some new world that only that one handle can open. What's amazing is this. By making a handle you can make a world.

它们是我们认知之门与想象之门的把手。每扇门都通向一座独特的房屋，一个仅凭这把把手才能开启的全新世界。最令人惊叹的是——通过创造一把把手，你便能缔造一个世界。

TED演讲：艺术如何帮助 我应对悲伤（一）（中英文）

When I found out my grandmother, my last living grandparent, was dying, my first thought was, I need to draw her hands. I'm a visual artist, a cartoonist for the New Yorker, and comics writer. So drawing is how I understand much of the world.

当我发现我的祖母，我最后一位在世的祖父母，快要死了，我的第一个想法是，我需要画她的手。我是一名视觉艺术家，是《纽约客》的漫画家，也是漫画作家。所以绘画是我理解世界的方式。

For a long time, my cartoons had been impersonal commentary on the world around me, sure, but not really about me. The closest my personal life got to influencing my cartoons were cartoons I lifted from things my friends and family had set around me.

很长一段时间以来，我的漫画是对我周围世界的客观评论，当然，并不是真正关于我的。我的个人生活对我的漫画影响最大的是我从朋友和家人身边的事物中提取的漫画。

It was only after my daughter Alico was born that my personal life began to creep into my cartoons. More. Every artist will tell you that their medium is the highest art form. But they're wrong, because cartooning is in fact, the highest art form.

只是在我的女儿Alico出生后，我的个人生活才开始渗入到我的漫画中。更多。每个艺术家都会告诉你，他们的媒介是最高的艺术形式。但是他们错了，因为漫画实际上是最高的艺术形式。

For example, it's this not a great example. The next one's better. I was thinking of the next one. There you go. Cartoons can say so much with so little. With just a few lines, you can express happiness, smugness and sadness.

例如，这个例子其实不太理想。下一个就更好了——我刚才想说的就是它。你看，这就是了。漫画能用极简的笔触传递丰富情感，寥寥数笔就能表现喜悦、得意或悲伤。

This is called face paradolia. It's the phenomenon where we see faces in animate objects. We see ourselves in these cartoonish faces. They're blank canvases onto which we project ourselves. We see faces everywhere, ourselves and everything.

这被称为"人脸空想性错视"。当我们从无生命物体中看到人脸时，就会产生这种现象。我们能从这些卡通化的人脸上看到自己的影子——它们就像空白的画布，任由我们投射自我。我们处处都能看见人脸，看见自己，也看见世间万物。

It's evolutionary, a survival technique. How do we convey complex emotions using just lines, emotions like grief. This became really important to me when I found out that my grandmother was dying. I got to know my grandmother, Homa.

这是一种进化而来的生存技巧。我们该如何仅用线条来传递复杂的情感，比如悲痛？当得知祖母病危时，这种表达方式对我变得尤为重要。我开始深入了解我的祖母霍玛。

In a way, I didn't get to know any of my other grandparents, because they all lived and died in Iran, a country I've only ever been to, twice, and not since I was ten. But Homa lived with my parents for the last ten years of her life, and in that time she danced a funky chicken at my wedding, she got to hold my newborn daughter, and she told me stories about Iran before the revolution over morning tea, which was usually around noon because she liked to sleep in.

某种程度上，我从未真正了解过其他几位祖父母，因为他们都生于伊朗、逝于伊朗——这个国家我总共只去过两次，而且那还是在我十岁之前的事了。但霍玛在我父母家度过了人生最后十年，在这段时光里，她在我婚礼上跳过滑稽的"扭鸡舞"，抱过我刚出生的女儿，还在每天大约中午时分（因为她总爱睡懒觉）的早茶时间里，向我讲述革命前的伊朗往事。

One of my earliest memories is of her hands. Not the way that they looked, but the way that they felt. I can still, even today, recall the physical sensation of them, the smoothness of her nails, and even their smell.

我最早的记忆之一，便是她的双手。并非它们呈现的模样，而是触碰时的感受。即便时至今日，我仍能清晰忆起那双手的触感——指甲的光滑质地，甚至残留的气息。

But not the way they looked. Which is why, when I found out that she was dying, my first instinct was to try to preserve that memory, my memory of her by drawing her hands. Not surprisingly, when I finally made it there to see her, I didn't have a whole lot of time to sit around drawing because I was busy with other things.

但并非她们当时的模样。正因如此，当我得知她将不久于人世时，我的第一反应便是试图通过描绘她的双手来保存那段记忆——我对她的记忆。不出所料，当我终于赶到她身边时，根本抽不出太多时间坐着画画，因为我正忙着处理其他事务。

Things like comforting my mom, comforting my grandmother. But by doing magic and helping my mom and my sister plan for what would come next. It's that classic proustian experience. Life doesn't mean anything while you're moving through it.

比如安慰母亲，安抚祖母。但通过施展魔法，帮助母亲和姐姐为即将到来的一切做准备。这正是一种典型的普鲁斯特式体验——当你身处生活洪流之中时，生活本身似乎毫无意义。

It's only when you stop to reflect on it that you can make any sense of it. Sense memory. What Proust calls involuntary memory contains the essence of the past. And so if I wanted to tell the story of my grandma Homa, I would have to begin with a sensation of her hands.

唯有当你停下脚步细细回味，那些记忆的碎片才会逐渐拼凑出意义。这是感官记忆——普鲁斯特笔下所谓的"非自主记忆"，蕴藏着往昔岁月的精髓。若我想讲述外婆霍玛的故事，就必须从她掌心的触感开始说起。

When I set out to write this comic, which was published in the La Times, I wanted to take something complicated and big and make it small. Grief is complicated. I needed to reach a point where I could process my loss, to distill the experience of losing my last living grandparent into its essential parts, and make it clear enough that I could actually grieve my family.

当我着手创作这篇刊登于《洛杉矶时报》的漫画时，我的初衷是将一个庞大而复杂的事物变得简单。悲伤本就是件错综复杂的事。我必须找到一个能消化这份失去的切入点，将失去最后一位在世祖父母的经历提纯为最本质的部分，直至清晰到足以让我真正开始悼念我的家人。

Doesn't tend to deal well with grief, which isn't great because we have so much experience with it. When we're trying to dodge grief, we caricature those we've lost. We focus on and exaggerate their most obvious features.

他不太擅长应对悲伤——这可不太妙，毕竟我们经历过太多生离死别。当我们试图逃避哀痛时，总会把逝去的人扭曲成滑稽的模样。我们只盯着他们最鲜明的特征，再把这些特征无限放大。