Saturday 11 April 2009
Friday 10 April 2009
rubber stamper
Certain latex rubber compounds can be laser engraved; for example these can be used to fabricate inking-stamps.
Thursday 26 March 2009
Wednesday 25 March 2009
scrapbook
Embossed Leather Journal
Who says embossing powder is only for paper? I found this leather journal to give my husband for Father's Day and I wanted to make it more special; more personal. I also wanted it to be subtle and classy. I used Versamark ink and Transcendence embossing powder to add his initials and a flourish from TAC's Flourish stamp set. This shiny raised look is so much fun--it's like magic. If you've never tried embossing, you should!
The basic steps to embossing are as follows: (click the photos below to enlarge.) 1. Load up with ink and stamp image. 2. Sprinkle image with powder (for some applications, I like sprinkling right from the bottle.) 3. Shake off powder (I shake mine into an empty stamp container and the same powder can be used over and over.) 4. If necessary, use an artists brush to sweep away extra powder. 5. Heat image with an ebossing gun, moving around until the whole image is shiny and raised.
I also like Transcence powder the best (and I think The Angel Company is the only one who has it) because you can use this powder with any kind of ink! If I had decided to give the initials more depth, I could use my favorite Burnt Umber Palette ink and the same powder would work. This gives you the ability to match the color of your project, because even dye based inks would work. It comes in a large bottle and it lasts forever. I've been stamping for five years, I use it a lot and I still have the same bottle!
Well, tomorrow I'm off to Kansas to see the new catalogue and attend our annual seminar. Keep an eye out for some sneak peeks . . . .
Sunday 22 March 2009
EQ
Emotional Intelligence is the ability to manage one's emotions in a healthy and productive manner. Parents today realise that it is not only their children's intelligence quotient (IQ) that is crucial for their development but also their emotional quotient. The terms emotional intelligence and emotional quotient were first used by psychologists Peter Salovey and John Mayer in 1990. However, it was Daniel Goleman who is famed for his popular books on the subject that helped spread awareness.
Emotional intelligence helps in developing emotional self-awareness. This allows a person to understand his feelings. It also empowers a person to handle emotions appropriately, showing him how to handle stress and upsetting or conflicting feelings. It also deals with self motivation, encourages empathy, and other social skills.
Why is Emotional Intelligence Important for your child?
Emotional intelligence is measured in terms of Emotional Intelligence Quotient or EQ. Emotional intelligence is important for a child not only to understand himself, but also helps him to understand the feelings and emotions of others.
A child with a high emotional quotient will become more responsible and respectful. He will have an increased ability to show empathy, and find it easier to develop self restraint. On the other hand, a child with a low emotional intelligence will often feel helpless.
If a child receives very little emotional support at home he will be vulnerable to peer pressures, worries, and anxiety. A child may deal with his anxiety and fear by hiding it under a façade of being tough. This could lead to his turning into a bully, or becoming an under-achiever suffering from low motivation.
How can you increase your child's Emotional Intelligence?
Understanding and nurturing your child's emotional quotient requires you to observe your child and ascertain the feelings that are behind the behaviour. Encourage your child to try to explain his feelings. Understand that your child may be unable to describe his feelings.
Developing your child's emotional quotient starts with teaching him to understand his feelings. One way to do this is to describe your own feelings to your child, helping your child to classify feelings. It also gives the child a label to name the feeling. Using words such as 'I' and 'you' will help to give onus to feelings. For example, "It looks like you are frustrated with that math problem."
Give your child a framework of limits that he must adhere to. This will help ensure that he builds self control, and does not allow his feelings to always determine his actions.
Introduce him to activity books that are specially written to help build a child's EQ. Try to think up exercises that will help your child learn to wait for things. These exercises will also teach him how to handle disappointment, and how to persevere with a challenge. Remember that the challenges and exercises need to be designed keeping in mind the child's age group. What may be challenging to a younger child may be too easy for an older one.
What is the difference between IQ and EQ?
A person's Intelligence Quotient can be measured by conducting a battery of IQ tests. An IQ score remains more or less the same throughout a person's life. On the other hand, an EQ score can be increased as a person can be taught how to understand and deal with others feelings. An IQ-oriented person will focus more on facts to convince a person while an EQ-oriented person will use emotions and his cognitive abilities to appeal to a person's feelings and reasoning. EQ is more important in gaining success and happiness in your life.
http://www.indiaparenting.com/intelligentchild/data/106.shtml
Copyright (c) 1999 - 2009 India Parenting Pvt. Ltd.
Saturday 21 March 2009
Educators eventually lined up on both sides of the debate. Many, like Child Study Association of America Director Sidonie Gruenberg, saw comics as a force to be harnessed for education. Gruenberg (1944) cited numerous examples of educational comics for a variety of subjects, noting: "There is hardly a subject that does not lend itself to presentation through this medium" (p. 213). Others saw comics as a stumbling block to literacy. Nebraska principal Lucile Rosencrans, for instance, believed that comics impeded reading comprehension, imagination, and caused eyestrain (Dorrell, Curtis, & Rampal, 1995). School librarians were especially vehement in their disapproval of comic books, vilifying comics as an enemy of other reading (Dorrell, Curtis, & Rampal, 1995).
Over the next decade, comics began gaining ground in the world of education as well, slowly finding its way into the course catalogs of American higher learning institutions. Using comics, English professor Rocco Versaci (2001) challenged students at Palomar College to critically examine the very definition of literature. University of Minnesota Physics professor James Kakalios (2001) received media attention for his phenomenally popular introductory physics course "Science in Comic Books." Neil Williams replaced his traditional ESL course books with Calvin and Hobbes comic books at the American Language Institute of New York University (1995). With the establishment of both undergraduate and graduate programs in comics at the Savannah College of Art and Design (Sturm, 2001), comics finally emerged as a medium worthy of study in and of itself. Ironically, librarians in the new millennium were among comics' most vocal supporters, finding comic books useful in luring teenagers away from their televisions and video games (Bacon, 2002).
Today, educators at all levels are designing new ways of teaching through comics. In 2002, the New York City Comic Book Museum released C.O.M.I.C.S., an eight-lesson curriculum for K-12 students teaching the reading and creation of comics. Dozens of schools across the nation ordered the curriculum before it was even complete. The National Association of Comics Art Educators evangelizes colleges and universities on the importance of comics-based courses. Their website (www.teachingcomics.org) features the syllabi of existing courses, instructional units written by cartoonists and professors, and an online community of comics educators. "There really is a resurgence in this," high school teacher Jean Diamond says of comics-based projects, "and it's a fabulous way to get kids thinking creatively" (Wax, 2002).
Many of today's teachers use comics to encourage the very abilities some educators in the 1940’s feared it would squelch: reading and imagination. Ultimately, I must conclude that the American educational establishment has shied away from comics for incidental, historical reasons rather than deficiencies within the medium itself. In fact, upon close examination, several strengths of comics as an educational tool emerge as themes within the literature.
Conclusion
Clearly, the five identified strengths of comics - that comics is motivating, visual, permanent, intermediary, and popular - can be harnessed in practically any subject and at practically any grade level. Many innovative teachers have already done so with much success. As the misconceptions of the 1940's slowly fade, both the educational and comics communities look forward to a new generation of educational materials that teach through comics. To see some of the materials available today, explore the resources listed at the bottom of Comics in Education's home page.
COMICS EDUCATION
Why Comics in the Classroom?
For the pre-reader, a comic can be purely graphical in nature and help provide practice with sequencing as well as concrete to abstract transitions using illustrations instead of written words. The written component of a comic can be introduced when the early readers are ready to connect words with images. Comics can help early readers or readers with language acquisition problems by providing visual clues to the context of the narrative.
For more advanced readers, comics can contain all the complexity of 'normal' written material which the student must decode and comprehend, such as puns, alliteration, metaphors, symbolism, point of view, context, inference, and narrative structures. A comic can also be a stepping-stone to more complex and traditional written work. A single pane in a comic can represent paragraphs worth of written material in a manner that is enjoyable and effective for the early or challenged reader.
Comics also have the ability to meet the needs of students in a variety of learning styles. Tom Hart illustrates how comics address many of Howard Gardner’s Multiple Intelligences in this short article. I strongly recommend that you read through the articles in the reference section below as many others have covered the concept of comics in education in far more detail than I do here.
Using Comic Life to Facilitate Student Participation
With the time educators have for research and professional reading becoming increasingly scarce, I know that a quick 'What can I do with this tomorrow in class?' concept must be presented. For this, I will select an example (the book report) that is simple and quick to implement, although there are far more effective uses of comics in the classroom.
We have staff using Comic Life to facilitate student participation in assignments that traditionally would have been written assignments with little to no imagery included. The book report is a classic example of how Comic Life can breath new life into an old assignment. Often dreaded by students (including myself), the book report is a staple of the classroom for several reasons. First, it provides a way to evaluate whether or not a student has read the assigned material. It also allows a student to show how they synthesize and analyze information contained in written material. Depending on the course requiring the report, this may include character and plot analysis, thematic content, purpose, story development, historical reference, and personal evaluation or judgment.
The book reports we often see in classes are, well, boring. Comic Life can help students create reports that are interesting to themselves and the class - reports that are fun to create and share. The paneled interface of a comic lends itself to breaking larger concepts into smaller, easily digested ideas that can be strung together in a coherent and entertaining way. Creating the imagery used in the comic can draw a student into the story or character in a way that a written report simply can’t.
Use Comic Life to help break down complex ideas and to create entertaining content for material that can sometimes be dull. Here are some assignment ideas that lend themselves to the use of Comic Life:
- Timelines (history, events, sequences)
- Historical figures (history of, life of)
- Instructions (step by step, details, illustrations, easy to follow)
- Dialogue punctuation
- Character analysis
- Plot analysis
- Storytelling
- Pre-Writing Tool
- Post-Reading Tool
- Teaching Onomatopoeias
- …and on and on
Strengths of Comics in Education
Motivating. By far, the most frequently mentioned asset of comics as an educational tool is its ability to motivate students. In Hutchinson's (1949) experiment with a curriculum built around Puck - the Comic Weekly, 74% of teachers surveyed found comics "helpful for motivation" (p. 244), while 79% claimed comics "increased individual participation" (p. 244). One teacher even complained that comic books made "learning too easy" (Hutchinson, 1949, p. 244). When DC Comics, Thorndike, and Downes introduced their Superman language arts workbook to classrooms, they reported "unusual interest" (Sones, 1944, p.233) among the students, which "presented the annoying difficulty of causing the youngsters to complete a whole week's task in one evening" (Sones, 1944, p. 233).
Haugaard (1973) shares that comics was the only way to motivate her son to read: "The first thing which my oldest boy read because he wanted to was a comic book" (p. 54). She goes on to describe a similar phenomenon in her younger children. Alongi (1974) also testifies to "the magnetic attraction comic books wield for children" (p. 801). For students in Kakalios' (2002) "Science in Comic Books" class, comics provides enough motivation for them to overlook the oversimplification of example problems appropriate for an introductory physics course. Diamond observes that students in her high school art class are consumed by comics-based art projects, despite the many hours such projects usually require (Wax, 2002).
William Marston theorizes that the appeal of the comics medium is woven into the very fabric of its nature.
The potency of the picture story is not a matter of modern theory but of anciently established truth. Before man thought in words, he felt in pictures... It's too bad for us "literary" enthusiasts, but it's the truth nevertheless, pictures tell any story more effectively than words. (Sones, 1944, p. 239)
Children - and if Marston is to be believed, all of humankind - have a natural attraction to comics. By inviting comics into their classrooms, educators can take advantage of the "fantastic motivating power of comic books" (Haugaard, 1973, p. 55).
Visual. Comics, being composed of "pictorial and other images" (McCloud, 1993, p. 9), is a fundamentally visual medium. Brocka (1979) sees this as comics' primary advantage over other literary forms. Pictures and text shoulder the burden of the story together. Versaci (2001) welcomes this "interplay of the written and visual" (p. 62). He feels that comics can "quite literally 'put a human face' on a given subject" (Versaci, 2001, p. 62) resulting in an intimate, emotional connection between his students and characters of a comics story.
In a study comparing comics to text, Sones (1944) found that comics' visual quality increases learning. Sones divided four hundred sixth- through ninth-grade students into two groups, balanced in terms of both school grade and intelligence. To the first group he presented a story in comics, with both pictures and text; to the second, only the text. Afterwards, each group was given a test on the content of the story. One week later, the process was reversed: the first group given the text version and the second group the comics. Both groups were tested again.
In the end, Sones (1944) concluded that "a strong trend in favor of the picture continuity was indicated by the two sets of results" (p. 238). On the first test, the first group scored significantly higher than the second group. On the second test, the second group showed a significantly higher improvement than the first. Sones inferred from this that children in the first group had neared saturation after reading the comics, so were unable to learn much more from the text. Those in the second group did not reach saturation until after they had reread the material in comics. Sones (1944) noted that students of "low and middle intelligence levels" (p. 239) were especially helped by comics' visual quality.
Sones' conclusions foreshadow the trend towards teaching to multiple intelligences among educators today. He writes, "An assumption implied in most school instruction is that all children will read the printed materials with equal effectiveness... The absurdity of this practice is patent" (Sones, 1944, p. 240). Visual learners benefit from visual media. In the struggle to engage students of all learning dispositions, comics can prove to be a formidable tool.
Permanent. Williams (1995) cites comics' "permanent, visual component" (p. 2) as one of his many reasons for using comic books in his ESL class. Film and animation, in contrast to comics, are visual but “time-bound.” Language and actions in film and animation are “fleeting.” The medium, rather than the audience, dictates how quickly the viewing progresses. The same is true of a traditional face-to-face lecture; the speaker has primary control over the speed of the lecture. The text medium, on the other hand, shares comics' "permanent" component but not its "visual." "Visual permanence," then, is unique to comics.
McCloud (1993) describes this quality in another way: "In learning to read comics we all learned to perceive time spatially, for in the world of comics, time and space are one and the same" (p. 100). Time within a comic book progresses only as quickly as the reader moves her eyes across the page. The pace at which information is transmitted is completely determined by the reader. In educational settings, this "visual permanence" firmly places control over the pace of education in the hands (and the eyes) of the student.
Intermediary. Comics can serve as an intermediate step to difficult disciplines and concepts. Many language arts educators have used comics in this manner with tremendous success. Karl Koenke (1981) suggests that comics can lead students towards the discipline of reading, especially those who don't enjoy reading or have a fear of failure. A study at the University of Pittsburgh supported this suggestion, finding comic books useful in remedial reading instruction (Sones, 1944). In Hutchinson's (1949) experiment, many teachers "discovered comic strips to be particularly useful in special classes or for slow learning pupils in regular classes" (p. 240). Haugaard (1973) credits comic books with transforming her reluctant reader son into an avid fan of Jules Verne and Ray Bradbury.
Versaci (2001) takes the intermediary quality of comics one step further. Using comics, Versaci challenges college literature students to consider, evaluate, and question the very concept of a "literary canon." Because comics are rarely considered literature, Versaci can surprise his students with well-written comics dealing with mature themes. Versaci then leads his class in a discussion on literary worth. He has found that discussions on comics are generally livelier than those on classic novels, possibly because of a misguided notion that books in the traditional canon are above question. Through comics, Versaci encourages his students to think critically about the literary worth of books and the formation of the literary canon.
Comics can also scaffold to disciplines and concepts outside of the language arts. For example, Jay Hosler's Sandwalk Adventures, a comic book starring Charles Darwin and a talking follicle mite, introduces readers to evolutionary biology (Eakin, 2002). The syllabi of many history courses already include the aforementioned Maus (Kendricks, 2000). Beyond specific works, the very act of creating comics is an interdisciplinary activity. In addition to reading and writing, comics-based projects can develop drawing, computer, and research skills. Many of the skills used in comics creation can be applied to film-making, illustration, and even Web design (Sturm, 2002).
Popular. American children are steeped in popular culture. While some educators simply ignore this reality, many others struggle to address it adequately. Timothy Morrison, Gregory Bryan, and George Chilcoat (2002) suggest that, by incorporating popular culture into the curriculum, teachers can bridge the separation many students feel between their lives in and out of school. Hutchinson (1949) agrees, stating that "there should be harmony between the child's on-going life activities and his experiences in the school - new learning always is a continuation or expansion of learning already possessed by the learner" (p. 236). In addition, the inclusion of popular media promotes media literacy. It encourages students to "become critical consumers of media messages, having developed the ability through exposure to accurately appraise media content or quality and accuracy" (Morrison, Bryan, & Chilcoat, 2002, p. 758).
Teachers can introduce popular culture into their classrooms easily and effectively through comics. Comic books have been a vital part of American popular culture for the last century. As examples, Emily Wax (2002) points to the Spider-man and Star Wars blockbuster movies, both of which have comic book counterparts. There are also examples with considerably less marketing hype. Versaci (2001) asks English teachers to consider Judd Winick's comic book Pedro and Me: Friendship, Loss, and What I Learned. Pedro and Me is a touching account of the author's friendship with Pedro Zamora, a young AIDS activist who eventually succumbed to the disease. Many students will recognize Winick and Zamora as cast members of MTV's Real World: San Francisco. Through comic books such as these, teachers can lead their students in a study of "contemporary lifestyles, myths, and values" (Brocka, 1979, p. 31).
Education Through Comic Books
 |  |
| Kids learn from Donald Duck and the Disney gang at school. |
The goal of any good teacher is to educate, even if the method seems unconventional. Throughout history we’ve changed the way we teach our children, adapting to new culture, new technology, new movements, and new thinking. Currently, a hot-topic issue in education is the use of comics in the classroom.
While some consider the use of comics as enforcing lazy reading, many others recognized the unbridled potential to ensnare the attention of young readers, and those with no interest in reading at all. Educators have stated that comics are appealing to young readers who may be intimidated by long pages of text. They also pointed out that the visual cues in each panel teach children about story structure and other key literary points.
\Programs throughout the U.S. have spread across the country with comic books used as a literacy tool. One program working through the Teachers College at Columbia University called the Comic Book Project, has children create comic strips of their own design. It began in one elementary school in Queens, and has expanded over six years to 860 schools across the United States. Comic Book Project founder, Michael Bitz, explained that, “It’s very much a teacher-led kind of movement in that teachers are looking for ways to engage their children, and they’re finding some of that in comic books…For kids who may be struggling and for kids who may be new to the English language, that visual sequence is a very powerful tool.”
With many teachers still hesitant, educators are encouraging them to approach the subject with an open mind. Maryland’s schools superintendent, Nancy Grasmick stated, “We’re trying to open the eyes of teachers and educators to this (comic books) as a possibility, this as something that might really help children and is good education.” During the 2005-06 school year eight schools in Maryland taught lessons using old Disney cartoons in the opening of the Comics in the Classroom program. Researchers from the University of Maryland, Baltimore County evaluated the progress recognizing the positive reactions by both students and teachers.
The state of Maryland, Diamond Comic Distributors, and Disney Publishing Worldwide are expanding the curriculum involving comic books for literacy. Inviting 200 teachers to join the program, they’re planning to give teachers a new series of original comics for early readers that are being released by Françoise Mouly, art editor of The New Yorker.
With this success and more on the horizon, comic book reading in the classroom may encourage children to progress from The Punisher to The Giver to The Catcher in the Rye. As any comic book fan knows, the sky is the limit.
http://www.macinstruct.com/node/69http://www.humblecomics.com/comicsedu/strengths.html
http://scoop.diamondgalleries.com/public/default.asp?t=1&m=1&c=34&s=260&ai=65134
反省
人生的目的在學習，學習的重點是心靈提升，
唯有心靈提升才能帶來真正的快樂與滿足。
然而心靈提升~必須具備反省的能力！
「吾日三省吾身」，
反省，必須有一把尺，
這把尺是聖賢的生命智慧，
以這把尺不斷和自己的內心對話，
觀察所思、所言、所行，
對的，就要鼓勵自己、增強它；
錯的，就要勸勉自己、改善它。
透過反省，
將知性知識轉變成轉化思想行為的智慧。
「反求諸己則無怨」，
人生不如意事，十之八九，
不如意時直接的反應往往是責怪他人，
導致內心極度的痛苦。
反省，將焦點拉至自己的身上，
透過不如意事反思自己的不足處而獲得啟發，
因而心生喜悅，對他人產生憐憫及感恩，
每件不如意事都成為心靈成長的最佳素材。
「見賢思齊焉，見不賢而內自省」
由於反省能力的增長，學習的心更切了。
他人表現得好，不會心生嫉妒， 而是生效法之心；
他人表現得差，不會心生嫌惡，
而是做為借鏡，並且關懷對方。
「一日不知非，即一日安於自是；
一日無過可改，則一日無步可進。」
子路聞過則喜，透過反省、知過、惡過、改過......，
「茍日新，日日新，又日新」，
達成心靈提升的目標。
自我體驗站
回想最近一次與人互動中讓我們不太舒服的一件事？
# 請把過程詳細描述。
# 看看自己在這過程中是否在認為都是別人的錯的同時，也曾想過自己也有錯，自己有哪些錯誤的反應及應對？
# 若有機會時光倒流，讓你重回當時的情境，你會怎麼做呢？
例：
回想最近一次師生互動的對立過程裡，出現學生的對話：「我又不是這樣，我又沒有做，更何況別人也有做? 為什麼不說其他同學？偏要說我呢？」心裡就會冒出一種很不舒服的想法：這個孩子，又在我說一句頂一句了，覺得他真不受教。
後來檢擇自己的內心：發現自己在排斥他，因為他破壞全班的秩序，並且讓身為師長的我面子掛不住。於是重新調整自己的內心：「我是來幫助孩子的，不是來和孩子對立的。」便放下身段傾聽孩子的想法，表達希望他更好的心意，孩子也柔軟下來，接納了我的意見。
心靈交流站
有一個人臉髒髒的，一回到家中看到大鏡子中的自己，以為鏡子髒了，就一直想去把鏡子擦乾淨，殊不知怎麼擦都擦不乾淨，原來該擦的不是鏡子，而是自己的臉。
這看似一個笑話，但往往我們在現實狀況中，反省方向就是常想去擦掉鏡中人的污點，卻不是擦掉自己心中的污點。 反省不是去看別人的錯， 而是看到自己的內心， 把自己惡的言行及心念趕走，把好的念頭及善行保留下來。
能在一日中常反省自己， 將錯誤的想法以正向的想法取而代之。 透過用心的觀察與思惟， 老師們！您是否也體會到反省之美： 別人不會再與我對立；自己不會再鑽牛角尖。 心的容忍度增強，心情會很愉悅。 聞過則喜，心靈在不斷提升當中。
（福智文教基金會提供）
http://life.edu.tw/data/plan/091/H42450-0000003/index.html#b
Wednesday 18 March 2009
到了中、高年级，孩子对朋友的描述由具体转为抽象，从身体、行为等外在的特质，转为描绘持久的内在心理特质，譬如，您可能会听到他描述一个同学「很大方」、「对人很好」。由以上可看出，孩子对自我及他人的认识是同时在发展的，透过认识别人，他也会更了解自己。
区分公开我与私下我
孩子认为他在「别人的眼中」是个怎样的人呢？学前的孩子通常还无法回答这个问题，因为幼儿的思考十分自我中心，他无法猜测别人的想法，认为别人表现于外的样子就是内在的想法。一直要到八岁左右，孩子才知道人有公众的形象，与私下独处时的样貌是不同的。
当学龄儿童具备了区分「公开我」与「私下我」以及「站在别人的立场思考」的能力之后，他开始知道人可以伪装，也相信私底下的自己才是最真实的自我。最重 要的是，孩子开始意识到自己的外在行会能引发别人的反应，而为了获得别人的赞赏，他会小心表现自己，并藉由观察别人的响应来修正自己的行为。透过每次的回 馈与修正，孩子学会在不同的场合中，做出最适当的反应，并从别人的赞赏中获得正向的自我概念。
小学生心理素质训练
试一试
在黑板上或纸上写一个“我”字。让一个小学生尽可能多地说出或写出“看到这个字，想到什么？”
在他说完、写完之后，对他的答案做一些简单的整理：
他一共想到多少内容？
哪一方面的内容想得最多？
答案中，有多少涉及他自己好的方面？有多少涉及他自己的不足之处？
从答案中，看出他对自己满意吗？
他的答案与你（指“我”之外的某一个学生）的预想吻合吗？
（一）小学生心目中的“我”
自我意识的发展轨迹
有一句名言：世界上最难认识的是什么？是“我”。然而，不管怎么难，人们在不断认识自然、认识社会的同时，也在不断地认识自己。成长中的小学生也是如此，伴随着知识、智慧、品德的发展，他们对自己的认识也在不断发展。具体说来，表现在以下几方面。
1．自我意识的独立性日益发展。低年级小学生自我意识的独立性比较差，他们对自己的认识或评价，几乎完全依靠成人，尤其是依靠教师。中年级学生逐 渐能相互评价，并能在同别人的比较中认识、评价自己。高年级学生自我意识的独立性有明显的发展。我们可以从小学生的言语中，看到各年龄段学生自我意识发展 的轨迹：“老师说我是好孩子”（低年级水平）；“他比我聪明，成绩比我好”（中年级水平）；“我认为我能做好这件事”（高年级水平）。
2．自我意识的范围逐渐开阔。低年级的小学生自我意识范围狭窄，他们往往较多地看到自己的优点和别人的缺点，往往只从学习、守纪律等方面认识、评 价自己。经过教育与训练的高年级小学生不仅关注自己的优点和缺点、优势和劣势，而且还关注自己的长相、穿着、举止。有些发展得比较好的学生甚至还能够认识 到自己在他人心目中的位置，他人对自己评价的正确程度。因而，许多专家认为，小学阶段是引导学生全面认识自己、正确评价自己的一个非常重要的阶段。
3．自我意识的程度渐趋深人。低年级小学生的自我意识往往以具体的外部行为为根据，中高年级的小学生则开始注意到了自己的内心世界，他们开始有了 自己的小秘密，自己的小烦恼，自己的“小算盘”。对自己行为的评价，低年级小学生往往只看效果，不问行为的动机和其他制约因素。但从中年级起，学生开始能 认识与分析自己的行为动机，并能把动机与结果联系起来进行分析、评价。小学生自我意识的发展程度，突出反映在他们对自己的满意程度上。低年级小学生对自己 的满意程度比较肤浅，自己有了新的玩具，有了新的学习用具，他们就对自己满意了，反之，就可能对自己不满意。中高年级，特别是高年级的小学生开始能对自己 在能力、努力和发展等方面的状况产生满意或不满意的体验。严格意义上的自卑感正是从这个时候发生的。
从中年级开始，小学生不仅能通过行为的结果来认识、评价自己，而且可以通过•自己的言语、自己与他人的交往过程、自己对环境的适应状态等方面认识 和评价自己。例如，在与同学交往的过程中，他也许会自言自语：“这件事，我做得不对，我应该……”。这类活动过程中的自责自纠，实质上是小学生自我意识发 展的一个重要标志。
从总体上说，小学生的“我”在不断成长，小学生心目中的“我”也在逐渐丰富。他们在不断成长、逐渐丰富的过程中，难免会出现困惑、矛盾、障碍、停滞，有时甚至是倒退、危机，特别需要辅导者及同伴群体的帮助。
自我意识训练要点
1．进行外貌及生理方面的自我意识训练
引导学生正确地认识自己的外貌及生理特点，如身高、体重、力量大小等等。
引导学生正确地评价自己的外貌及生理特点。
引导学生正确对待自己的外貌及生理特点。如，不以自己的黑皮肤为丑，不以长得漂亮而自夸。
引导学生正确对待自己生理和心理方面的变化，特别是青春期的生理心理变化。
训练示例：矮个子的优势
（1）故事会：矮个子的故事。
事先让学生搜集矮个子名人的故事，在班上进行演讲。
（2）辩论会：高个子与矮个子。
分为正方与反方，第一轮辩论：正方专讲高个子的优势，反方专讲矮个子的优势；第二轮双方交换：正方专讲矮个子的优势，反方专讲高个子的优势。
（3）每人以“我有我的优势”为题，写一篇文章，尽可能多地列出自己的优势。
（4）同学之间交流“我有我的优势”。
（5）向家长宣读“我有我的优势”。
2．进行智力、能力方面的自我意识训练
引导学生正确认识自己的智力、能力。如观察是否细致？记忆力怎样？思维是否敏捷？想象是丰富还是比较贫乏？自己有什么比较突出的或者是过人的技能？
引导学生正确评价自己的智力、能力。如：自己的智力、能力对学习有什么影响？对各项活动有什么影响？自己的智力、能力有哪些方面比同学好，有哪些方面不如同学？
引导学生正确对待自己的智力、能力。承认并接受自己的智力与能力的现状；努力发展自己的智力、能力；积极弥补智力与能力的不足。
训练示例：聪明的我
（1）提供示范：一个学生一口气说出了自己聪明的5件事：我会骑自行车；同座位的同学有一题不会解，我很快为他想到解题的办法；我背书背得很快；他的书包扣子解不开，我很快就帮他解开了；我能自己设计“广告”。
（2）每个学生都有自己的聪明之处。可模仿上例，要求他们尽可能多地说出来或写出来，至少10条。
（3）以小组为单位，以“你真聪明”为题，相互之间找聪明之处。每人至少说出同学的10条聪明之处。
（4）想一想：这样的活动让你懂得了些什么？
3．进行个性心理方面的自我意识训练
引导学生正确认识自己的个性心理。例如：是否坚强，是否经常发脾气？是不是一到关键时刻就紧张不安，有没有同情心？有没有自制力？
引导学生正确评价自己的个性心理。知道自己的哪些个性特点是好的，哪些个性特点是不好的；与同学相比，自己的个性特点有哪些优势，有哪些不足？
引导学生正确对待自己的个性心理。承认并接受自己个性心严的现实；借助成人的帮助，优化自己的个性心理，预防个性心理问题的出现。有心理问题，则要主动寻求辅导。
训练示例：情绪曲线
示范：情绪平稳为一水平轴线，情绪低落则在水平轴线下点一点，情绪高涨在水平轴线上方适当位置点一点。把一天中各时段的情绪点连接起来，呈一条情绪曲线。
图1一条假想的情绪曲线
（2）模仿上例，隔一天画一次情绪曲线，连续画三次。
（3）想一想：自己遇到哪些事时情绪比较高涨？遇到哪些事时情绪容易低落？
4．进行品德行为方面的自我意识训练
引导学生正确地认识自己的品德行为。例如：自己是不是遵守道德行为规范？能不能乐于助人？
引导学生正确地评价自己的品德行为。看看自己的品德行为能不能为他人所接受？自己的品德行为是不是有利于自己的健康成长？自己的品德行为能不能为他人、为集体、为社会带来积极的作用？
引导学生正确对待自己的品德行为。在实际行动中发展良好的品德行为，改变不良的品德行为，防止品德行为的滑坡。
训练示例：挑食诊所
（1）每人在纸条上写出“我最不喜欢吃什么？”投在“知心姐姐”信箱中。
（2）取出任意一张宣读。其他同学都来做“知心姐姐”，帮助这位同学分析挑食的原因，提出治疗对策。
（3）请几位同学介绍自己克服挑食毛病的经验。
（4）自找伙伴，提出改变挑食行为的目标，互相督促。
5．进行社会适应方面的自我意识训练
社会适应方面的自我意识，主要包括对自己所处的环境、自己所扮演的角色、自己的声誉、自己与别人的关系等方面的自我意识。
引导学生树立对社会适应的正确认识。例如，是否被人信赖？是否受人尊重？自己家庭的经济状况怎样？父母是否喜爱自己？自己在夏令营活动中扮演的是什么角色？
引导学生对自己的社会适应情况进行正确的评价。哪些方面是有利于自己继续成长的，哪些方面是不利于自己发展的？哪些方面比同学好，哪些方面不如同学？
引导学生正确地调节自己，不断地完善自己的社会适应性。例如：认识到自己在班级中的人缘不好，也懂得人缘不好对学习、对自己所担任的班长工作不利，于是，设法调节好与同学之间的关系，改善自己的人际关系。
训练示例：小导游
（1）让有提高社会适应性要求的学生参加学校的“导游小组”，接待来学校参观的各方面客人，向他们介绍学校的情况。
（2）假日里与同学一起到市民广场、名胜景点、繁华地段，主动做外地游客的小导游，引导他们参观游览，向他们介绍自己的家乡。
（3）让学生想一想：
第一次接触陌生客人时，自己有什么感受？
在导游过程中，发现自己有哪些长处，有哪些不足？
经过多次锻炼之后，“导游”有进步了吗？给自己现在的导游水平评分。
Tuesday 17 March 2009
認識自己
認識自己 (2005 年修訂版 ) 本課題分為三部分。第一部分讓學生了解自己的獨特性和潛能，進而引導學生接受自己的限制與缺點，並訂定提昇個人自尊的計劃。
第二部分介紹青少年階段的身體變化，鼓勵學生接納自己身體的轉變，積極面對成長。然後從社會及文化角度探討性別角色，並討論一些對性別角色的觀念如何限制了某一性別的發展。
第三部分引導學生認識自己的情緒變化，了解情緒對身心的影響，探討情緒的心理成因，和學習管理自己的情緒。
本組於2005年委託香港浸會大學教學發展中心思維工程，對本組與種籽學校共同開發的教材作出修訂，使各課題的思維技巧元素更為突出，讓學生一方面 能更深入地「認識自己」，了解個人獨特之處、情緒及身體的變化，從而學習接納自己、適當地評價自己，並進一步訂立目標和改善自己，邁向成熟；另一方面能掌 握他人觀點、鞏固、比較、加減趣、創思可能性、觀察、研究雙方觀點、考慮所有因素和辨認等思維技巧。
鳴謝
| 本教材荷蒙下列機構允許引用其版權所有之文章、資料及教材，謹此致謝。 |
| 大家出版社 / 小魯文化出版社 |
| 天衛文化圖書有限公司 |
脑功
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全脑多元智能理论 | ||||
多 元智能理论（The Theory ofMultiple Intelligences，简称MI）是一种全新的有关人类智力结构的理论。该理论自1983年提出以来，在美国和世界其它20多个国家和地区立生了深 远影响。20世纪80年代中期以来，全美许多学校依据多元智能理论进行了积极的实践探索，并积累的丰富了经验。这些对于我们进行全脑开发的研究和我国素质 教育的实施有着重要的意义。 ????传统智力观认为智能只是一种单一的逻辑推理或语文能力（换言之，除了逻辑与语文能力之外，其它的能力都是没有价值 的），如此的智力观点虽然可以准确地说明学生在学成绩的高低，但却难以解释大部份学生毕业后的专业成就与杰出表现。Gardner亦质疑此种智力观点的适 当性，认为智力必须与实际生活相关联，基于这样的理念，以及相关研究，包括对脑伤患者、专家、奇才的研究，以及讯息处理机制、心理计量学、实验心理学、认 知心理学、生物学等研究的综合结果，Gardner重新定义智力的概念，他认为智力应是“在某一特定文化情境或社群中，所展现出的解决问题或制作生产的能 力”。同时，他进一步指出人类智能至少有八种智能： | ||||
全脑多元智能 MIntellingences 1、语言智能（linguistic intelligence） |  | |||
一、罗杰思佩里教授左右脑分工理论 | |||
大脑功能分区和左右脑分工理论是我们进行全脑潜能开发的理论基础。根据此理论我们明确潜能开发的内容和方向，明确对大脑进行相关诊断和评价方法，给我们潜能开发提供了崭新的思路。 | |||
 | 加 州理工学院的罗杰?斯佩里博士在分割大脑的实验中发现，人类的大脑由大脑纵裂分成左、右两个大脑半球，两半球经胼胝体，即连接两半球的横向神经纤维相连。 大脑的奇妙之处在于两半球分工不同。斯佩里教授通过割裂脑实验，证实了大脑不对称性的“左右脑分工理论”，并因此荣获1981年度的诺贝尔医学生理学奖。 这两个半球是以完全不同的方式在进行思考，左脑偏向用语言、逻辑性进行思考；右脑是以图像和心像进行思考，并以每秒10亿位元的速度彼此交流。尽管如此， 这两个半脑彼此的动作并非分工式进行，而是互相支援、协调，所以两岁内的婴幼儿如果有脑机能损伤，大脑功能仍可以重新定位。由未受伤的半脑担负起已受伤半 脑的工作，而且表现与一般人无异。 | ||
二、艾登泰勒博士潜意识输入法 | |||
| 原创人艾登泰勒博士是一位知名的临床心理学家，被广泛认为是潜意识沟通与研究方面最具权威人士。拥有多种关于潜意识发展的著作。潜意识输入法是艾登?泰勒博士突破过去所有研究人类思想与行为的学者专家都没有发现的盲点，并且将这一理论予以具体化、工具化。 | |||
| |||
| 艾 登泰勒博士将［自我确认］话语和［主要声源］（如海浪声、音乐声）以电子同步的方式压缩结合。当您在聆听该音乐时，所有的讯息达到脑部，它们即以［电脉 冲］的方式转换成有意义的指令，深具广泛能力与庞大智慧宝库的潜意识，就能立即处理这些指令，并予以强化、重现在我们的意念当中。但在表意识的状态下，您 听不见任何语音内容。 | |||
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小熊的裤子
游戏时间
奇妙的叫声
故事大王讲故事
大家来帮忙
快乐的星期天
囡囡学看书
和妈妈一起读
数学逻辑职能
排名次
小丑娃的杂技
小樱桃的家在哪里
拼拼凑凑
找妈妈
丢失的纽扣
比多少
生日蛋糕
身体运动智能
我们的身体
调皮的小熊
小猴摘桃子
小小皮球
小鸟飞呀飞
拍照片
越过障碍
视觉空间智能
系气球
找朋友
小熊国家
小动物的家
装饰新房子
猜猜看
捉迷藏
搭积木
音乐智能
森林音乐会
模仿秀
打节拍
敲敲打打
音符爬楼梯
拍拍手
好玩的乐器
人际交往智能
拼照片
不同的表情
小熊的故事
好朋友
皮皮的星期天
大家一起玩
滑滑梯
自我认识职能
自画像
能干的手脚
小馋猫
自己的声音
豆豆的故事
指鼻子
豆豆不开心
自然观察者智能
五官的作用
美丽的树叶
找朋友
可乐罐子
找不同
树叶对对配
多元智能小百科：科学篇为什么铁这么硬呢？
水为什么能灭呢？
铁轨下为什么要铺枕木和石头呢？
放风稳的绳子，为什么拉不直呢？
冰棒为什么会冒气呢？
要怎样防止玻璃坏过热爆炸呢？
热水瓶为什么能保温呢？
为什么木悄会比大块木材容易着火呢？
太阳光下，放大镜底下的纸为什么会燃烧起来呢？
气球为什么会上升呢？
为什么潮湿的水易触电呢？
雷达为什么是空防的利器呢？
铁是怎样来的呢？
电影的影像为什么是活动的呢？
汽车为什么有开动呢？
吹风机为什么能将头发吹干呢？
为什么糖在热水中比较容易溶解呢？
电锅为什么能煮饭呢？
扇风，一定能够帮助燃烧呢？
皮鞋涂油后，为什么发发亮呢？
火车行驶时，为什么不断发出震动的声音？
保险丝是做什么用的呢？
舞台上的烟雾是怎样来的呢？
糖是怎样制成的呢？
灭火器为什么能灭火呢？
食品罐头为何能放很久而不易变坏？
玻璃是怎样制成的呢？
石头放入液体中，一定会沉下去吗？
车胎为什么要刻花纹呢？
电话为什么能传送声音呢？
放射能有什么可怕呢？
警报器为什么会发出鸣叫声呢？
啤酒为什么会有气泡呢？
邮票涂上糨糊，为什么会往上卷呢？
语言智能
发生了什么
给朋友写一封信
生日礼物
文字接龙
传声筒
有趣的日记
我来讲故事
我知道你的样子
六声朗读
看图讲故事
我爱妈妈
我讲我画
数学逻辑智能
加加减减
现在几点了
今天我购物
比多少
美丽的花园
美丽的花园
连连看
明明请客
排队报数
气球大考验
找平衡
称体重
完成算式
身体运动智能
看谁跳得高
一起做运动
模仿秀
障碍赛
向前冲
五彩项链
大圈套小圈
大丰收
放风筝
跳格子
金鸡独立
帆船
视觉空间职能
上下左右
拼图
搭积木
找不同
魔幻城堡
我的影子
补充图形
我的家
对对配
春天的色彩
照镜子
涂涂画画
音乐智能
认识乐器
模仿声音
缺少的一角
聆听
跳个舞吧
音乐会
跟着节奏跳吧
外婆桥
如果幸福你就拍拍手
全家总动员
人际交往智能
不同的职业
学会问候
一起来游戏
我的朋友
关心他人
陌生人来了
认识交通标志
与他人合作
捡宝贝
一起画
自我认识智能
我的身体
表情
我的物品
你很棒
归纳物品
我的影子
我是谁
持之以恒
了解自己
小美买东西
自然观察者智能
白天和晚上
爱吃什么
季节交换
蔬菜和水果
天气预报员
一天
相反的意文
海洋
小动物的家在哪里
花的成长
哈佛多元智能训练营.6岁
你会说吗
玩具
绕口令
古诗二首
小霸王（故事）
看图讲故事
过冬（故事）
动物园
给故事编结尾
过年
数学智能
摘玉米
坐汽车
找门牌号
分气球
采蘑菇
看图列式
分苹果
快乐三角板
应用题
买东西
时钟
说一说
社会智能
介绍自己
我会做
过马路
保护环境
怎么办
小主人
你该怎么做
空中的朋友
认识节目
民族风情
动和智能
做早操
聪明的小兔
运球
有趣的沙包
过河
丰收的果实
美丽的风筝
石子阵
树味吊饰
撕贴画
机器人
贺卡
内省智能
买书
不攀比
耐心
这样好不好
诚实的小狗
……
自然智能
音乐智能
空间智能
www.tushucheng.com/book/1348379.html
Friday 13 March 2009
如何提升EQ
EQ 的高低，在某一程度上，由大腦神經系統主宰，但這並不表示 EQ 完全由先天或生理因素決定，就如同 IQ 般，可以藉由後天的訓練來提升。以下將建議幾個方法供你參考。
一、了解自己的情緒：當我生氣的時候，我一定會察覺到「我在生氣」嗎？未必！我們情緒起了變化的時候，注意力會放在引起情緒反應的事情上，也就是陷入情緒當中，無法「跳出來」看到當下的情緒。經常在事後，才察覺到「我剛才很生氣」。試著在有情緒反應時，除了注意到引起情緒的事件之外，也能分些注意力去體察自己「內心的情緒狀態」。
二、 妥善管理情緒：當你能夠立刻察覺自己的情緒，問問自己為什麼生氣？為什麼難過？如果是你的想法引起不快，再問問自己，有沒有其它替代想法？如果找不到其它理由，就做些可以排解情緒的事：找人訴苦、聽音樂、散步、狠狠地打一場球。
三、 同理心：要了解自己的情緒，也要了解別人的感覺並設身處地為人著想；理解每個人會有不同的感受。接納對方的情緒，是允許對方有權利產生情緒，而你可以從他的立場去體會他的感受。
四、 社交技巧的培養：社交技巧首重坦誠，了解人際關係中坦誠與互相尊重的重要；懂得選擇適當時機談論個人的感情。還要學習如何以不卑不亢的態度清楚地表達自己的感受。
五、 接納自己：學習要以做自己為榮；認知自己的優點與缺點；堷養自嘲的能力。
Multiple Intelligences
By
Jay Davidson
In Howard Gardner’s Frames of Mind, he proposes that there are seven main areas in which all people have special skills; he calls them intelligences. His research at Harvard University was in response to the work that Alfred Binet had done in France around 1900. Binet’s work led to the formation of an intelligence test; we are all familiar with the “intelligence quotient,” or “IQ,” the way that intelligence is measured on his test.
This type of IQ test was used as the basis of another one with which most of us are familiar: the Scholastic Aptitude Test (SAT), which is taken my most college-bound high school students.
Both of these tests look predominantly at two types of intelligences: verbal and math. If a person does well on these, s/he is considered “intelligent,” and is a candidate for one of the better colleges or universities. But what about everyone else? How many of you who are reading these words have used the phrase “not good at taking tests,” when talking either about yourself or your child?
The Multiple Intelligences (MI) theory proposes that there are other measures of intelligence beside these two. I offer this information to you so that you can understand that while many teachers have some knowledge of MI theory, most of our schools are not fully set up to use it to the advantage of all students.
That being the case, perhaps you can either (1) be involved in helping your child’s teachers and school to provide a more balanced program that develops his intelligences that are not more included in the curriculum or (2) find activities outside of the school environment in which your child can develop his dominant areas of intelligence.
You should also know that MI theory posits that each of us has, to some degree or another, all of these intelligences. Some of them are simply more developed than others. Furthermore, we are all able to improve our ability in each of these areas.
Howard Gardner stresses that the intelligences are equal in their importance. In alphabetical order, they are:
Bodily-kinesthetic: using one's body to solve problems and express ideas and feelings. Actors, athletes, and dancers use their whole bodies in this way, much the same way that craftspeople, sculptors, and mechanics use their hands.
These questions can determine if an adult has a strength in Bodily-Kinesthetic Intelligence:
* Do you regularly participate in a sport or some physical activity?
* Is it difficult to sit still for long periods of time?
* Do you enjoy working with your hands in creating things?
* Do you find that ideas and solutions to problems come to you while you are exercising or doing some sort of physical activity?
* Do you enjoy spending your free time outdoors?
* Do you speak with your hands or other body gestures?
* Do you learn more about things by touching them?
* Do you enjoy thrilling amusement park rides such as the roller coaster and other activities like this?
* Do you think of yourself as being well-coordinated?
* In order to learn a new skill, do you have to practice it to learn it, rather than read about it or see it in a video?
These are some questions to determine if children may be exhibiting a well-developing Bodily-Kinesthetic Intelligence. Does your child:
* excel in more than one sport?
* move various body parts when required to sit still for long periods of time?
* have the ability to mimic others’ body movements?
* enjoy taking things apart and putting them back together?
* have a hard time keeping hands off objects?
* enjoy running, jumping, or other physical activities?
* show skill in activities that require fine-motor coordination, such as origami, making paper airplanes, building models, finger-painting, clay, or knitting?
* use his body well to express himself?
Interpersonal: perceiving the moods, feelings, and needs of others. It includes salespeople, teachers, counselors, and those we have come to call the helping professions.
These questions can determine if an adult has a strength in Interpersonal Intelligence:
* Have people always come to you for advice?
* Have you always preferred group sports to solo sports?
* Do you usually prefer talking to other people about a problem, rather than figure it out on your own?
* Do you have at least three close friends?
* Do you prefer social activities over individual pursuits?
* Do you enjoy teaching others what you can do well?
* Are you considered to be a leader, either by yourself or others?
* Do you feel comfortable in a crowd?
* Do you prefer to spend your time with others than alone?
These are some questions to determine if children may be exhibiting a well-developing Interpersonal Intelligence. Does your child:
* enjoy socializing with friends?
* seem to be a natural leader?
* empathize easily with others, which leads to his give advice to friends who come to him with problems?
* seem to be street-smart?
* enjoy belonging to organizations?
* enjoy teaching other kids - either peers or younger ones?
* have two or more close friends?
* serve as a magnet for social activities with others?
Intrapersonal: turning inward with a well-developed self-knowledge and using it successfully to navigate oneself through the world.
These questions can determine if an adult has a strength in Intrapersonal Intelligence:
* Do you regularly spend time alone meditating, reflecting, or thinking about important life questions?
* Have you attended counseling sessions or personal growth seminars to learn more about yourself?
* Do you have a hobby or interest that you keep to yourself?
* Have you set goals for yourself regularly?
* Do you have a realistic view of your strengths and weaknesses?
* Would you prefer spending time by yourself rather than with many people around you?
* Do you keep a diary or journal to record the events of your inner life?
* Are you either self-employed or have you given serious consideration to starting your own business?
These are some questions to determine if children may be exhibiting a well-developing Intrapersonal Intelligence. Does your child:
* show a sense or independence or a strong will?
* have a realistic sense of her abilities and weaknesses?
* do well when left alone to play or study?
* "march to the beat of a different drummer" in living and learning?
* have a hobby or interest she doesn’t talk about much?
* have a good sense of self-direction?
* prefer working alone to working with others?
* accurately express how he is feeling?
* learn from failures and successes?
* have good self-esteem?
Linguistic: using words, either orally or written, in an effective manner. This intelligence is associated with storytellers, politicians, comedians, and writers.
These questions can determine if an adult has a strength in Linguistic Intelligence:
* Have you always enjoyed books and given them importance?
* Do you hear words in your head before you speak or write them?
* Do you enjoy talk shows more than television or movies?
* Do you enjoy word games, puns, rhymes, tongue-twisters, and poetry?
* Do you have a highly developed vocabulary and enjoy knowing words that other people do not know?
* In your own education, did you enjoy subjects related to words and ideas, such as English and social studies, more than math and science?
* Have you enjoyed learning to read or speak other languages?
* In your speech, do you refer to information that you have read or heard about?
* Have you been praised, recognized, or paid for your writing?
These are some questions to determine if children may be exhibiting a well-developing Linguistic Intelligence. Does your child:
* write better than average for her age?
* enjoy telling stories and jokes?
* have a good memory for names, places, dates, and other information?
* enjoy word games, either visually or auditorally?
* enjoy reading books?
* spell better than other children the same age?
* appreciate rhymes, puns, tongue twisters?
* enjoy books on tape without needing to see the book itself?
* enjoy hearing stories without seeing the book?
* have an excellent vocabulary for his age?
* communicate thoughts, feelings, and ideas well?
Logical-Mathematical: understanding and using numbers effectively, as well as having good powers to reason well. Exemplars are mathematicians, scientists, computer programmers, and accountants.
These questions can determine if an adult has a strength in Logical-Mathematical Intelligence:
* Have you always done math in your head easily?
* When you were in school, were math and/or science your best subjects?
* Do you enjoy playing games that require logical thinking?
* Do you set up experiments to see "what if" in your course of jobs around the house or at work?
* Do you look for logical sequences and patterns, with the belief that almost everything has a logical explanation?
* Do you read science periodicals or keep track of the latest scientific developments?
* Do you like finding logical flaws in things that people say and do?
* Do you feel the need to have things measured, categorized, analyzed, or quantified in some way?
* I think in clear, abstract, wordless, imageless concepts.
These are some questions to determine if children may be exhibiting a well-developing Logical-Mathematical Intelligence. Does your child:
* demonstrate curiosity about how things work?
* have fun with numbers?
* enjoy math at school?
* enjoy math and/or computer games?
* play and enjoy strategy games such as chess and checkers, brain teasers, or logic puzzles?
* easily put things into categories?
* like to do experiments, either at school when assigned or on her own?
* show an interest in visiting natural history or discovery-type museums and exhibits?
Musical: relating in a wide range of ways to music. This can take many forms, as a performer, composer, critic, and music-lover.
These questions can determine if an adult has a highly developed Musical Intelligence:
* Do you have a pleasant singing voice?
* Can you tell when a musician plays a note off-key?
* Do you frequently listen to music?
* Do you play a musical instrument?
* Was it easy for you to learn to play a musical instrument?
* Do you think your life would not be as rewarding without music?
* Do you usually have music going through your mind?
* Can you keep time to music?
* Do you know the tunes to many different songs or musical selections?
* Can you usually sing back a melody accurately after you hear a new selection only once or twice?
These are some questions to determine if children may be exhibiting a well-developing Musical Intelligence. Does your child:
* tell you when she recognizes that music is off-key?
* easily remember song melodies and sing them?
* have a pleasant singing voice, either alone or in a chorus?
* play a musical instrument?
* speak or move in a rhythmical way?
* hum or whistle to himself?
* tap on the tabletop or desktop while working?
* show sensitivity to noises in the environment?
* respond emotionally to music she hears?
Naturalist Intelligence: excellent at recognizing and classifying both the animal and plant kingdoms, as well as showing understanding of natural phenomena.
These questions can determine if an adult has a strength in Naturalist Intelligence:
* Do you like to spend time in nature?
* Do you belong to a volunteer group related to nature?
* Do you enjoy having animals around the house?
* Are you involved in a hobby that involves nature, such as bird watching?
* Can you easily tell the differences among species of flora and fauna?
* Do you read books or magazines, or watch television shows or movies that feature nature?
* On vacation, do you prefer natural settings to cultural attractions?
* Do you enjoy visiting zoos, aquariums, or other places where the natural world is studied?
* Do you enjoy working in your garden?
These are some questions to determine if children may be exhibiting a well-developing Naturalist Intelligence. Does your child:
* talk about favorite pets or preferred natural spots?
* enjoy nature preserves, the zoo, or natural history museum?
* show sensitivity to natural formations? (Note that in urban environments, this type of "formation" can include cultural icons.)
* like to play in water?
* hang around the pet in school or at home?
* enjoy studying environment, nature, plants, and animals?
* speak out about animal rights and earth preservation?
* collect bugs, flowers, leaves, or other natural things to show to others?
Spatial: perceiving the visual-spatial world in an accurate way, so as to be able to work in it effectively. The people who do this cover a wide range of fields that, upon first glance, do not seem to have much in common. Compare, for example, hunters, sailors, engineers, inventors, and surgeons to interior decorators, architects, painters, and sculptors.
These questions can determine if an adult has a strength in Spatial Intelligence:
* Have you always been able to reproduce clear images in your mind, even when your eyes are closed or the objects are not in front of you?
* Are you sensitive to color?
* Do you take a lot of photographs or home movies?
* Do you enjoy jigsaw and other visual puzzles?
* Do you have vivid dreams?
* Do you usually have an easy time getting around, even if it’s your first time in a new place?
* Do you enjoy drawing or doodling?
* Was geometry easier for you than algebra?
* Do you have an easy time reading maps and translating their information into reality?
* Do you enjoy books and magazines with many illustrations, photos, and design elements?
These are some questions to determine if children may be exhibiting a well-developing Spatial Intelligence. Does your child:
* recall visual details in objects?
* have an easy time learning to read and understand maps and charts in books?
* daydream a lot?
* enjoy the visual arts?
* demonstrate ability in using art materials and creating drawings, sculptures, or other three-dimensional objects?
* enjoy visual presentations such as videos, television, and movies?
* get a lot of information from illustrations in books she reads?
* scribble, doodle, or draw on all available surfaces?
I have seen limited reference to another intelligence: Naturalist, which is described as being able to recognize plant or animal species in the environment. This one is not included in the two Gardner books I list it here for your perusal, but it was added after this original research.
7Q
葉國洪博士 香港浸會大學教育系
對新一代的父母來說，教養孩子發展知性、個性、人性和靈性是一門表面容易，內裏艱深的學問。
（一）由於「天生天養」的教育方式已不再適用於充滿誘惑的現代社會，精明的新一代父母乃竭力探求有效的教育理論去解決教養孩子時所遇到的問題，例如：如何使孩子在逆境中求存應變 - AQ (應付逆境商數 Adversary Quotient): 如何使孩子學懂自愛和自發學習-IQ (智力商數 Intelligence Quotient): 如何使孩子學懂聽從命令、自律、控制情緒、學會克己和合群-EQ (情緒商數Emotion Quotient): 如何使孩子身心持續健康地均衡發展 - DQ (發展商數 Development Quotient): 如何加強和善用親子連繫以促進孩子身心持續發展 - BQ (親子連繫商數 Bonding Quotient)。而解決這些問題的方法就是天下父母探求的目標，也是他們為孩子成長而努力的方向。
此外還有CQ (Creativity Quotient)。這理論強調創造性，可以抵消「填鴨式教育」的負面影 響，強調「無中生有」和整合(Integration)。在學術界而言，IQ理論發展最早，而注重反映兒童階段性成長的發展商數DQ，雖已面世數十年，卻鮮為人知。
另一方面，親子連繫商數 (BQ) 強調親子連繫及雙親關懷的重要，是左右孩子身心發展的重要因素，雖然還未脫穎而出，但在學理邏輯方面正趨向完備，將可自成一家。
其實，父母想促進兒童的成長，祕訣是培育而非機械加工，所以DQ是不可忽略的。DQ強調一 切教學設計必須針對和配合孩子的發展程度和學習進度。
此外，父母是孩子的啟蒙和貼身教師 ，他們的適當關懷和接觸，是孩子成長的外在原動力。
（二）當教養孩子時，智 (IQ)、仁 (EQ)、勇 (AQ) 三方面的鍛鍊是不可忽略的。刺激智力發展有利孩子掌握知識和技術 (IQ理論)；情意和態度方面，須注意培養孩子控制情緒，延緩滿足和豐富的同情心 (EQ理論)；勇氣和毅力方面，須注意培養孩子勇於面對逆境，遇挫折不氣餒，頑強奮鬥的精神 (AQ理論)。
AQ 理論最重要的論點是培養孩子逆境求存的精神，父母適當安排逆境和難題挑戰孩子，暗中扶助孩子去克服難關，有助孩子掌握掙扎圖存之道。不過，有一點相當重要的是家長教師不 能全信多元智能理論 (Multiple Quotient)，只可作為參考。雖然現代心理及生理實驗雖發達，但限制仍不少，自圓其說的全面理論，仍多未有百分百科學證據支持，我們只可借用理論合用部分去改善教育，並步步為營地改善自我。
（三）以下有若干具體在兒童教育綜合運用多元智能的原則，希望家長和教師參考後，融匯於自己的實際處境中，再修改嘗試應用。
1. AQ的概念
(1) 在成長過程中，有進亦有退，家長應允許孩子出現退步，宜鼓勵孩子勇於承認錯誤而不是隱瞞錯誤，幫助孩子從挫敗中汲取教訓。
(2) 提醒孩子有順境和逆境，讓孩子在安全情況下體驗挫折和失敗。讓孩子面對現實，作好思想準備，當日後遇挫敗時，不會因焦慮過度，或承受不了心理壓力而變得一蹶不振。
2. CQ的概念
(1) 讓孩子有機會進行各種創作活動。
(2) 鼓勵兒童獨立從事各項活動。
(3) 隨著兒童獨立能力增強，創造能力越變得活躍和更具自發性。
(4) 對孩子的想法和做法，不能因一時不合己意而完全否定或反對，盡可能發掘兒童想法中的獨特和巧妙處，並表示積極關注和評價。
3. DQ的概念
(1) 家長亦應設定「孩子創意活動記錄簿」，記下孩子的創意活動及家長的反應。家長憑此檢討扶助孩子成長的方法。
(2) 讓兒童去做一些能力所及的事情，並取得一定的結果。
(3) 家長和教師宜幫助孩子建立有明確規定的訓練和行為標準。他們要善用權威，不應任意濫用權威而改變行為的對錯準則。在遊戲前，先定出原則性規定，例如不准出現傷害破壞等行為。至於遊戲的具體細節，家長和教師可以不加硬性規定，讓孩子在合理規範內自由想像、自由發揮，既可培養紀律，亦可啟發創意。(DQ + CQ概念)
4. EQ的概念
(1) 對孩子各種想法應經常有積極反應，例如鼓勵、支持及讚賞，提出有益的建議和扶助。
(2) 營造寬鬆和活躍的氣氛，家長和教師隨時準備回答孩子的提問。
(3) 培養兒童的積極情緒，讓兒童體驗到獨立完成某項活動又能取得較好的結果。
(4) 讓兒童去完成工作或任務，逐步培養責任心。責任心是兒童趨向成熟和具創造力的基本要素。
(5) 重視對孩子在感情上的支持。
(6) 家長和教師不應總把自己的意志強加於孩子身上，應讓孩子有發表意見的機會，應靜心傾聽孩子的心聲，並對孩子富有創造性的想法加以積極評價，經常留意及欣賞孩子行為中獨特之處。
(7) 家長和教師應幫助兒童學會與人相處和培養兒童的獨立性格。獨立性格並不表示不需要朋輩關係。在社會發展趨勢來看，沒有合作，幾乎是不可能完成任何事情的。從個人發展角度來 說，日常交往不但能讓兒童學會與別人交流、相互影響和學習，而且能讓兒童能在同儕中表現自己，同時也讓人評價。
(8) 很多具有高度創意的人因為沒有機會表現，沒有機會讓社會評價，其才能可能永遠被埋沒。 因此，創意產品須社會評價後才能彰顯其社會價值。社交生活除了讓兒童得到友誼的滋潤外，還可穩定、平衡情緒，讓感情發展暢順。為朋友、社會和家庭所接納和欣賞，使兒童覺得生 活和生存得更有意義。兒童的創意愈被欣賞，創造慾便愈盛。
5. IQ的概念
(1) 為了提高創造力，家長和教師應予孩子有適當的空間：
‧ 提供必要的活動空間；
‧ 提供進行自由閱讀和探索的空間；
‧ 提供表現機會，使孩子勞動和學習的成果有展示機會。
(2) 強調接受知識時亦應同時注意知識的應用與實踐。
(3) 鼓勵兒童設定「成果記錄簿」，最初不求質素，不多苛評，鼓勵創意嘗試。
綜合而論，多元智能理論有助我們在教育兒童時，注意多角度、多層次的教育目標，有利兒童德 (EQ)、 智 (IQ)、體 (IQ)、群 (EQ)、美 (EQ)、創造力 (CQ)，適應逆境 (AQ) 方面的發展。家長和教師注重與發展進度的配合，亦有助兒童順利成長。
七種智商(7Q)
Seven Intelligence Quotients
7Q = ( S.Q.) + ( P.Q.）+( E.Q.）+（C.Q.）+（I.Q.）+ ( A.Q. ) + ( L.Q.）
7Q = Seven Quotients = 「 SPECIAL 」七種智商
何謂七種智商(7Q)?
「 SPECIAL 」
在二十世紀初，心理學界發現了測量智商的方法，亞里斯多德所謂人是“理性的動物”的定義，也因智商 ( I.Q. ) 獨大而發皇。在1990 年代中期，丹尼爾．高曼把情緒智商 ( E.Q. ) 的研究普及化，指出 E.Q. 是正確使用 I.Q. 的基本要求。進入西元 2000 年，從心理學、神經學、人類學及認知科學的研究顯示，創作智商 ( C.Q. ) 是評估以右腦為基礎的思考能力。及擁有生活智商（L.Q.）的人，會將生活安排得充實富足、情理兼蓄、動靜皆宜。而潛能智商 ( P.Q ) 是指一個人因某些回饋而使其頓悟，發掘並正視一己的潛能。
根據保羅史托茲搏士提出計算及測量的逆境商數的逆境智商 ( A.Q. ) 方法發揮潛藏在人類內心深處的潛能。後期根據兩位牛津大學馬素及蘇夏教授以足夠的證據證明，新類型智商的定義，即是心靈智商 ( S.Q.)，這智商是人類才擁有的，這是七種智商「 SPECIAL 」中不可或缺的基礎，亦是人類智慧的最高境界。
參照哈佛大學嘉那教授之多元的理論及資訊社會知識經濟的特質，在培育智能的全面發展提供了明確的方何，並認為 21 世紀的教育應全面培育兒童的七大智能 ( Multiple Intelligences )，包括 : 語言能力智能、數學邏輯智能、視覺空問智能、音樂旋律智能、身體運動智能、人際溝通智能、個人內省智能等，而本中心冶療師揉合心理治療方法及催眠治技巧，啟導潛在於個人身心的智商 ( 七種智商 / 7 Q ) 「 SPECIAL 」及智能 (七大智能) 得以提升及發揮，使每個人的天賦及才能得到最充份的發展，成為心靈充實、充滿自信及抗逆能力強的終身學習者。
何謂智商Intelligence Quotient ( I.Q. )？
智商即是智力商數，人們簡稱 I.Q. ( Intelligence Quotient )，計算方法是一個人的心理年與其生理年的比例乘上 100 :
I.Q. 愈高就顯示人的心智比同樣年齡的人更發達，也表明了他比別人更聰明。而 I.Q. 的高低與一個人的學習能力和學成績有很大的關係。但我們只憑 I.Q. 來斷一個人在社會上的成就，就顯未夠完善，甚至產生很大的偏差。所以目前除了 I.Q. 外，還有 C.Q. 、P.Q. 、L.Q.、E.Q. 、S.Q. 和 A.Q. 等等學說應運而生。
何謂創作智商Creativity Intelligence Quotient ( C.Q. )？.
創造力 ( Creativity ) 是指運用我們的思考去產生一種嶄新構思、觀念和想法。創作智能 / 創作智商 ( C.Q.) 是評估以右腦為基礎的思考能力，包括創意、無意 及非線性思考之能力。創作智商高的人思考敏捷，感情豐富，對音樂、繪畫及表演藝術有濃厚興趣。如果一個人心情好、常歡喜，思緒便會源源不斷，激發出許多有創意的意念和構思。創造力智商需被鼓勵，更需被肯定及接納。「愈誇愈好，愈罵愈笨」，孩子的創造力需大人的發掘與欣賞，帶領他們及多嘗試，勇於冒險，挑戰自己，創造力逐步地推陳出新、創新的思維便漸漸地出現。擁有創作智商的人是敢於表達、較主動、有創意、較重快樂。
何謂情緒智商 Emotional Intelligence Quotient ( E.Q. )？
擁有良好的 E.Q. 能幫助我們在社會上如魚得水、游走自如。先天 I.Q. 高、後天的努力夠，但沒有相應的 E.Q. 配合的話，成功不是必然的。情緒智商 ( E.Q. ) 高的人能表達自己以身受感作基礎、了解他人、與人溝通帶來良好的人際關係、互相接納、互相包容。擁有良好的 E.Q. 同時具備掌握自己感情、理解他人感覺，和在任何情況下都能保特樂觀向前的態度。他們能善於處理情緒，制衡情緒的負面反應，既避免過分衝動而造成毀滅性行為，也避免過分壓抑而變得沮喪、憂鬱。
E.Q.基本分類 :
*
有感同身受的能力:
有推察他人心境，並加以把握的能力，亦即能夠想像自己被置於相同狀況下會有何感受。
*
有自我認知的能力:
能客觀地思考自己的思考進度及行動，並因而調節人際關係，使其順暢的能力。
*
展現耐力:
能長期間自我控制，為達成目的，不論任何情況均可持續忍耐的能力。
*
現有彈性交際手腕 :
與人交往時，能不讓對方有不舒服的感覺並調自己的態度和對方交往。
*
有控制衝擊的能力:
在憤怒、不安的激動情緒中，仍然能夠力求自我控制，絕不將內心的憂慮、煩躁表現出來。
何謂生活智商/學習智商（L.Q.）( Life / Learning Quotient）？
今非昔比，尤其現今的師長及父母們要不斷「學習」，如何跟上時代的潮流、如何教育所謂的新新人類。教他們什麼？首先是儲備自己、成長自己，使自身條件提昇而成為一個可愛的人，諸如豐富的內在涵養、得宜的外表修飾、以及應對進退的智慧。除了被愛外，也培養愛人的能力，莫以推銷式、強迫式、或自以為是的愛去愛別人，那樣只會徒增對方苦惱；應以愛及同理心為出發點。此外，富生活智商（L.Q.）的人，會將生活安排得充實富足、情理兼蓄、動靜皆有。師長及父母們要「放下身段，亦師亦友」，改善親子關係而訂下目標和孩子做朋友。嘗試站在孩子的角度，投入他們的世界，這需要多大的勇氣啊？！更要有共同興趣，孩子會漸漸地開始願意和父母交談，整個家庭的氣氛也會在和諧中渡過。
何謂人格智商/潛能智商(Pensonality / Potentiality Intelligence Quotient）( P.Q.）？
只要一個人心存好念、口說好話、日行一善，則其道德智商會將成為終其一生的人格商數，因為他必然會是個廣結善緣、精神富足的人。擁有潛能智商是有活力、富魅力的個體，只因「積極、樂觀、進取」是人類的人生信念。 潛能智商 ( P.Q.) 的另一層含意則在說明每個人都是有潛能的，只是時機未到或缺乏與人互動、參與活動的機會，尚被壓藏在潛意識而不自知，故需藉由多參與、多互動、多做自我揭露，方能因回饋而頓悟，發掘並正視一己的潛能。
何謂心靈智商 Spiritual Intelligence Quotient ( S.Q.）？
心靈智能不像 I.Q.，也不像 E.Q.，那是存在於高級哺乳動物的能力，S.Q. 涉及個人存在的目標及意義，它能帶你化危為機，超越生死的考慮，及此智能是只有人類才擁有的，這是七種能力中最基本的，亦是最高層次的。它連結到人類對意義的需求，這是面對人類新世紀時代的首要議題。心靈智商 ( S.Q. ) 是我們用來發展我們意義、觀點和價值的追求的事物。它讓我們能夠把夢想付諸行動。它存在於我們相信的事物，及將我們的信念與價值化為行動的角色，激發自強，承擔逆境帶來的一切轉變。心靈智商便是我們的奮鬥目標，使之能夠接受及修正我們的生命模式。
何謂逆境智商 Adversity Intelligence Quotient ( A.Q.)？
有人天資聰穎，有人善解人意及擁有極高的社交技巧和情緒智能，但最令人惋惜的是，他們雖然天賦異稟，但貢獻和成就有些時候，反不如一些資質平庸的人。因為他們太容易半途而廢，沒有完全發揮自己的潛能。究竟是甚揦因素激發我們的雄心壯志？是甚麼力量驅使我們實現目標，掌握自己的命運呢？這力量其實潛藏在我們的內心深處，而計算它的方法便是心理學家提出的逆境智能 ( A.Q. ) 。
逆境智能以登山作比喻，把人分成以下三大類：
-- 攀登者谂( The Climber )：
這類人具備應付逆境的勇氣和毅力，而且從不計較得失，亦不管運氣好懷。矢志不移，永遠向前向上，便是他們一生的奮鬥目標。
-- 半途而廢者谂( The Camper )：
這類人雖然接受了登山的挑戰，但不耐攀爬,，只要中途找到一塊可供躲避逆境的平坦草原，便會停下來為自己建設舒適的熭地。結果是固步自封，逐漸喪失自己的優勢，表現和成果也越來越差。
-- 放棄者( The Quitter )：
這類人拒絕接受挑戰，稍遇困難便立刻氣餒。他們既不追求登峰造極，也不嚮往豐盛人生 ; 只求矇混過關，缺乏自發精神。
要做成功的攀登者，我們首先了解構成逆境智能四大原素，包括控制、承擔、影響和持續性：
# 控制： 你認為自己對逆境有多大的控制能力？
自認無能為力的人，希望問題會化為烏有，行動力也完全消失。相反，自覺控制力高的人往往能主動找出解決問題的法，順利渡過難關。
# 承擔： 挫折的起因是甚麼？
你認為自己對挫折的成因，了解誰人應牐擔責任及自己的責任及自己的責任有多大，而不會盲目推卸責任或自責。只有這樣，自己才會有齄氣繼續接受挑戰。
# 影響： 你能限制挫折對自己的打擊嗎？
逆境智能低的人稍遇挫折，便覺得是世界末日。他們把上司的斥責看成是事業前途的毀減 ; 財務損失，變成破產的先兆 ; 一個未回覆的電活，意味著感情破裂。相反，逆境智能愈高，愈能以平常心處理問題。衝突就是衝突，不等同關係斷絕 ; 考績不好也只是考績不好，不會幻想成事業失敗。唯有抱持積極樂觀的態度，針對問題谛身的嚴重性，才能採取有效行動，協助自己早日脫離困境。
# 持續性： 你能否控制情緒，不受挫折持續困擾？
逆境智能愈低的人，愈認為挫折會持續很長的時間，甚至永遠，他們亦愈有可能放棄。只有把挫折視為暫時的失敗，檢討自己的方法是否不對，不夠努力，或是缺乏天時，地利人和，才能改進自己，增加未來成功的機會。
結論
綜合上述我們可瞭解到 7Q --「 SPECIAL 」的重要性，在面對廿一世紀多元化的社會價值觀中，究境我們怎樣的適應它？怎樣培育廿一世紀智慧型的 ' 全人 ' 呢 ? 以充實的心靈（S.Q.）來開發潛能 ( P.Q.）; 以善心來改善人際關係和處理情緒（E.Q.）及開拓創意 (C.Q.）; 善用及提升智商（I.Q.）對抗逆境 ( A.Q. ) ; 還要持續為自己造就更多學習的機會（ L.Q.）。有感很多父母都希望自己的子女能夠一生順境，但是現實環境中，卻充滿了失意、挫敗等逆境，思想正面、積極的人可以化阻礙為力量，創造成功，或是調適自己，適應環境。可是悲觀、缺乏意志力的人卻往往過不了這些人生的試煉，不是自我放棄，就是被競爭所淘汰。因此，父母們有責任幫助子女培養面對逆境的能力，就像鑽石，必須經過壓力、打磨，才能發出璀璨的光芒。
Thursday 12 March 2009
Children learn best by example. Obviously, the best form of this would be to learn from the actions of important people in their lives such as parents, siblings, family members and teachers.
Another great way is through children’s books. Stories that demonstrate, by example, healthy acquisition of EQ are invaluable. Look for stories that demonstrate empathy and exploration of all feelings. In particular, stories that show by example a child developing a healthy EQ with the help of a parent or significant caregiver. Using books like these as platforms for discussions with your child can also be of benefit.
4 Q = IQ, EQ, AQ, CQ
IQ = INTELLIGENCE QUOTIENT
EQ = EMOTIONAL QUOTIENT
AQ = ADVERSITY QUOTIENT
CQ = CREATIVE QUOTIENT
IQ 先天後天的培養：
智力的培養來自” 先天” 的決定 + 12 歲前的 “後天” 培養。
簡單培養子女的腦部發展方法：-
1] 多講故事，以引發他們問問題 & 思考
2] 以身作則，不斷進修，鼓勵子女學習
3] 不要強迫子女思考，以免他們覺得" 讀書"是一種壓力
4] 有耐性地向子女解釋讀書的重要性
5] 培養子女學習文章的理解及推理
6] 訓煉子女的觀察能力，以啟發他們的聰明才智
7] 少說，多示範，不要說一套，做另一套
EQ 的培養：
1] 父母可" 主動" 關心觀察子女的情緒 （* 要觀察及接納自己的情緒）
2] 以關心，安撫，而非批評，作為回應子女情緒的方法
3] 弔導子女主動說出自己的感受，通過表達及分享的過程，紓緩子女的情緒（例如： 子女會否接納別人的情緒 - 如父母發怒時？）
4] 鼓勵子女多探索和嘗試新事物，養子女通過個人的經歷，學習調整自己的情緒
AQ 的培養：
如果父母在面對危機時表現鎮定，遇強愈強，兒童亦會從中習到面對困難的” 正確態度” 。當子女面對困難時，做父母的，只要” 從旁陪伴，並提供一些對問題的分析和意見” 便足夠， 最終他們用那種方法去解決，應該由"他們" 自己去決定。要讓子女們 - 從挫折中獲得面對逆境時的經驗！
CQ 的培養：
在日常生活中，多給子女發問，弔發多點” 好奇心” ，發揮他們自己的意思。家長可以鼓勵子女動手” 做小手工” ，看小說，砌積木，以增強創意能力- 但切記：家長應要注意 "過程"，而不是結果！
Tuesday 3 March 2009
細胞
所有的生物都是由細胞組成，細胞也可算是生命的基本單位。細胞的體積十分之細小，一般的人類細胞約為300分之1毫米，不同的細胞在形狀上，功能和體形上各有不同，而且相差甚遠。有些細胞就算是利用一架好的顯微鏡也只能僅僅地觀察到它的外觀，但有些則用肉眼也可看到，例如世上最大的細胞鴕鳥蛋。但若要觀察它的內部結構，就非用電子顯微鏡不可；細胞就如一座大城市，內有非常完善的設施，如運輸系統、發電廠、政府及廢物處理系統等。
不同的細胞有不同的形狀，動物細胞因為沒有細胞壁的原故，形狀多呈不規則而且體積亦較植物細胞細小；而植物細胞因受到細胞壁的包圍及保護，故形狀較為規則而體積亦相對較大。但不論是甚麼類別的細胞，原則上有包住細胞的細胞膜，充滿其中的細胞質及中心的細胞核三部分。
細胞膜不僅用來包住充滿其中的細胞質，實際上具有守衞大門的功能，是細胞的一層重要保護膜。它能選擇性地讓一些必需的物質，如養份和氧進入，亦能精確地保持細胞內部鹽、水和其他物質的平衡；同時負責捨棄細胞在代謝作用中所產生的廢物，如把二氧化碳排出細胞外。然而這塊功能多多的外膜卻只是千萬分之一毫米厚。
細胞質是被細胞膜包圍着的膠狀物，主要的成分是水，其他成分包括溶解了的礦物質、碳水化合物、蛋白質和脂肪等。大部分的代謝作用都是在細胞質內進行。除了水和蛋白質外，細胞質中還有一些負責重要作用的小器宫，稱為細胞器；如細胞核、粒線體及液泡等。細胞核通常為圓形，內含染色體。染色體是由脫氧核醣核酸 (DNA)所構成，含有該生命的藍圖，一切細胞所需要製造的東西，全憑脫氧核醣核酸的指揮而定，因此細胞核是負責統帥細胞內的所有活動。而細胞質中的粒線體體透過呼吸作用產生能量，供應細胞作各種活動的需西要，就像發電廠般。
生物的由生而死，一切事物都是由細胞發生。不論是在打球，在這時是肌肉細胞在活動；或是在思考如何解決問題時，這正是腦細胞在思索的時候。若對細胞加以細分的話，會發現細胞完全是由一些無法進行生命活動的單純物質如碳，氧及氫等所構成。縱使在現今科技下，我們己能清晰地了解在細胞中所發生的事情，但奇妙的是人類還未能利用這些單純物質來合成一個生命體來，這或許是就生命的奇蹟！
細胞
出自維基百科，自由嘅百科全書
跳去: 定向, 搵嘢
響顯液下嘅細胞，紅色嘅係角質素，綠色嘅係DNA。細胞係生物嘅基本單位。除咗病毒之外，所有生物都係由細胞所組成，但病毒生命活動都必須響細胞內先至可以體現。一般嚟講，細菌等絕大部份微生物同埋原生動物由一個細胞組成，叫做單細胞生物；高等植物同高等動物就係多細胞生物。細胞可分為兩類：原核細胞同真核細胞。
細胞週期與有絲分裂
有絲分裂
何謂有絲分裂 有絲分裂指的是細胞經由前期，中前期，中期，後期和末期等幾個階段，產生核裂和質裂，分裂成
兩個相同的子細胞。通常講解有絲分裂的時候會將間期包含在內，但理論上間期並不是有絲分裂的
一部份。
間期與細胞分裂 間期
細胞進行正常的代謝活動，為有絲分裂做準備。此階段中細胞核內無法清楚的辨識
出染色體，只能看到顏色較深，成點狀的核仁。細胞裡可能會有一對由microtubules
組織成的中心粒(centrioles)(在植物中是由microtubule組合成的特別構造，和中心粒不
同。)
前期
細胞核中的染色質開始凝聚，變成可用光學顯微鏡觀察的染色體。核仁消失，中心
粒往細胞的兩端移動，並延伸出許多絲狀的物質，其中一部份絲狀物就構成紡錘體。
中前期
核膜消失是中前期開始的標幟。著絲點上附著的蛋白質組成kinetochores，kinetochores
上附著的microtubules和染色體開始運動。
中期
紡錘絲將染色體排列在細胞核中央，這條中線稱為metaphase plate。如此排列可以
確保下一個階段染色體分離時，新的細胞核可以每個染色體都各得到一份。
後期
成對染色體從kinetochore分離，向細胞的兩端移動。染色體分離的動力是來自kineto-
chore隨著構成紡錘絲的microtubules一起移動，以及紡錘絲因為本身的極性而產生的
交互作用。
末期
各染色分體抵達細胞的兩極，子細胞形成新的核膜。染色體散開，回復光學顯微鏡
無法看見的狀態。紡錘絲消失，質裂(細胞質的分裂)也在此階段開始。
質裂
在動物細胞中，有一種由actin組成，環繞細胞中央的環狀蛋白質纖維絲，這種蛋白
質纖維的收縮會將細胞擠壓成兩半，形成質裂。兩個分離出來的子細胞各自擁有一
個核。植物細胞中，兩細胞間會形成細胞板，已備將來形成堅固的細胞壁。
example
http://www.ied.edu.hk/apfslt/v2_issue1/sow/index.htm#content
AQ,CQ,IQ,EQ
Wednesday 25 February 2009
EQ,IQ
智商（IQ），是通過一系列標準測試測量人在其年齡段的認知能力（「智力」）的得分。由法國的比奈 (Alfred Binet，1857年-1911年) 和他的學生所發明，他根據這套測驗的結果，將一般人的平均智商定為100，而正常人的智商，根據這套測驗，大多在85到115之間。
最新的研究表明，智商不單是與遺傳因素有關，還與生活環境有關。即智商的高低與遺傳因素和生活環境有關。
智商計算公式：100×(mental age/chronological age)
即為IQ=（智力年齡mental age/生理年齡chronological age）*100
現代人平均智商在逐漸增加,被稱為弗林效應,但不了解其原因是智力實際增長還是因為測量的原因所導致.
智商 智力等級
140以上 天才或近於天才
120-140 智力優異
110-120 智力較高
90-110 普通智力
80-90 遲鈍偶為低能
70-80 介乎遲鈍與低能之間（每可歸入低能）
70以下 確定為低能
最新的研究表明，智商不單是與遺傳因素有關，還與生活環境有關。即智商的高低與遺傳因素和生活環境有關。
EQ (Emotional Quotient) 情感商數/情緒智力
人培養EQ的最終目的是要使用EQ，讓EQ幫助我們在社會上如魚得水、游走自如。先天IQ高、後天的努力夠，但沒有相應的EQ配合的話，成功不是必然的。 EQ發揮作用的層次是：表達自己（以身受感作基礎）、了解他人、與人交通帶來良好的人際關係、互相接納、再發展。同時具備掌握自己感情、理解他人感覺，和在任何情況下都能樂觀向前的資質與能力。追求情緒的適切度調節：能善於處理情緒，制衡情緒的負面反應，既避免過分衝動而造成毀滅性行為，也避免過分壓抑而變得沮喪、憂鬱。
創造EQ能的思考方式
養成事無大小都盡量自求解決之道，如實在無法解決時，再求助於人的習慣
不論做人做事，都應該不焦慮、不躁進、一步一步按部就班地前進 (獨立自主有主張的人)
靠著自己的意志力而忍住一時的辛苦，必能夠在生涯中有更大的成就
不怕失敗，以最認真的態度，用自己的力氣，努力轉換自己的心情，讓自己再度面對目標而努力
面對挑戰時，不要想「我大概做不到」，要想「我可能做得到」
視這次失敗為下次機會的開始，並吸收這失敗中的新智慧作為下次的踏腳石
只要專心去做，不必太在意結果，只追求在做的經驗，將勝負付諸一博
鍛鍊EQ能力
走向獨立自主的步驟
1. 摹仿心目中的理想人物:隨著時間將之揉入自己的風格與魅力，並將摹仿對象的感性與行事風格內化為自己的一部分
2. 從摹仿別人到活出自己的味道
3. 具極佳的協調力:能同時兼備幾種力量，並加以統御、協調的思考能力 (對現在情勢的洞察能力，對將來發展的預測能力以及對資訊的搜集能力
性格與EQ的關係
人的性格分兩類
1. 外向型性格的人樂觀、活潑、決斷、急性子、率直、勇敢、進取、魯莽、輕鬆、不愛鑽牛角尖。 2. 內向型的人悲觀、文靜、猶豫、慢性子、含蓄、保守、謹慎、多慮、愛鑽牛角尖。
兩種性格所含特質都各有好處，最理想是只取兩種的長處而摒除壞處。
人之所以情緒反應不同，乃因人的性格不同，產生的EQ效應也不同。 若希望EQ在我們的人生中起正面積極的作用，便應嘗試用一般的方法和手段，來改變性格中不好的特質。
培養孩子EQ的方法（改變性格）
方式要為孩子所喜歡。孩子多喜歡聽好音樂，但要他練習樂器，多半不喜歡，但至少不要令他感到抗拒﹔
可以看得到成績，讓孩子有成就感﹑有榮譽感﹔
要予以督促﹑鼓勵﹑配合﹔
了解孩子性格上的弱點而設計其陶冶之法，不一定上述範圍之內。
在學校裡培養EQ
學校只有兩種「東西」：功課和人（同學），IQ高的，幫助學習﹔在學習的過程中，也強化下了EQ﹔若缺乏溝通技巧，無法正確處理情勢，便會使很多青少年雙重失敗：學業與做人都掉隊﹔
青少年必須知彼知己才能與人溝通，要以自己身處的角度去評估人與事。自己都會做的，不是出於惡意，遇上時，就不必反應激烈。溝通的基礎是先放下敵意，發展成EQ，就沒有暴力﹔
情緒無出路，又不懂得表達自己，會發展成抑鬱症，表現在自暴自棄，行為乖異﹔
能抵受快樂的誘惑，能押後快樂的享受就是情緒的調整﹑克制，學習知識與技能固然可測出誰的IQ發揮作用，同時也幫助EQ的培養和性格的訓練﹔
情緒也是一種生理反應，更是人可以自覺得到的生理反應（指某些情緒，非全部）。當情緒來時，可嘗試用簡單的方法去平復﹑克制，避免不必要的行動，例如你在氣極時，揮拳打人之前，先在心中默數十下，就打不成了。
EQ的本源
來自身受感 (Empathy)。身受感是學習來的，人在一出生就開始從父母那裡感應及學習身受感。
人必先愛自己，由愛自己出發去代入他人，與他人感同身受，也等同愛他人。身受感有道德作基礎，發展EQ，也有道德在其中。
子女從父母身上學習和體會到身受感﹑行為﹑情緒處理初階，這對他們的個性與EQ增長的關係至大，問題青少年多來自破碎家庭是最好的說明。家庭是培養身受感非常重要的地方。
IQ智商 EQ情商
IQ智商是什么?智商就是智力商数。智力通常叫智慧，也叫智能。是人们认识客观事物并运用知识解决实际问题的能力。智力包括多个方面，如观察力、记忆力、想象力、分析判断能力、思维能力、应变能力等。智力的高低通常用智力商数来表示，是用以标示智力发展水平。
1905 年法国心理学家就制定出第一个测量智力的量表──比奈－西蒙智力量表，1922年传入我国，1982年由北京吴天敏先生修订，共５１题，主要适合测量小学生和初中生的智力。1916年美国韦克斯勒编制了韦克斯勒成人智力量表（ＷＡＩＳ），儿童智力量表（ＷＩＳＣ）、适用4-6.5 儿童的韦氏幼儿智力量表（ＷＰＰＳＺ），韦氏量表于８０年代中后期引进我国经过修订出版了中文版，因而应用较广。
智商有两种，一种是比率智商，智力年龄÷实足年龄＝智力商数。如果某人智龄与实龄相等，他的智商即为100，标示其智力中等。另一种是离差智商，把一个人的测验分数与同龄组正常人的智力平均数之比作为智商。现在大多数智力测验都采用离差智商。
①为了准确表达一个智力水平，智力测量专家提出了离差智商的概念，即用一个人在他的同龄中的个对位置，即通过计算受试者偏离平均值多少个标准差来衡量，这就是离差智商，也称为智商（ＩＱ）。
②比如说，两个年龄不同的成年人，一个人的智力测量得分高于同龄组分数的平均值，另一个的测验分数低于同龄组的平均值，那么我们就作出这样的结论：前者的ＩＱ比后者高。
③目前均大多数智力测量都用离差智商（ＩＱ）来表示一个人的智力水平。
④人群的智力商分布。
在现代典型的智力测验中，设定主体人口的平均智商为１００，则根据一定的统计原理，一半人口的智商，介于９０－１１０之间，其中智商在９０－１００和１００－１１０的人各占２５％。智商在１１０－１２０的占１４．５％，智商在１２０－１３０的人占７％，１３０－１４０的人占３％，其余０．５％人智商在１４０分以上，另有25%的人IQ在100分以下。
⑤智力超常和智力低下
智力测验问世后，要区别智力的差异就变得容易起来。人们发现智商极高（ＩＱ在130分以下）和智商极低的人（ＩＱ在７０分以下）均为少数，智力中等或接近中等（ＩＱ在８０－１２０分）之间者约占全部人口的８０％，智力超过常态者，我们称之为智力超常，那些智力低于常态者，我们称之为智力低常。
我们采用的是美国心理学家韦克斯勒编制的智力量表，由我国湖南医科大龚耀先等人修订，制定了中国常模。现在我们可以测查 6-16岁的儿童和16岁以上的成人。通过心理测量可了解自己的智力水平、潜能所在，鉴定交通事故导致智力损伤，为发挥自己的优势，科学填报高考志愿，优生优育等提供科学依据。
EQ是什么？
"EQ到底是什么？"
"怎样才能知道我的EQ高不高？"
这是我最常被问到的两个问题。尤其在企业界做训练时，每当谈及了EQ对工作成就的重要影响："职位愈高，EQ对于成功就愈重要"，话刚说完，总是会有学员不解地举手："不会吧！？我们老总脾气超烂，动不动就发火，EQ这么差，还不是做到了总经理？！"
好问题，这个看似"低EQ，高成就"的现象，其实是因为我们还没完全了解EQ的真正内涵之故。因为一个人的EQ高不高，不光只是看他会不会发脾气而已。
那，EQ到底是什么呢？
EQ（Emotional Quotient）是"情绪商数"的英文简称，它代表的是一个人的情绪智力（Emotional Intelligence）之能力。简单的来说，EQ是一个人自我情绪管理以及管理他人情绪的能力指数。
让我们来回顾一下EQ诞生的过程。
早在一九二零年，美国哥伦比亚大学的教授索戴克（E.L. Thorndike）就首先提出了社会智力（Social Intelligence）的概念，认为拥有高社会智力的人「具有了解及管理他人的能力，而能在人际关系上采取明智的行动」。
一九二六年推出了第一份社会智力测验（George Washington Social Intelligence Test），问卷的题目包括了指认图片中人物的情绪状态，以及判断人际关系中的问题等等。
然而接下来的几十年，心理学界在这方面的努力停顿了下来，主要因为大家都忙着发展及研究IQ测验，当时认为IQ（亦即一个的数学、逻辑、语文、以及空间能力）会决定每个人的学习及受教的能力，因而会影响将来的工作发展及表现。
一直到一九八三年，美国心理学家嘉纳教授（Howard Gardner）提出了影响现今教育体系甚钜的"多元智力"理论。他认为原先只重数理语文能力等的传统定义"智力"的方式（亦即IQ）需要大幅修改，因为一个人的IQ除了对学校学习的成绩有很高的正相关（IQ愈高，功课愈好），对于其它方面，例如工作表现，感情及生活满意度等并无太大的关系。
嘉纳教授在他的多元智力理论中，多加了几项智力，包括了音乐，体育以及了解自我和了解他人之能力。而这后两项，让"社会智力"的概念再一次地受到教育界及心理学界的重视。
第一个使用"EQ"这个名词的人是心理学家巴昂（Reuven Bar-on），他在一九八八年编制了一份专门测验EQ的问卷（EQ-i），根据他的定义，EQ包括了那些能影响我们去适应环境的情绪及社交能力。其中有五大项：（1）自我EQ（2）人际EQ（3）适应力（4）压力管理能力（5）一般情绪状态（乐观度，快乐感）。
接着又有心理学家沙洛维及梅耶（Salovey&Mayor）在一九九0年提出情绪智力的定义。他们认为情绪智力应和乐观等人格特质区分开来，所以他们对EQ的定义强调在了解并运用情绪之方面。
目前另一个在各国受到广泛使用的EQ测验（MSCEIT），即为他们的最新研究成果。其中的问题有几大项（1）察觉及表达情绪之能力（2）在脑中想象情绪状态之能力（3）了解情绪的能力（4）控管情绪的能力。
真正让「EQ」一词走出心理学的学术圈，而成为人人朗朗上口的日常生活用语的心理学家是哈佛大学的高曼教授（Daniel Goleman）。他在1995年出版的《EQ》一书（Emotional Intelligence），登上了世界各国的畅销书排行榜，在全世界掀起了一股EQ热潮。
高曼发现一个人的EQ对他在职场的表现有着非常重要的影响。举例而言，一个针对全美国前500大企业员工所做的调查发现，不论产业别为何，一个人的IQ和EQ对他在工作上成功的贡献比例为 IQ：EQ＝1：2，也就是说，对于工作成就而言，EQ的影响是IQ的两倍，而且职位愈高，EQ对工作表现的影响就愈大。此外对于某些工作类别，例如行销，业务以及客户服务等等，EQ的影响就更为明显。
因此高曼针对职场的工作表现，提出了他的工作EQ架构。经过不断的测试和修正，目前高曼的工作EQ内容共有4大项，以及18小项。
想知道你的工作EQ高不高吗？请一起来检查一下你的各项工作EQ能力。
＜十八项重要的工作EQ＞
自我情绪管理能力：
一、自我察觉
（1）意识到自己情绪的变化：解读自己的情绪，体认到情绪的影响。
（2）精确的自我评估：了解自己的优点以及不足之处。
（3）自信：掌控自身的价值及能力。
二、自我管理
（4）情绪自制力：能够克制冲动及矛盾的情绪。
（5）坦承：展现出诚实及正直；值得信赖。
（6）适应力：弹性强，可以适应变动的环境或克服障碍。
（7）成就动机：具备提升能力的强烈动机，追求卓越的表现。
（8）冲劲：随时准备采取行动，抓住机会。
人际关系之管理能力：
三、社交察觉
（9）同理心：感受到其它人的情绪，了解别人的观点，积极关心他人。
（10）团体意识：解读团体中的趋势、决策网络及政治运作。
（11）服务：体认到客户及其它服务对象的需求，并有能力加以满足。
四、人际关系管理
（12）领导能力：以独到的愿景来引导及激励他人。
（13）影响力：能说服他人接受自己的想法。
（14）发展其它人的能力：透过回馈及教导来提升别人的能力。
（15）引发改变：能激发新的做法。
（16）冲突管理：减少意见相左，协调出共识之能力。
（17）建立联系：培养及维持人脉。
（18）团队能力：与他人合作之能力；懂得团队运作模式。
这么多的内容，足足有18项，真的是十八般武艺，样样都不简单。而要十八般武艺俱全，岂不难如登天？
请先别担心，事实上一个人只要能在这十八项EQ能力中，有五、六项EQ能力特别突出，而且是平均分布在四大项能力中的话，那他在职场上的表现，就会非常亮眼了。
要测量工作EQ，目前相当广为使用的量表是情绪能力问卷（ECI：Emotional Competence Inventory），总共有110个题目，很特别的是ECI使用360度全方位的资料收集方法，它不只是问当事人，也会从他的上司、属下、和同事来了解当事人的工作EQ，得出来的结果当然就比较客观而准确。
所以，只要掌握了工作EQ，你就能造就工作成就。
i,e,a q
智商就是IQ(Intelligence Quotient,的簡稱)。通俗地可以理解為智力,是指數字、空間、邏輯、詞匯、創造、記憶等能力。
1916年，心理學家Stern提出一個“智商”（Intelligence Quotient簡稱I.Q.）的概念：如果一個小孩子的智力年齡與他的生理年齡一樣，那么他的智力就是一般；但如他的智力年齡高于或低于他的生理年齡，則他的智力便是高于或低于一般水準。
智商（I.Q.）=（智力年齡╱生理年齡）×100％
比如上例中，小孩的智力年齡是10，生理年齡8，故智商=（10÷8)×100=125。
智商（I.Q.） 智力等級
140以上 天才或近於天才
120-140 智力優異
110-120 智力較高
90-110 普通智力
80-90 遲鈍偶為低能
70-80 介乎遲鈍與低能之間（每可歸入低能）
70以下 確定為低能
根據統計，約50%的人口，智商介于90與會110之間即“普通智力”約25%的人口，智商小于90，（根據定義，智商100當然就是人口的平均智力水準）。智商介於是110與120者，約佔人口14.5%；介於是120與會130者約佔7%介於是130與會140者，約3%智商超過140者，僅佔人口的0.5% 。
在低能力的一邊，亦有類似的分布情況。例如智商，在介于70與80者，有7%等等。
EQ：
EQ——情感商數，簡稱“情商”， 是測定和描述人的情緒、情感的一種量化指標，指一個人運用理智控制情感和操縱行為的能力。情商是一種洞察人生價值、揭示人生目標的悟性，是一種克服內心矛盾衝突、協調人際關係的技巧，是一種生活智慧。 也是我們平常所說的心理素質。
情商理論的創始人塞拉維教授和梅耶教授把情商界定為：對情緒的知覺力、評估力、表達力、分析力、習得力、轉換力、調節力，涵蓋了自我情緒的控制調整能力、對人的親和力、社會適應能力、人際關係的處理能力、對挫折的承受能力、自我了解程度以及對他人的理解與寬容等等。
美國心理學博士丹尼爾．戈爾曼認為“情商”是個體的重要生存能力，是一種發掘情感潛能、運用情感能力影響生活各個層面和人生未來的關鍵的品質因素。他甚至認為，在人的成功要素中，智力因素是重要的，但更為重要的是情感因素。“情商”大致可以概括為五方面內容：（1）情緒控制力；（2）自我認識能力，即對自己的感知力；（3）自我激勵、自我發展的能力；（4）認知他人的能力；（5）人際交往的能力。這也是我們這次心理素質訓練班的主要內容。
AQ：
AQ就是我們說的逆境商或挫折商。簡單的說就是當面對逆境或挫折時，不同的人對待逆境或挫折產生不同反應，這種反應的能力，就叫逆境商(挫折商)。它只有定性，沒有量化的指標。在具有相差不多智商和情商情況下，逆境商對一個人的人格完善和事業成功起著決定的作用。
高AQ的人在面對逆境時，始終保持上進心，從不退縮，他們會把逆境當作激勵自己前進的推動力，能夠發揮最大的潛能，克服種種困難，獲得成功。低AQ的人在困難面前，看不到光明，於是敗下陣。一事無成。一個人事業成功必須具備智商，情商，逆境商這三個成功的因素。高智商的人並不意味著事業成功，只有高情商，高逆境商的人才能預示他的事業有成。
target audience demographics
Hi, I'm wondering how one could obtain information regarding the audience demographics of the pokemon franchise. I'm particularly interested in gender split between male/female fans, though I've read that the age group that nintendo targets with their marketing ads are between ages of 6-14(primarily 6-11). Why this particularly interests me is because of what strikes me as boys and girls having more similar tastes when they are smaller, while diverging more significantly in tastes for hobbies and television shows as they get older. I'm also curious to know the male/female split for fans of the Ninja Turtles franchise. Are they targeted towards males? Both? I'm not a marketing major, but where can one find answers to such questions? Thank you in advance.
www.quantcast.com
characters
The main character of the series, called Serena in the English anime (nicknamed Bunny in the English manga). Usagi is a carefree schoolgirl with an enormous capacity for love, and transforms into the heroine called Sailor Moon. At the beginning of the series she is portrayed as an immature crybaby who hates having to fight evil and wants nothing more than to be a normal girl.[6] As she progresses, however, she embraces the chance to use her power to protect those she cares about.
Mamoru Chiba (地場 衛, Chiba Mamoru?)
A student somewhat older than Usagi, called Darien in the English adaptations of the series. As a young child he was in a terrible car accident that robbed him of his parents and his knowledge of who he is. During the series he has some precognitive ability, including dreams that inspire him to take on the guise of Tuxedo Mask and fight alongside the Sailor Senshi. After an initially confrontational relationship, he and Usagi remember their past lives together and fall in love again.
Ami Mizuno (水野 亜美, Mizuno Ami?)
A quiet bookworm in Usagi's class, called Amy in the English adaptations of the series. She is highly intelligent, with a rumored IQ of 300,[7] and can transform into Sailor Mercury, acquiring power over all phases of water. Ami's shy exterior masks a passion for knowledge and for taking care of the people around her. She hopes to be a doctor one day, like her mother, and tends to be the practical one in the group. Secretly, she is also a fan of pop culture and romance novels, and becomes embarrassed whenever this is pointed out.
Rei Hino (火野 レイ, Hino Rei?)
An elegant miko (shrine maiden), called Raye in the English versions. Because of her work as a Shinto priestess, Rei can sense and dispel evil even in civilian form. When she transforms into Sailor Mars, she can also manipulate fire. She is very serious and focused, but although easily annoyed by Usagi's flightiness, cares about her very much. Rei is portrayed as boy-crazy in the early anime, but is uninterested in romance in both the manga and live-action series. She attends a private Catholic school, separate from the other girls.
Makoto Kino (木野 まこと, Kino Makoto?)
A tomboy who transfers into Usagi's school, called Lita in the English versions. Very tall and strong for a Japanese schoolgirl, she can transform into Sailor Jupiter, attacking with lightning and with some control over plants. Both Makoto's parents died in a plane crash years ago, so she lives alone and takes care of herself. She cultivates her physical strength as well as more domestic interests, including housekeeping, cooking, and gardening. She wants to marry young and to own a flower and cake shop.
Minako Aino (愛野 美奈子, Aino Minako?)
A perky dreamer who acted on her own as Sailor V for some time. Called Mina in the English versions, she has a companion cat called Artemis who works alongside Luna in guiding the Sailor Senshi. Minako transforms into Sailor Venus, Soldier of Love, and is the leader of Sailor Moon's four inner guardians. She also dreams of becoming a famous singer and idol and attends auditions whenever she can. At the start of the live-action series, she is already these things, but has poor health and separates herself from the other Senshi.
Chibiusa (ちびうさ?)
The future daughter of Usagi and Mamoru, Chibiusa travels from the 30th century to seek help to save her parents, then later to train with Sailor Moon to become a soldier. She learns to transform into Sailor Chibi Moon. Her relationship with her mother in the 20th century is at times adversarial, as she considers herself to be more mature than Usagi, but as the series progresses they develop a deep bond. Chibiusa wants to grow up to become a lady like her mother. In the English adaptations, she is called Rini, and her alter ego is called Sailor Mini Moon.
Setsuna Meioh (冥王 せつな, Meiō Setsuna?)
A mysterious woman, called Trista in the English anime. She is first revealed as Sailor Pluto, the Guardian of Time, whose duty is to protect the Space-Time Door from unauthorized travelers. It is only later that she appears on Earth, living as a college student. She has a distant personality and can be very stern, but can also be quite friendly and helps the younger Sailor Senshi when she can. After so long at the gate of time she carries a deep sense of loneliness, although she is close friends with Chibiusa.
Michiru Kaioh (海王 みちる, Kaiō Michiru?)
A talented violinist with some precognition, called Michelle in the English anime. She is a year older than most of the other Sailor Senshi and can transform into Sailor Neptune, channeling the power of the ocean. She worked alone for some time before finding her partner, Sailor Uranus, with whom she fell in love. Michiru is elegant and personable, already well-known for her music as well as her painting, but has given up her own dreams for the life of a Senshi. She is fully devoted to this duty and willing to make any sacrifice for it.
Haruka Tenoh (天王 はるか, Ten'ō Haruka?)
A good-natured, masculine-acting girl, called Amara in the English anime. Haruka is the same age as her partner, Michiru, and transforms into Sailor Uranus, Soldier of the Sky. Before becoming a Sailor Senshi, she dreamt of being a racer, and is skilled at driving. She tends to dress and, in the anime, speak like a man. She is so friendly and genial that nearly everyone she meets is attracted to her. When it comes to fighting the enemy, however, she distrusts outside help and prefers to work solely with Sailor Neptune and, later, Pluto and Saturn.
Hotaru Tomoe (土萠 ほたる, Tomoe Hotaru?)
A sweet, lonely young girl whose name is unchanged in English (though pronounced slightly differently). Daughter of a possessed mad scientist, she is sickly and weak as the result of a terrible lab accident in her youth. After overcoming the darkness that has surrounded her family, she is able to become the Soldier of Silence, Sailor Saturn. She wields forces of destruction so powerful that she is rarely called upon to use them, and unlike the others, her Senshi and civilian personae seem somewhat disconnected. She is often pensive, and as a human has the inexplicable power to heal others.
* Frank the koala is the pilot of the plane. He has demonstrated excellent skills in tennis and was the only member of the community able to defeat Archie, though he admitted it was probably just luck. He also fostered an interest in pottery at one point but did not have any great artistic ability.
* Buster the koala sits behind Frank in their plane and uses his telescope to spot friends in need from the air. He is always willing to provide a pep talk or a hug to his friends. He speaks more softly than Frank and has a small tuft of hair on the top of his head. Buster loves to bake, especially butter cookies.
* Mitzi the possum lives in a room in the Koala brothers' homestead that is not directly connected to the rest of the house and is accessible only from outside. Mitzi has a nervous, excitable personality and can be controlling and bossy. She exerts a great deal of influence over Ned the Little Wombat and seems to fill the role of a big sister to Ned. She often needs the Koala Brothers' help in overcoming her dominant, perfectionist, controlling personality.
* Ned the wombat is apparently the youngest member of the local community and lives in a trailer next door to the Koala Brothers' homestead. He is often unsure of himself, but he dreams of adventure as an explorer or a sea captain. He is very determined, and easily fixated on an idea.
* George the tortoise is the local mail carrier. He has no known residence but is always seen delivering the mail with his trusty leather satchel. He is very proud of being a mail carrier and tells the best campfire stories in the outback. He also has an interest in stamp collecting.
* Sammy the echidna lives in town and owns the local general store, which sells fuel in addition to comestibles. His sole employee is Josie. He has the least amount of problems, after the Koala Brothers.
* Josie the kangaroo works at the general store and is great friends with Mitzi.
* Alice the platypus works at the local cafe and appears to be the sole employee, though it is not clear if she owns the cafe. She is very forgetful, to the point of having severe short-term memory problems. She rides a green motor-scooter around, which has its share of engine problems. She loves to bake and one of her few talents is following recipes, although she is also good at reading maps.
* Archie the crocodile lives in a well-appointed cottage near the local watering hole. He is always exercising, stretching, or playing tennis, and is renowned at being the best at almost every sport. He is British, and has an upper-crust demeanor.
* Penny the penguin is an explorer who lives in Antarctica, but has visited the outback on occasions and keeps up a regular written correspondence with the Koala Brothers. She does not speak English, but communicates with cooing like that of a human infant.
* Lolly the emu is the local ice cream vendor and can often be seen driving her ice cream truck around.
* Jim is the main character in the series. He is an adventure and mystery loving guy. He is a very curious character, which should inspire children to follow his example by asking questions and actively seeking their answers.
* Rover is a robot dog and is always by Jim's side. Rover loves to play fetch and is always helping Jim on his lunar missions. He speaks in beeps, though every other character seems to understand him.
* Ripple is the engineer on the moon. She is always coming up with new inventions to help Jim and often helps him on his missions.
* Eco is the farmer on the moon who works in the Eco dome growing plants and raising the animals. Eco loves to collect rocks and plants to study and help Jim. He doesn't often go on missions because he is too busy farming in the Eco dome.
* TED (Technical Equipment Device) is another robot. Unlike Rover, TED is a humanoid robot. He is the clumsiest on the moon and usually having his clumsiness creating simple slapstick comedy. However, he is quite smart and sometimes solves the problem in the story. TED represents a child and essentially, the show's target audience.
* Pixel is the computer that helps Jim and his friends find things on the lunar surface and tells them their jobs for the day.
* Dolores is a chicken.
* Daisy is a cow. Lunar Jim and his team get their milk from Daisy.
Season 2 saw the addition of three major characters.
* Skye is a young space cadet who comes to Moonaluna for "hands-on" training.
* Yik Yak is an alien whose visits usually result in some sort of unintentional mayhem. He speaks in rhyme.
* Zippity is a space mailman.
Domo lives in an underground cave with Mr. Usaji [6][5], known in Japanese-language versions as Usajii (うさじい?), a portmanteau of the words usagi (うさぎ?), (rabbit), and jii (じい?) (old man, grandpa). Mr. Usaji is a wise old rabbit who loves to watch television and drink astringent green tea. Mr. Usaji is not into any "new" materials, and does not own a telephone. In terms of fashion, Mr. Usaji focuses on materials instead of shapes. Mr. Usaji's favorite food is carrots, and his least favorite food is "something that is meaningless."
Also in the cave live two bats, a mother named Maya [6] (Shinobu (しのぶ?) in the Japanese version) and her child Mario (Morio (もりお?) in the Japanese version). Maya has a drinking problem; her favorite foods are seasonal while her least favorite food is, ironically, alcohol. Mario's favorite food is Japanese-style tomato spaghetti, while his least favorite food is shiitake mushrooms.[6][5]
The other main character in the shorts is a weasel girl named Tashanna [6] [5] (Tā-chan (たーちゃん?) in the Japanese version). Tashanna, 17 years old, is a weasel who aspires to be a fashion stylist or model in Tokyo and is always using technology (televisions, mobile phones, and cameras). In English Tashanna has a "weaselly accent" (いたちなまり, itachi namari?) and ends her sentences with "y"s. In the Japanese version, she ends her sentences with "chi" (ち) [7]. According to the English site, she is also looking for a boyfriend. Tashanna's favorite food is apricot and mint tarts, and her least favorite food is sea urchin. [5] The Japanese name originates from the word "multichannel" (多チャンネル, tachanneru?) of digital broadcasting.
Bear Boy (Kogumagorō (こぐまゴロー?)), also known as A Little Bear (くまのこ, Kuma no ko?, literally "A bear cub"), is one of Domo's friends from the neighborhood; the timid cub enjoys playing baseball.[6][5]
Hee (Flower One (花一, Hanaichi?)) and Haw (Flower Two (花二, Hanaji?)) are pixie twins from a flower. Domo is the only individual who can see them. [6]
The Fox Trio consists of Esther (Esuko (エスコ?)), Brother Fox (あにきち, Aniki-chi?), and Fox Boy (Konjirō (コンジロー?)). Esther, the youngest member, enjoys producing crocodile tears, plotting schemes, and causing havoc. Brother Fox, the eldest member, dutifully cares for his youngest siblings and feels upset when referred to as "short-legged" (短足, tansoku?). Fox Boy, having a quiet demeanor, converses with Domo and Bear Boy and prefers to read.[5][7]
Hungry Bear (はらぺこぐま, Harapekoguma?), a large and powerful bear, feels too hungry to take advantage of his strength.[5]
The Ghost (ヒュ~たろう, Hyūtarou?) randomly appears and disappears.[5][7]
Humans
* Bob the Builder – a construction worker and head of his own construction yard. He is the namesake of the show and also its main character. Some of the problems in the show arise from Bob's habit of forgetting to turn his mobile phone on. He is the owner of Pilchard the Cat.
* Wendy – Bob's business partner who runs the office and keeps the business in order, and often organizes tools and equipment. She is also seen doing construction work in many episodes. An underlying romantic tension between Bob and Wendy is hinted at in several episodes.
* Farmer Pickles – a nearby farmer who sometimes helps out with Bob's projects.
* Spud – a mischievous scarecrow (male voice; catchphrase: "OK, Farmer Pickles" & "Spud's on the job!").
Recurring human characters
* Mr Beasley - a Bobsville resident and a frequent customer
* Mr Bernard Bentley – the building inspector and later Mayor of Bobsville
* Mrs Barbara Bentley – his wife
* Mr Dixon – postman and brother to a famous football goalkeeper
* Mr Ellis – museum manager
* JJ – parts supplier
* Molly – JJ's daughter
* Mrs Percival – school headmaster
* Mrs Potts - a Bobsville resident and owner of Tommy the Tortoise.
* Mr Sabatini – runs the local pizza shop
Minor human characters
* Mr Costello – Drive-in movie manager
* Dora – Bob's aunt
* Dorothy – Bob's Mom
* Mr Fothergill - a Bobsville resident and Hamish's first owner
* Jenny – Wendy's sister
* Mavis – postwoman
* Pam
* Robert – Bob's Dad
* Mrs Sabatini
* Mr Stevens – an archaeologist
* Tom – Bob's fraternal twin brother
* Mr Williams – an airport manager
Vehicles
* Scoop – is a yellow backhoe loader and the unofficial leader of all the machines (male voice; catchphrase: "No prob, Bob!"). At some points there is hinted romance between him and Dizzy.
* Muck – is a red bulldozer with additional dumping bed who acts before he thinks and often gets in trouble for it, but finds his way back (male voice; female voice in US dub; catchphrase: "Muck to the rescue!").
* Dizzy – is an orange concrete mixer and one of the youngest in the yard. She is eager, curious, and easily excitable (female voice; catchphrase: "Brilliant!"). Dizzy sometimes appears to have a crush on Scoop.
* Roley – is a green steamroller, rounds out the "Can-Do Crew" (male voice; catchphrase: "Rock and roll!").
* Lofty – is a blue crane who isn't very confident; he is hesitant and timid, but with the encouragement of the team comes through in the end (male voice; female voice in US dub; catchphrase: "Uh ... yeah, I think so!", usually said in response to the question "Can we fix it?").
* Benny – is a darkish red excavator (female voice; catchphrase: "Unreal, banana peel!")
* Scrambler – is darkish blue quadbike (ATV) (male voice; catchphrases: "Let's Scram!", "Awesome!" and "Cool as a Mule")
* Sumsy – is a maroon & yellow striped forklift, owned by Farmer Pickles (female voice; catchphrase: "I can pack 'em, I can stack 'em!")
* Packer – is a red semi-trailer truck, owned by Farmer Pickles. It has two trailers, a flatbed trailer and a covered trailer. (male voice; catchphrases: "Pick up and Deliver!" and "Pack me up and watch me go-go").
* Dodger – is a lightish blue pickup truck, owned by Meg and carries milk. He has a crane with a grabber that lifts the milk. His horn makes honking sounds. (male voice; catchphrase: "Dodger Delivers").
* Tumbler – is a green, yellow, and nice concrete transport truck. (male voice; catchphrase: "I'm a Rumblin' and a Tumblin'")
* Flex – is a yellow cherry picker. (male voice; catchphrase: "Fantastic Flex!")
* Bristle - is a grey and blue street sweeper.{male voice; catchprase: "Clean as a whistle" or "Clean as a whistle bristle, that's me!}
* Splasher - is a yellow & blue water vehicle, who works at Bobland Bay (male voice; catchphrase: "Never fear, Super Splasher is here!")
* Travis – is Farmer Pickles' cyan tractor. He helps out the crew when they need it and keeps an eye on Spud the scarecrow.
* Skip – is a yellow skip-carrier (male voice)
* Trix – is a purple forklift; belongs to J.J. (female voice; catchphrase: "Easy peasy!")
* Scoot – is a black & yellow snowmobile, owned by Tom (male voice)
* Zoomer – is a purple, Bobsville snowmobile (male voice; seen in 'Snowed Under')
* RV – is a light blue crane machine belonging to Bob's Dad. (male voice; catchphrase: "Amazing RV, that's me!").
* Jackaroo – is a blue pickup truck. He is owned in the Wild West by a female cowboy.
Animals
* Bird – is a bird, Roley's best friend
* Fin - Bob's pet fish.
* Hamish – became JJ and Molly's parrot after Mr. Fothergill found out he was allergic to him.
* Humpty – is a prize pig, owned by Farmer Pickles.
* Pilchard – Bob's pet cat and considered a part of the team. However, she's often sleeping when she's needed.
* Scruffty – a dog, owned by Farmer Pickles.
* Squawk – Another bird, friend of Bird
* Tommy – Mrs. Potts' tortoise
* Tinky Winky, played by (Dave Thompson, Mark Heenehan, and Simon Shelton), is a purple male Teletubby. He is the largest of the Teletubbies, with a triangular antenna on his head. Tinky Winky is notable for the red luggage (described by the show as a "magic bag", but often described by other media as a handbag) he carries. His character has caused much controversy due to allegations that his character's behaviour carried homosexual undertones. He is also found performing his Tinky Winky Round and Round Dance in a ballet-style tutu from time to time, which is also often worn by Laa-Laa.
* Dipsy, played by John Simmit, is the second Teletubby and is green in colour. His name stems from the straight dipstick antenna on his head. His favorite item to wear and carry with him is his black and white hat. Dipsy is the most obstinate of the characters, and will sometimes refuse to go along with the other Tubbies' group opinion. His face is also notably darker than the rest of the Teletubbies.
* Laa-Laa, played by Nikky Smedley, is a yellow female Teletubby. She has a curly antenna and is very concerned with the welfare of all. She's the best singer of all the Teletubbies. "Drama queen", party-girl and mother type. Her favorite thing is a bouncy, orange ball, which is almost as big as she is.
* Po, played by Pui Fan Lee, is a red female Teletubby with a short antenna that has a circle on top. Po is the smallest of all the Teletubbies and often the one who gets into innocent trouble. Her favorite thing is her scooter as she calls it ("Po 'cooter!"). Of all the Teletubbies, Po usually becomes most involved with the audience, and is the only bi-lingual Teletubby, with her second language being Cantonese.
* Noo-Noo seems to be both the Teletubbies guardian and/or housekeeper, due to its resemblance to a vacuum cleaner, which is its initial purpose in the house. Noo-Noo hardly ventures outside, instead remaining indoors and constantly cleaning with its sucker-like nose. It does not speak like the other characters, instead communicating through a series of slurping and sucking noises. At times, Noo-Noo gets annoyed with the Teletubbies antics and can vacuum their food or toys. This usually prompts the Teletubbies to scold Noo-Noo through a cry of "Naughty Noo-Noo!". Usually after this, Noo-Noo flees and the Teletubbies pursue it comically around the house until they grow tired, are distracted by something, or forgive Noo-Noo. This sequence ends with them hugging it, or with it shooting out their absorbed objects.
* The Sun is personified with the face of baby Jessica Smith, who is believed to have been around seven months old at the time of filming[5]. Her giggle was included on the track Teletubbies say "Eh-oh!", which reached number one on the UK Singles Chart. Although she was not credited, this does make her technically the youngest person ever whose vocal appeared on a number one song.
The show also features the voices of Toyah Willcox and Eric Sykes, and occasionally Sandra Dickinson and Penelope Keith, all of whom provide narration; the only (semi)regular physical cast member is Tamzin Griffin, who plays the manic "Funny Lady".