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Comment by 慕課 庫 19 hours ago

7

「你的職業設計如何請用白紙謄寫」

小學時代的理想經不起盤問

糊塗教師因作風問題改作司爐

教導主任兢兢業業 家訪途中車禍遇難

悶熱的天氣裡很多少年立志成才 初通人性

用一條草蛇擦去臉上嫩黃的童真

後來有人如願以償作了醫生

在菊花怒放的季節用一張處方換來了豔情

有人違法亂紀 因毆傷飯店經理蔣門神

至今還在「小西關」的高牆下服刑

有人已遠走高飛 用兩支波音翅膀和更多件襯衫

告別了雀斑、酒瓶、髒兮兮的單身宿舍

和北國腰肢柔韌的炊煙

回首往事 舊日的伙伴大都音訊杳然

一蹶不振的故鄉拿不出新的花樣

求職途中你拜訪過一位二等文官、一隻博學的海鷗

所謂的前程會像一架電梯駛向高處的玩具城：

狐狸當道 小熊請客

那些靜悄悄敞開在半空的單位裡

新到的打字員提早穿上了鮮花堆簇的緊身陽台

 

8

「在林蔭路的盡頭你會摸到一枚硬幣嗎」

投幣電話裡一場暴雨甕聲甕氣地詢問

和競選過人民代表的桃樹聊三分鐘

詢問近況：「你的風濕痊愈未

校園膝蓋和美文……」

「還好 只是被新近編撰的文學史忽略

一點點失落」 因為年事已高

可以從目錄或年譜中躬身退出

成為書卡持有者：從植物學到烹調大全

從養生手冊到一本園丁的懺悔錄

閱讀恰如一場不傷及骨頭的美容術

使無理者持之有故 使心虛者臉色紅潤

但枯槁的身體還能有花瓣噴泉一樣湧出

感染那些大一新生被南風剉平的頭頂？

這是個疑問。

「還好 只是圖書館前許久未有人清掃

妨礙了麻雀的健美操……」

話音未落 一支閃電警告說通話超時

你趕緊道別：「再見 ！ 珍重！」

我們都曾在你膝下駐足張望

一年一度 留著一頭過時的長髮

嘴裡散著抒情性口臭

Comment by 慕課 庫 yesterday

9

沿著淹死過詩人的校河散步

被刪節的場景裡垃圾閃耀 柳絮飛舞

遠山如黛（那是著名的西山風景區

你還記得在楓葉如潮的山谷裡小便

而年輕的他正在山頭捉住秋風的胸乳）

「生活會將我們像石頭那樣向前拋擲

而風中伸出的陽台會接住你

以婚姻小巧的形式」

擅長數學的他拙於笑話和辯證法

但我們都記得鳥雀啁啾中的那堂道德課

石頭、剪子、布

三位一體的玩具馬和九九歸一的冒險游戲

沿著淹死過詩人的校河散步

河水如一條皮帶被看不見的抽水機一次次抽緊

你側過身 讓頭髮蓬亂 手上粘著墨水的死者先行

「夕陽西下 落日溶金」

但丁也說：「白晝到了盡頭，

大地上的牲口止息了一天的勞碌」

缺少的仍是一個闡釋者

將這河水當作一篇廢話轉告給他人

當然 聽與不聽

是另一隻耳朵和更多梧桐樹葉的事

當它們渴望著星斗、名聲和晚年

渴望在暴雨來臨之際

一洗前愁，將來生的版本更換

 

10

是虎口拔牙還是准備從天使嘴裡

搶奪幾顆口糧 這取決於酸菜味的黎明

如何被一柄牙刷清理成晨光下的公路

獨自一人從叫賣和雷霆的縫隙裡爬起

昏昏欲睡的唇齒 凸凹在時代淺淺的腮上

從四環路經亞運村再至二環路

一輛缺失牌照的單車載你到單位就職

「要研究城市 認識宮廷」想像力拐彎抹角

觸及到了一座香火繚繞的寺廟

善男信女走下了面的或中巴 辨不清和尚與喇嘛

「我在雍和宮的腋下 毛茸茸的編輯部裡

辦公 喝茶 請打電話來敘敘舊情」

微型的勞力與午餐中的小米恰好匹配

一張報紙後面連艱深的鳥巢也會笑逐顏開

正如一門初級病理學需要反復溫習

貴婦人遞來口香糖和「三五」煙 老處女憤世嫉俗

如屋角裡一顆隨時引爆的炸彈

而主任則是不祥之物終日在窗外盤旋

「我用玻璃、日曆和不乾膠佈置好辦公桌」

生活會像脫臼的肩膀被重新接好 而後舒展自如

（姜濤詩選〈畢業歌〉）

Comment by 慕課 庫 on May 3, 2024 at 11:05am

姜濤詩選·三姊妹

在人流中，她們打開手機的樣子

像打開初春的頭一片嫩葉

從倒掛枝頭的會議室到退休部長

蔭涼的臂彎，三姊妹口銜釣鉤

藏身有術，仿佛機關舌尖上

一個輕輕卷起的袖珍支部

 

黎明愉快的化妝，學著

破殼的雞雛，保持適當的抽像

晚間相約去「不夜城」

對男友施行寬容的加減法

或者只是莞而一笑，表露的同情

基本不會超過裙擺的尺度

 

她們乖巧，聰慧，因而蒙受了比白晝

更漫長的照耀，讓體制中的幻想

不分級別：少年人高高翹起的舢板

也沖上了到中年人體臭的暗礁

據稱，她們的腰身並不比傳說中的貴妃

更為苗條，但對男權的歷史

 

顯然缺乏興趣。她們偏愛的是小說

更喜歡袖口一樣伸出生活的格言

而作為一種技巧，枝繁葉茂的詩歌年鑑中

也有她們佯裝成散文的臉

可以說三姊妹的弱點在各方面

都恰到好處：如同游泳池渾濁的深度

滿足了初學者對大海的比擬性衝動

 

70年代出生，80年代當選校際之花

歲月忽忽，出落成美人已到了90年代

她們在風格中成功地實驗出時尚

所餘不多，一杯胸脯扁扁的隔夜茶

遞向學院牆根下尚待發育的新生代

人們可以公開表示贊同或反對

仿佛真地成為了「美」的股東

 

而被三姊妹所排斥的人，正以鯊魚的速度

絕望地撲向了自己深海中的辦公桌

Comment by 慕課 庫 on April 26, 2024 at 8:55am

1.2话语和现实

众所周知，在西方，history这个词一直具有二义性（作为：历史1：历史实在过程〔史实〕；和历史2：作为表达此过程的文字表现〔史书〕），二者的区别也是到了晚近才趋于明确的。但是直到今日，史学家中还是有不少人把二者混同，这表现在，有意无意地会把历史古籍所记内容当作历史现实的直接报导；以为研究历史就是研究古籍文本内容本身，因而欠缺须先行考查该文藉本身及其与所指涉的历史现实之关系的性质。

而古史辨派的古籍批评运动，可以说是自发地倾向于区分了history的这两层意思，意识到史书（历史2）不仅不等于史事（历史1），而且史书不一定正确“代表”史事。其次他们意识到，古史学家的研究对象，应当是指历史2，而不是指历史1。也就是，历史学家并无可能把已经消失的历史1（史事）当作观察和分析的对象，而只能是把历史2（史书）当作研究对象。

这就是说，虽然史学家的最终目的是为了了解历史1，但他只能通过对历史2的研究来间接地、相对地达此目的。

严格来说，古史学家的“真正”对象是历史2和历史1之间的“意指关系”，也就是历史2如何“指涉”历史1。这种历史学科所需的研究原则，恰恰相关于现代符号学的思维倾向：即一般话语之“表达面”和“内容面”之间的意指关系问题。应当说，古史辨派诸人都程度不同地体现了这种“文本反思优先”的态度，而顾颉刚先生是其中观点最明确、方法最彻底的一位。

中国古代考据学史，特别是清代以来达到顶峰的考据学研究，也均在不同方面和不同程度上直观地体现了符号学式的思考倾向。但是只有当中西文化全面交流的二十世纪，区分历史1和历史2的意识才全面成熟，其标志是，学者认识到史书不等于自然具有“代表”史实的资格；因此，学者应该首先研究有关二者之间联系的方式以及导致二者并不相等的诸多原因（包括“历史2”的形成、结构和运作方式等等）。可以说，古史辨派对史书和史事的辨伪工作，大致反映着一种具有符号学旨趣的时代学术理性主义思潮。

区分历史1和历史2概念的必要性，还由于学界长期以来普遍混淆了“历史学论述”和以历史1为对象和以历史2为手段的任何一种政治、社会、文化论述。结果，对历代“历史现实”的任何一种议论，往往会被含混地称作“历史论述”。这也是历史学论述的学科结构至今难以蠡清的原因之一。在本文中，我们将借助历史话题进行各种文化社会性议论的所谓“历史思想”完全排除于讨论之外。

2。 顾颉刚史学思想

顾颉刚史学思想的主要特点是：在其史学研究中始终一贯地坚持一种彻底的理性主义。顾颉刚史学理性主义，虽然并未表现在对理论本身的研究中，却充分体现在他的大量具体史学分析实践中，并体现在其贯彻史学理性主义的精神、态度和意志中。理性主义学术实践涵有浓厚的伦理学方面，我们需要向顾颉刚先生学习的，首先是他追求客观真理的这种学术伦理态度。

中国古史学术发展中的问题，首先还不是什么追求时新理论的问题，而是导正学人治学伦理态度问题。在这方面，《古史辨》第一册的编辑精神，为我们提供了一个永久的精神示范。* （李幼蒸：顾颉刚史学与历史符号学---兼论中国古史学的理论发展问题 2012-06-19爱思想平台）

Comment by 慕課 庫 on February 28, 2024 at 6:41pm

江北愚翁·骨灰級

「骨灰級」這個說法，最初是在一些愛好者領域流行起來的，如音響、電腦（硬件）、攝影等領域。這些領域的愛好者在互聯網上掀起發燒熱潮時，網絡游戲因為網速和計算機運算速度的限制，還未流傳開來。「骨灰級」來源於「發燒友」，發燒到極致，就燒成骨灰了，成為「骨灰級」的發燒友，這是「骨灰級」的來源。

在網絡游戲中，「骨灰級」最早來源於「暗黑破壞神 II」漢化中最特別的一個難度的名稱。因這個游戲的經典性，在之後該名稱也迅速被運用網絡上，並且基本專指游戲。

相對於骨灰級，還有菜鳥級，中鳥級，老鳥級。

發燒友：形容痴迷於某種事物。「發燒友」這個叫法源自於香港，是香港人對早期的「音響器材愛好者」的稱呼。

[愛墾網註評：說起「發燒友」三字，中文電影中最經典的鏡頭，要數香港經典《無間道》。梁朝偉演的警方在匪幫的臥底，以及劉德華演的匪幫在警方的臥底，因為高級音響發燒友而走到了一起，從聽覺世界談到了人生人生境界......]

屌絲：惡搞稱謂。出自《後漢書 ·岑熙傳》：「我有枳棘，岑君伐之；有蟊賊，岑君遏之；狗吠不驚，足下生氂。」，形容渺小的屌絲如同灰塵一般，再怎麼吠叫也無法掀起大風大浪，折射出社會的殘酷與無奈，後來為了方便交流故簡稱為「屌絲」。他們身份低微、生活平庸，不滿無聊生活卻又接受現狀。他們不被社會認可又渴望維護自尊，但不知道該怎麼去做。他們仍有自我實現的欲望，但沒有明確目標，懶洋洋毫無生氣。這種生存狀態和心態，在年輕群體中甚為普遍，於是在網絡廣泛共鳴、流傳，最終形成「屌絲文化」。

小鮮肉：小鮮肉最早是2014年中國粉絲對韓國男性明星的稱呼，相對女性明星的稱呼小花而言。

變色龍：政治上善於變化與偽裝的人。

老油條：南陽、襄陽方言中的油子、老油子、老油條、溜子、二溜子、溜光蛋，說的就是那些下三賴之人，不務正業，偷雞摸狗，偷人家的，搶人家的，自古以來根深蒂固，自春秋戰國代代相傳，亙古至今，時光在流失，人的本性卻難移。這些東西在少數人的身上，表現得淋漓盡致。在網路上一方面指一個人在某論壇混了很久，對這個論壇的情況很了解，建交很廣等等。另一方面的意思是比較精通社會上的人情世故，處理事情比較的老道。也有「大蝦」的含義。

大蝦：在網絡用語中，大蝦是相對於菜鳥的一個名詞，大蝦是指那些善於應用網絡，具有一定網絡技術水平的人。實際上就是大俠的意思。大蝦是大俠的諧音,也可能指代大俠坐在電腦前的時間長了，背就會像大蝦！

中山狼：「中山狼」一詞，出自明代馬中錫。《東田文集》中的《中山狼傳》，也出現在曹雪芹《紅樓夢》中對賈家二小姐迎春的判詞。「子系中山狼，得志便猖狂。金閨花柳質，一載赴黃梁。」指忘恩負義之人。（知乎）

Comment by 慕課 庫 on February 16, 2024 at 12:57pm

How Storytelling Can Drive Strategic Change

Conventional wisdom says that when confronted with a major organizational change– one that shakes the very foundations of how a company does business– top executives need to leave their offices and venture out among the frontline employees to make sure that everyone understands what is at stake and embraces the organization’s strategy for change.

Memos are written, speechwriters summoned, PowerPoint slides prepared, and communications plans developed all to get everyone ‘‘on the samepage,’’ ‘‘rowing in the same direction,’’ or ‘‘singing off the same sheet.’’ E-mails are sent, meetings called, retreats planned, and newsletter articles published, all to insure
that, at the end of the day, the new value proposition and business model have been ingrained in the culture.
Thenleaderspackuptheirstuff,go backtotheiroffices,and waitto seethe seedsof change take root and blossom. Usually, not much happens, leaving managers scratching their heads and l am enting to each other about how much people hate to change. Whydoesn’t this standard managerial approach work?

Andwhy,aftersomanyfailedattempts,doleadersstill use it?

(How storytelling can drive strategic change, Article in Strategy and Leadership · January 2006 [DOI: 10.1108/10878570610637876], Four Author including: Notes: 1. B. Joseph Pine II and James H. Gilmore (1999), The Experience Economy: Work Is Theatre & Every Business a Stage, Harvard Business School Press, Boston, MA, chapter 10 in particular. 2. Stephen Denning (2000), The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations, Butterworth-Heinemann, Woburn, MA, p. xiii. Corresponding author: Gary Adamson is the corresponding author and can be contacted at: gary@starizon.org)

Related:

Story Time 故事時光 001

叙事·創意

故事人心靈素質

《愛墾展頻道》

愛墾慕課·敘事篇

Comment by 慕課 庫 on February 15, 2024 at 10:21pm

Let’s examine the underlying assumptions on which the ‘‘Just Tell ’Em’’ approach is based:

First, it assumes that the front-line employees have the needed context and background
information required to understand major changes in strategic direction. However,
frequently even the managers, who have much more information, confess that they don’t
fully understand what it all means.

Second, it assumes that employees totally accept the decisions of their top executives.
This is most dubious, especially after several ‘‘major’’ change efforts have come and
gone.

Third, ‘‘Just Tell ‘Em’’ assumes that employees don’t have valid ideas of their own about
where the company should be going. But they do, and while they may be forced to deal
with the conclusions and actions of management, they will still draw their own conclusions
and act accordingly.

Fourth, this approach assumes that change is basically an information issue and that if
employees just knew the reasons why it would be good to change, they’d change.
However, change is as much about relationships, emotions, and gut feel as it is about
facts.

And, lastly, this approach assumes that no ‘‘fluff’’ or entertainment value is needed;
because the subject matter is so very important and the people presenting it so
noteworthy, employees will pay attention even if it’s boring. However, this assumption flies
in the face of that old saying that ‘‘Great teaching is one-fourth preparation and
three-fourths theatre.’’


‘‘ So the key message executives should take away from this story on stories is: don’t just spend countless hours, valuable brain cells, and barrels full of money doing the research, analysis, goal-setting, and implementation planning necessary to come up with an industry-altering strategy.’’

So if this standard approach doesn’t work, why do so many leaders keep doing it? The reason may be as simple as this: it’s hard for even the most courageous leader to bet the future of the company on something he doesn’t know how to do. And few executives know how to tell the stories required to elicit organizational transformations.

A good story inspires

A good story always combines conflict, drama, suspense, plot twists, symbols, characters, triumph over odds, and usually a generous amount of humor– all to do two things: capture your imagination and make you feel. It draws you in, places you at its center, connects to your emotions, and inserts its meaning into your memory. That is why storytelling must becomeanintegraltoolofcorporatestrategy. Stories create the experience that lets strategy beunderstood at a personal level[1]. In order to be effective, strategy must not just inform, it must inspire. And people are never inspired by reason alone. That’s why the ‘‘Just Tell ’Em’’ approach usually fails. It totally overlooks the role emotion and meaning play in any life-altering action. And if your strategy isn’t about transforming the way your company and its employees do business, why do it?

Storytelling develops relationships by helping everyone realize we all have issues in common. Stories crystallize common values and beliefs. They build stronger teams and a stronger sense of community. Stories invite people to bring the ‘‘whole person’’ to work (both heart and head), and therefore elicit much more thorough perspectives and meaningful commitments. They create a context for work aspirations and thus make each employee feel more valued. In short, stories have the potential to revitalize the way we do business.

Comment by 慕課 庫 on February 15, 2024 at 10:20am

(Pg 3) As Stephen Denning, former program director at the World Bank, said in the introduction to his book The Springboard: How Storytelling Ignites Action in Knowledge-Era Organizations, ‘‘Time after time, when faced with the task of persuading a group of managers or front-line staff in a large organization to get enthusiastic about a major change, I found that storytelling was the only thing that worked[2].’’

A case: telling the story of a new business model ‘‘It was a real trying period,’’ says Steve Altmiller, President and CEO of San Juan Regional Medical Center, reflecting back on his early years at the 175-bed, sole-community provider in Farmington, New Mexico.‘‘There I was, a new CEOatahistorically strong community hospital and suddenly everything was out of sync. We were taking lots of financial hits; our earnings were down; our hospital-sponsored health plan was going bankrupt; unions were trying to organize our nurses; and, we were making many operational and management changes that introduced lots of anxiety. It seemed like everything we talked about was negative, one problem after another. My board said we had to find a way to focus on something positive.’’

Altmiller decided to engage a top group of his leaders, directors, board members, and physicians in developing a comprehensive experience strategy that would change the company’s business model. Shortly into this two-year project it began calling itself the Galileo Group, for its goal was to discover a new and more personally meaningful center of the healthcare universe. In the midst of their work the members made a radical decision: they would focus first not on the patient experience but rather on the employee experience. ‘‘We can’t consistently provide the most personal patient experience until we can consistently provide the most personal, healing, professional experience. If you expect to be successful in individualizing the patient experience you’d better get good at individualizing to the employee,’’

Altmiller told us. ‘‘Our entire patient experience redesign will start with an exclusive focus on the employee experience. We’regoingtotrytopersonalizeeverything from recruitment to retirement because we think it will do more than anything else to help our employees understand what we want for patients. And in these times of staff shortages and heavycompetition for the best people, it would bea good strategy even if we weren’t planning on doing it for patients. As it is, we’ve come to believe that individualizing the experience will ensure our future success. You’ve got to be able to do it not just whent imes are good but when times are hard. We’re not just following a trend– we’re putting it in everything we do.’’

So a new mission, vision, and philosophy were developed, a new personalized benefit program put in place, and a completely new healing environment designed into the facility expansion project. Many other initiatives were being readied while the rollout of the first phase of changes was begun. And then something quite unexpected happened. The hard work, careful planning, and the innovative design– all of it resulted in confusion, not cohesion. ‘‘I realized pretty quickly,’’ Altmiller relates, ‘‘that while we had done a good job of
defining ‘the what,’ we were doing a bad job of communicating ‘the why.’ If we were ever going to connect the dots, it wasn’t going to be with another PowerPoint presentation. Instead we needed a ‘what’s the point’ experience.’’

Comment by 慕課 庫 on February 14, 2024 at 1:03pm

The story of ‘‘Raiders of the Lost Art’’ And so work began on a story– one designed todescribe the future of San Juan Regional. It became known as ‘‘Raiders of the Lost Art’’ (see the story map, Exhibit 1). As the name implies, through this adventure story wewere looking for something that had been lost, namely the art of personalized healthcare. The story took place in three distinct lands: the land of Medicus (Medical Professionals), the land of Communia (Regional Community), and the land of Patiem (Patients). In each land, operational statistics, industry trends, competitive issues, and organizational initiatives relating specifically to the subject of that area were provided.

Here’s a quick sampling of the lessons presented on a journey through each land: B In the land of Medicus, employees learned how the Baby Boomer generation affects not only the patient population they treat, but also the peers with which they work on a daily basis. B In the land of Communia, employees took an in-depth look at the hospital’s community satisfaction  results and discussed how they could change processes and/or work styles to improve these results in the future. B Lastly, in the land of Patiem, employees learned of the exciting new plans built into the Facility Expansion Project, which would provide a unique healing environment for employees as well as all patients and their families. These encounters were enlivened by an environment filled with props, presented by an Indiana Jones-like facilitator (with assistance from manager guides), and through map icons (landslides, volcanoes, rope bridges, mirages, a treasure chest, hidden caves, a bottomless pit, deserts, oceans, secret passageways, and lush gardens– to name just a few). But the Raiders of the Lost Art story was not only told–it was also asked.

At each map icon, when some new challenge or initiative was presented, a series of small group discussions were held that involved every employee in the session in a deeper examination. Questionslike, ‘‘Does this surprise you?’’, ‘‘How do you think this will affect us?’’, ‘‘Are we doing enough?’’, and‘‘What else would you do?’’ engagedemployeesinstrategy workas neverbefore.And as word of the exciting work spread throughout the hospital, more and more employees wanted to be involved.

Intheend, nearly 70 percent of SanJuan Regional’s1,300 employees attended the voluntary day-long sessions. Almost 900 distinct process, program, and facility suggestions were captured and then analyzed, with approximately half of them implemented. All of a sudden, the connection between management and employee changed. Skepticism, fear, and apathy were replaced by understanding, excitement, and a sense of partnership. According to both soft and hard measures, morale improved, turnover plummeted, and employee satisfaction scores climbed dramatically. New initiatives were understood and embraced; for example, over 80 percent of the employees have signed up for the customized benefits program that is more personally relevant and less expensive to the provider. Further, San Juan Regional recently opened a Child Discovery Center with almost 70 percent of its capacity filled by the children of employees (see Box 1).

Comment by 慕課 庫 on February 13, 2024 at 2:30pm

‘‘ Welearned awholenewwayformanagementandemployeesto work together to make dramatic new things happen. So we have committed to this type of storytelling and feedback to be done every 18 months.’’

The story helps win a local election During the time it was practicing its storytelling initiative, San Juan Regional was developing plans for a major facility expansion and renovation to create a state-of-the-art healing environment and in order to help fulfill its new mission, vision, and philosophy. Indeed, many of the employee suggestions that came out of the Raider’s story were focused on this new facility. Unfortunately, the hospital could raise only about half of the money required to complete the project.

As an alternative, San Juan Regional could go to its community for financial support through bond issues or tax initiatives. But the last three times it had done so– all for much less money than was needed this time– it had been turned down. The Raiders of the Lost Art story sessions were completed about four months before the gross receipts tax election. Subsequently, largely without any help from management, employees began to talk to each other, to their families, and to their friends and neighbors. Their tone was an enthusiastic one; they talked about what the project was and, more importantly, what the expansion project meant to patients, families, healthcare professionals, and local businesses. In other words, they talked about everything they had learned from– and contributed to– the story. When Election Day finally arrived, the mood was a mix of anticipation and anxiety. What would happen if the voters said no again?

How would the hospital ever fulfill its aspirations? And with new hospitals being built in surrounding communities, could San Juan Regional ever compete successfully should a no vote occur? As the votes were counted, it was obvious that there had been a major change in public sentiment. San Juan Regional’s tax initiative had received 84 percent of the vote! More than four out of every f ive voters supported this tax initiative, which had a higher price tag than the initiatives they had voted down in the past. Construction has now begun on a new facility that will let San Juan Regional provide a healthcare experience that lives up to its new mission, vision, and philosophy, and will enable it to recapture the Lost Art of Personalized Healthcare.

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