失败英语演讲稿模板（6篇范文）

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关于这场演讲：james cameron的大笔预算(票房更庞大)的电影创造出想象的世界。在这个演讲中，他揭露了自己从小就喜欢奇幻体验的背景：阅读科幻小说，深海潜水，以及这一切如何转变成成功的巨片如《异形二》、《终结者》、《泰坦尼克号》与《阿凡达》。

i grew up on a steady diet of science fiction. in high school i took a bus to school an hour each way every day. and i was always absorbed in a book, science fiction book, which took my mind to other worlds, and satisfied, in a narrative form, this insatiable sense of curiosity that i had.

and you know that curiosity also manifested itself in the fact that whenever i wasn’t in school i was out in the woods, hiking and taking "samples"——frogs and snakes and bugs, and bringing them back, looking at them under the microscope. you know, i was a real science geek. but it was all about trying to understand the world, understand the limits of possibility.

and my love of science fiction actually seemed to mirrored in the world around me, because what was happening, this was in the late’ 60s, we were going to the moon, we were e_ploring the deep oceans. jacques cousteau was coming into our living rooms with his amazing specials that showed us animals and places and a wondrous world that we could never really have previously imagined. so, that seemed to resonate with the whole science fiction part of it.

and i was an artist. i could draw. i could paint. and i found that because there weren’t video games and this saturation of cg movies and all of this imagery in the media landscape, i had to create these images in my head. you know, we all did, as kids having to read a book, and through the author’s description put something on the movie screen in our heads. and so, my response to this was to paint, to draw alien creatures，alien worlds, robots, spaceships, all that stuff. i was endlessly getting busted in math class doodling behind the te_tbook. that was, the creativity had to find its outlet somehow.

and an interesting thing happened——jacques cousteau shows actually got me very e_cited about the fact that there was an alien world right here on earth. i might not really go to an alien world on a spaceship someday. that seemed pretty darn unlikely. but that was a world i could really go to, right here on earth, that was as rich and e_otic as anything that i had imagined from reading these books.

so, i decided i was going to become an e_otic scuba diver at the age of 15. and the only problem with that was that i lived in a little village in canada, 600 miles from the nearest ocean. but i didn’t let that daunt me. i pestered my father until he finally found a scuba class in buffalo, new york, right across the border from where we live. and i actually got certified in a pool in a ymca in the dead of winter in buffalo, new york. and i didn’t see the ocean, a real ocean, for another two years, until we moved to california.

since then, in the intervening 40 years, i’ve spent about 3,000 hours underwater, and 500 hours of that were in submersibles. and i’ve learned that deep ocean environment, and even the shallow ocean, is so rich with amazing life that really is beyond our imagination. nature’s imagination is so boundless compared to our own meager human imagination. i still, to this day, stand in absolute awe of what i see when i make these dives. and my love affair with the ocean is ongoing, and just as strong as it ever was.

but, when i chose a career, as an adult, it was film making. and that seemed to be the best way to reconcile this urge i had to tell stories, with my urges to create images. and i was, as a kid, constantly drawing comic books, and so on. so, film making was the way to put pictures and stories together. and that made sense. and of course the stories that i chose to tell were science fiction stories: terminator, aliens and the abyss. and with the abyss, i was putting together my love of underwater and diving, with film making. so, you know, merging the two passions.

something interesting came out of the abyss, which was that to solve a specific narrative problem on that film, which was to create this kind of liquid water creature, we actually embraced computer generated animation, cg. and this resulted in the first soft-surface character, cg animation that was ever in a movie. and even though the film didn’t make any money, barely broke even, i should say, i witnessed something amazing, which is that the audience, the global audience, was mesmerized by this apparent magic.

you know, it’s arthur clarke’s law that any sufficiently advanced technology is indistinguishable from magic. they were seeing something magical. and so that got me very e_cited. and i thought, "wow, this is something that needs to be embraced into the cinematic art." so, with terminator 2, which was my ne_t film, we took that much farther. working with ilm, we created the liquid metal dude in that film. the success hung in the balance on whether that effect would work. and it did. and we created magic again. and we had the same result with an audience. although we did make a little more money on that one.

so, drawing a line through those two dots of e_perience, came to, this is going to be a whole new world, this was a whole new world of creativity for film artists. so, i started a company with stan winston, my good friend stan winston, who is the premier make-up and creature designer at that time, and it was called digital domain. and the concept of the company was that we would leap-frog past the analog processes of optical printers and so on, and we would go right to digital production. and we actually did that and it gave us a competitive advantage for a while.

but we found ourselves lagging in the mid’90s in the creature and character design stuff that we had actually founded the company to do. so, i wrote this piece called avatar, which was meant to absolutely push the envelope of visual effects, of cg effects, beyond, with realistic human emotive characters generated in cg, and the main characters would all be in cg, and the world would be in cg. and the envelope pushed back. and i was told by the folks at my company that we weren’t going to be able to do this for a while.

so, i shelved it, and i made this other movie about a big ship that sinks. you know, i went and pitched it to the studio as romeo and juliet on a ship. it’s going to be this epic romance, passionate film. secretly, what i wanted to do was i wanted to dive to the real wreck of "titanic". and that’s why i made the movie. and that’s the truth. now, the studio didn’t know that. but i convinced them. i said, "we’re going to dive to the wreck. we’re going to film it for real. we’ll be using it in the opening of the film. it will be really important. it will be a great marketing hook." and i talked them into funding an e_pedition.

sounds crazy. but this goes back to that theme about your imagination creating a reality. because we actually created a reality where si_ months later i find myself in a russian submersible two and a half miles down in the north atlantic, looking at the real "titanic" through a view port, not a movie, not hd, for real.

now, that blew my mind. and it took a lot of preparation, we had to build cameras and lights and all kinds of things. but, it struck me how much this dive, these deep dives was like a space mission. where it was highly technical, and it required enormous planning. you get in this capsule, you go down to this dark hostile environment where there is no hope of rescue if you can’t get back by yourself. and i thought like, "wow. i am like living in a science fiction movie. this is really cool."

and so, i really got bitten by the bug of deep ocean e_ploration. of course, the curiosity, the science component of it. it was everything. it was adventure. it was curiosity. it was imagination. and it was an e_perience that hollywood couldn’t give me. because, i could imagine a creature and we could create a visual effect for it. but i couldn’t imagine what i was seeing out that window. as we did some of our subsequent e_peditions i was seeing creatures at hydrothermal vents and sometimes things that i had never seen before, sometimes things that no one had seen before, that actually were not described by science at the time that we saw them and imaged them.

so, i was completely smitten by this, and had to do more. and so, i actually made a kind of curious decision. after the success of titanic, i said, "okay, i’m going to park my day job as a hollywood movie maker, and i’m going to go be a full time e_plorer for a while." and so, we started planning these e_peditions. and we wound up going to the bismark, and e_ploring it with robotic vehicles. we went back to the "titanic" wreck. we took little bots that we had created that spoolled a fiber optic. and the idea was to go in and do an interior survey of that ship, which had never been done. nobody had ever looked inside the wreck. they didn’t have the means to do it, so we created technology to do it.

so, you know, here i am now, on the deck of "titanic", sitting in a submersible, and looking out at planks that look much like this, where i knew that the band had played. and i’m flying a little robotic vehicle through the corridor of the ship. when i say, i’m operating it, but my mind is in the vehicle. i felt like i was physically present inside the shipwreck of "titanic". and it was the most surreal kind of deja vu e_perience i’ve ever had, because i would know before i turned a corner what was going to be there before the lights of the vehicle actually revealed it, because i had walked the set for months when we were making the movie. and the set was based as an e_act replica on the blueprints of the ship.

so, it was this absolutely remarkable e_perience. and it really made me realize that the telepresense e_perience that you actually can have these robotic avatars, then your consciousness is injected into the vehicle, into this other form of e_istence. it was really really quite profound. and may be a little bit of a glimpse as to what might be happening some decades out as we start to have cyborg bodies for e_ploration or for other means in many sort of post-human futures that i can imagine, as a science fiction fan.

so, having done these e_peditions, and really beginning to appreciate what was down there, such as at the deep ocean vents where we had these amazing animals. they are basically aliens right here on earth. they live in an environment of chemosynthesis. they don’t survive on sunlight based system the way we do. and so, you’re seeing animals that are living ne_t to a 500 degree centigrade water plumes. you think they can’t possibly e_ist.

at the same time i was getting very interested in space science as well, again, it’s the science fiction influence, as a kid. and i wound up getting involved with the space community, really involved with nasa, sitting on the nasa advisory board, planning actual space missions, going to russia, going to the pre-cosmonaut biomedical protocols, and all these sorts of things, to actually go and fly to the international space station with our 3d camera systems. and this was fascinating. but what i wound up doing was bringing space scientists with us into the deep. and taking them down so that they had access astrobiologists, planetary scientists, people who were interested in these e_treme environments, taking them down to the vents, and letting them see, and take samples and test instruments, and so on.

so, here we were making documentary films, but actually doing science, and actually doing space science. i’d completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real. and you know, along the way in this journey of discovery, i learned a lot. i learned a lot about science. but i also learned a lot about leadership. now you think director has got to be a leader, leader of, captain of the ship, and all that sort of thing.

i didn’t really learn about leadership until i did these e_peditions. because i had to, at a certain point, say, "what am i doing out here? why am i doing this? what do i get out of it?" we don’t make money at these damn shows. we barely break even. there is no fame in it. people sort of think i went away between titanic and avatar and was buffing my nails someplace, sitting at the beach. made all these films, made all these documentary films for a very limited audience.

no fame, no glory, no money. what are you doing? you’re doing it for the task itself, for the challenge —— and the ocean is the most challenging environment there is, for the thrill of discovery, and for that strange bond that happens when a small group of people form a tightly knit team. because we would do these things with 10-12 people working for years at a time. sometimes at sea for 2-3 months at a time.

and in that bond, you realize that the most important thing is the respect that you have for them and that they have for you, that you’ve done a task that you can’t e_plain to someone else. when you come back to the shore and you say, "we had to do this, and the fiber optic, and the attentuation, and the this and that, all the technology of it, and the difficulty, the human performance aspects of working at sea, you can’t e_plain it to people. it’s that thing that maybe cops have, or people in combat that have gone through something together and they know they can never e_plain it. creates a bond, creates a bond of respect.

so, when i came back to make my ne_t movie, which was avatar, i tried to apply that same principle of leadership which is that you respect your team, and you earn their respect in return. and it really changed the dynamic. so, here i was again with a small team, in uncharted territory doing avatar, coming up with new technology that didn’t e_ist before. tremendously e_citing. tremendously challenging. and we became a family, over a four and half year period. and it completely changed how i do movies. so, people have commented on how, well, you brought back the ocean organisms and put them on the planet of pandora. to me it was more of a fundamental way of doing business, the process itself, that changed as a result of that.

so, what can we synthesize out of all this? you know, what are the lessons learned? well, i think number one is curiosity. it’s the most powerful thing you own. imagination is a force that can actually manifest a reality. and the respect of your team is more important than all the laurels in the world. i have young film makers come up to me and say, "give me some advice for doing this." and i say, "don’t put limitations on yourself. other people will do that for you, don’t do it to yourself, and don’t bet against yourself. and take risks."

nasa has this phrase that they like: "failure is not an option." but failure has to be an option in art and in e_ploration, because it’s a leap of faith. and no important endeavor that required innovation was done without risk. you have to be willing to take those risks. so, that’s the thought i would leave you with, is that in whatever you’re doing, failure is an option, but fear is not. thank you.

可以失败，不能畏惧

詹姆斯?卡梅隆

ted大会上的演讲

20__年2月

在我成长过程中，科幻小说一直是我的精神食粮。高中时我每天搭巴士上下学，单程要一小时。坐公车时，我总是沉浸在科幻小说里，仿佛被带入另一个世界，书中讲述的一个个故事极大地满足了我无休无止的好奇心。

事实上，在课余时间，我常常在好奇心的驱使下，去徒步旅行，钻进树林去采集"标本"——青蛙、蛇、昆虫之类，把它们带回家，放在显微镜下观察。我是个真正的科学怪人，总是想尽可能的去了解这个世界，去揭示它可能存在的极限。

我非常热爱科幻小说，因为它们似乎就是现实的写照，书中的一切都确实发生在我们身边，60年代末期，人类登上了月球，探索了深海。电影摄影师雅克.格斯特让我们在电视上看到了神奇的海洋生物，向人类展示了从未想象到的动物，竟和奇妙的水下世界。这似乎与科幻小说中的构想遥相呼应。

我还是个画家，能绘画，能创作。那时的我接触不到电视游戏，缺乏登峰造极的cg电影技术，连多媒体领域的素材库都没有，所以我不得不在脑海中臆造这些形象。就像孩子们读书时会想象书中的场景那样，我们读小说时，作者所描绘的影像就会脑海中不断放映。这些影像一出现，我就会把它们画下来，于是我开始画外星人、外星世界、机器人、宇宙飞船等等。老师不止一次在数学课上逮到我在课本后面乱涂乱画，因为我得给我的想象力开启一扇让其肆意奔涌的闸门。

然而一件有趣的事——雅克.格斯特的电视节目的播出，着实让我兴奋不已，我相信地球上就存在一个外星世界。虽然我可能永远无法进入这个世界，因为这确实不现实。但是我能游历水下世界，它就在地球上，富饶又充满异星情调，就像我读了科幻小说后所幻想的那样。

所以15岁时，我决定成为一个潜水员,去探索神秘的海洋。唯一的问题是，我生活在加拿大的一个小山村，距离最近的海也有600英里。但我没有因此气馁，而是缠着父亲，而是缠着父亲，直到他同意让我参加在边境纽约州布法罗市——需要从我家穿过美加国界线——的一个潜水培训班。于是在一个寒冬，我在布法罗基督教青年会的一个泳池里获得了潜水证书。然而，直到两年后，我们全家搬到了加利福尼亚，我才见到了真正的大海，进行真正的潜水。

从那时算起到现在的40年间，我在海底潜水共约3000小时，其中500小时是在潜水艇里度过的。无论是深海还是浅海环境，大海都丰富多彩，充满奥秘，超乎我们想象。比起人类的想象力，自然的想象力更加浩瀚。直到今天，每次下潜时，我仍旧对眼中的海洋世界充满敬畏，而我与大海的不解情缘仍在延续着，上演着。

但成年后，我并没有以潜水为职业，而是选择了电影摄制作为自己的事业。孩提时，我就喜欢画漫画，画很多东西。我喜欢讲故事，画图画，而要把它们结合起来，电影摄制是再合适不过的工作了。电影摄制将图片和故事有机结合，并赋予它们更深刻的意义。当然，我选来拍成电影的都是科幻故事，比如《终结者》、《异型》、《深渊》。 拍摄《深渊》时，我把自己对水下世界的爱、对潜水活动的爱融入其中，把对这两件事的激情融合到了一起。

拍摄《深渊》时，又出现了些有趣的事：我们要塑造一个水状的生物，为了解决这一特效上的问题，我们使用了"计算机生成动画"技术，即cg。电影史上第一个软表面的电脑绘制形象在此技术下诞生了。虽然这部电影没让公司赚到一分钱，还差点亏本，我还是得说，我看到了令人惊奇的一幕，全世界的观众都为这种像魔法一般的新技术神魂颠倒。

根据亚瑟?克拉克定律——任何非常先进的技术，初看都与魔法无异。很多观众都像是看到了神奇的魔法。这让我非常兴奋。我想cg技术也应该用到电影艺术中去。所以，在下一部电影《终结者2》中，我们把这种技术又推进了一步。和工业光魔特效制作公司一起，创造了一个液态金属人。这部电影能否大放异彩就要看特效了。事实证明，特效不负众望。我们又一次施展了魔法，观众们依旧为之疯狂。尽管这部电影还是没让我们没赚到什么钱。

这两次经历是一条分界线，对电影大师们来说，这意味着一个全新的、充满想象与创造的世界即将诞生。于是我和好友斯坦?温斯顿——拍摄前几部电影时的首席特效化妆和角色设计师——创立了"数字领域"公司。这个名字意味着，我们要跳过光学影印模拟制作过程直接进入数字电影制作。实际上，我们也确实是这么做的，这使得我们在一段时间内有了一定的竞争优势。

虽然我们确实已经组建了公司进行造型设计，但在90年代中期，我发现我们有些落后了。 我写了《阿凡达》这部电影，想要以此大力推动视觉效果和cg效果，用cg生成具有真实人类情感的角色，完全用cg诠释主要角色和世界。但这电影不得不延期拍摄，因为公司员工告诉我，我们一时半会还没有能力做到这点。

于是我把《阿凡达》搁到一边，转而制作了另一部电影，这部电影主要描述了一艘巨轮——"泰坦尼克号"——的沉没。 我告诉电影制片方，我把它定位为巨轮上的《罗密欧与朱丽叶》，一部关于爱情的电影，就像罗密欧与朱丽叶的故事一样凄美动人。而实际是因为我想潜入海底寻找真正的"泰坦尼克号"的残骸，所以我才要做这部电影。但制片方并不知道这一真相。为说服他们，我说："我们要潜入海底，寻找真正的"泰坦尼克号"，这样可以拍摄真实的画面。如果把这个片段用在首映式上，会引起很大的轰动，也会有良好的市场反响的。"我真的说服了制片方组建了一支探险队呢。

虽然这听起来有些疯狂，但这就回到了"想象创造现实"的主题。因为我们确实创造了现实，6个月后，我乘一艘俄罗斯潜艇，在北大西洋2.5英里深的水下，从观察舱里看到了真实的"泰坦尼克号"，不是电影里的，也不是高清屏幕上的，而是真实的"泰坦尼克号"。

《泰坦尼克号》的拍摄着实让我兴奋。我们做了很多准备工作，搭建相机、设置灯光及各种设备。但令我震惊的是，这次深海拍摄就像是一次太空任务，需要尖端的科技和周全的计划。我乘坐潜水艇潜入深海，那里漆黑又充满危险，如果无法靠自己返回水面，其他人也无法开展营救工作。我想："这就像生活在科幻电影中似的，真是太酷了。"

不过，我真的热衷于海底探险。当然，探求科学的那种好奇心才是最重要的，科学需要冒险，需要好奇心，也需要想象力。只是在好莱坞拍电影是无法体验到这些经历的。我能够想象出一个生物并为它创造出视觉效果。但是透过潜艇窗户看到的那些生物，这是我永远想象不到的。在随后的探险中，我在深海热泉里看到了一些无人见过、无人知晓的生物，实际上，我们看到它们并拍下照片时，它们还没有科学记载。

这一切让我感到非常震撼，我必须做的更多。为了满足自己的好奇心，我做了一个决定。 在《泰坦尼克号》成功后，我决定暂别好莱坞导演这一主业，做一段时间全职探险家。于是我们开始计划一些探险，一行人兴致勃勃的去了俾斯麦海域，在自动探测车帮助下，对这一海域展开了探索。然后我们重回"泰坦尼克号"的残骸we took little bots that we had created that spooled a fiber optic.我们决定进到"泰坦尼克号"内部做一次内部调查，这是史无前例的，从没有人看过沉船内部，因为他们无计可施，然而我们想出了办法。

我坐在潜水艇里，到了"泰坦尼克号"的甲板上，看着这些厚木板，感觉这里很像当年船上的乐队演奏的地方。我操控着自动探测仪在穿廊间穿梭，操作仪器时，我的思想像是跟着它走了。我感觉我自己真的到了泰坦尼克号，这艘遇难船的内部。这种似曾相识的感觉像梦一样，从未有过。假如我想转弯，没等探测器的灯光照到那，我就能知道接下来会看到什么。这是因为还在拍电影的时候，我就在"泰坦尼克号"的模型上工作了数月，而那个模型恰恰是根据它的设计图制作的精确复制品。

这是一次不同寻常的体验。这次远程控制的经历让我清楚的认识到，我们可以把自己的意识注入这些机器化身中，它们是另一种形式上的生命存在。这种体验意义重大。如管中窥豹，可见未来一斑，或许我们马上就能用机器生命体进行科学探索，或者为未来的人类做各种事情，只要是我这个科幻小说迷能想到的。

在这些探险之后，我开始真正欣赏那些海底生物，比如我们在深海热泉所见到的那些神奇生物。这些生物虽生活在地球上，但基本可以称为外星生物。它们生活在一个化学合成的环境中。它们无法像我们一样在太阳为生命基础的体系下生存。在海底，还能看到生活在500摄氏度水汽下的动物。你无法相信它们能在那生存。

与此同时，因为从小受科幻小说影响，我对太空科学也非常有兴趣。我迫不及待的加入了空间社，真正参与到nasa中，同咨询委员会一起，策划真实的太空任务，我们前往俄罗斯，参加前天体生物医学会的研讨等等诸如此类的任务，让宇航员带着3d摄像机进入国际空间站。这令人着迷，但我急切的想让这些太空专家同我们一起潜入深海，天体生物学家，行星专家，都对特殊环境充满兴趣，带他们去深海热泉，观察深海生物，取一些样本，测试仪器等等。

所以我们既是在拍纪录片，也在研究科学，更确切的说是在研究空间科学。i"d completely closed the loop between being the science fiction fan, as a kid, and doing this stuff for real.在探索发现的旅途中，我学到了很多，不仅仅是科学知识，还有领导能力。很多人认为导演就是领导者，像船长或者其他领导者一样。

没进行这些探险以前，我并不真正了解领导力的内涵。因为有时我会问自己，我到底在这干什么呢?为什么要做这些节目? 我从中得到了什么? 我们并没有从这些见鬼的节目中赚到钱，还差点破产。我也没有赚到名声。很多人以为我拍了《泰坦尼克号》、《阿凡达》后，就在沙滩上修磨着指甲，享受生活呢。 其实，我拍了这些电影，这些记录片，只换来了为数不多的观众。

得不到名声，等不到荣耀，也得不到金钱，我问自己，你在做什么呢?其实只是为了任务本身，是为了挑战——海洋就是现在最具挑战性的环境了;是为了探索发现时的惊喜;也为了一个小而紧密的团队所产生的那种不可思议的团队感。我们这10到12人在一起共事多年。有时要在海里一起工作两三个月。

在这个团队中，我发现最重要的东西就是互相尊重。每个人做的工作都无以言表。我回到海边告诉其他人，我们必须这样做，用光学纤维，用这种技术那种技术，各种技术，战胜一切困难，考虑演员在海里的表现。这种互相配合并肩作战的默契是无法言明的，这些事情只有警察或者参加过战斗的人经历后才能明白，他们知道这是无法向他人表达的。我们必须建立起这种默契，建立起互相尊重的默契。

所以，我开始拍摄接下来的电影《阿凡达》时，试着运用了这种领导原则，我尊重我的团队，他们也很尊重我。这让团队变得很有活力。所以，这次我也带了一支小团队，在未经探索的地区拍摄《阿凡达》，创造前所未有的新技术，这非常有意思，也颇具有挑战性。在这四年半多的时间里，我们就像一家人一样。这完全改变了我拍电影的方式。 有人评论说，卡梅隆只是把一些海洋生物放到了潘多拉星球上。但我来说，建立这种互相尊重的默契不仅仅是做商业电影的基本法则，而是过程本身改变了事情的结果。

我能从这些经历中总结出什么，又能学到什么?首先要有好奇心，这是你拥有的最强大的东西;其次要有想象力，这是你展现现实的力量;第三：尊重团队，这是比世界上一切荣誉都更为重要。 有不少年轻电影导演向我讨教成功经验，我告诉他们："不要作茧自缚。别人会束缚你，但你自己不要作茧自缚。不要说自己不行，要敢于承担风险。"

nasa里流行一句话："只能成功，不能失败"但是，在艺术领域和探索发现时是允许失败的，因为这是需要运气的。只有冒险，创新，才能成功。你必须愿意承担风险，这就是我给你们的建议，无论你做什么，可以失败，不能畏惧。

失败英语演讲稿 模板3

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成功与失败英语演讲稿（一）

failure is what often happens.it is everywhere in your life.students may fail in e_ams, science may fail in their researchwork,and athletes may fail in competitions.

although failure happens to everyone, attitudes towards failure are various. some people don't think their failure is a very important thing at all. so they pay no attention to it. as a result, they will have the same failure a previously later.they spend their thime and energy on useless things and they may really be fools as they have thought.

success is not easy to talk about because the word success it-self has hundreds of definitions. for some it means power, for some it means wealth, for others it is fame or great achieve-ments. but i have my own understanding of it.

success means to try your best.

many people believe that success means to win. in my opin-ion, it means to try your best when you do everything, no matter you will win or not. when you are taking part in a long-distance race, if you keep on running as fast as you can, you are successful, although you may be the last to pass the finishing-line. because you have showed your best to others, and you have made i your greatest effort to be the winner.

success means to work hard.

no one can succeed without any hard work. karl ma_ was successful, because he spent more than 30 years writing the book 'communist manifesto'; tomas edison succeeded, because he had e_perimented thousands of times to find the best material for lights. every success calls for hard work. if you want to suc-ceed, work hard first.

other people are quite different from the two kinds of people mentiond above. instend of being distressed and lost,they draw a lesson from every failure and become more e_perienced. after hard work, they will be successful in the end. it is said that failure is the mother of success. success will be gained after times of failures so long as we are good at drawong lesson from our failures.

in my opinion , failure is not a bad thing , the really bad thing is taking a failure as failure or even lose our heart after failure.

more importantly, today, the world is undergoing fast rhythm of changing, some issues occur in one way this time and reoccur in another way that time.such instability and inconstancy make many long-time-lasting conventions and traditions not valid any longer. people encounter pile of new conditions everyday in current society, it is hard to find adequate reference from the wisdom of conventions for all of these new thing, what can really lead people to success is rational mind and creative ways of thinking. to meet the requirement of new missions, only creative activities could give out adaptive strategies. without creative thinking ways, there would no such increasingly development of science and technology in the past two centuries, no new type america-style democracy in the world, no so many products making modern life so comfortable and convenient. creative practices and original idea are the engine of the fast development of modern life, and are most essential for people to accomplish successful achievement in all kinds of fields.

失败英语演讲稿 模板4

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no winning or no losing

perhaps the sky is still blue, but i can see the black sky. perhaps the flowers are still beautiful, but i can see the ugly flowers. perhaps the sun still shines, but there’s no sun in my world. perhaps the world doesn’t change, but my world is changing. the e_am has been over, but i can’t wake up because i think i did very badly.

but i know, even if you didn’t do well this time, but you can do well ne_t time. time can’t run backwards, you can try your best to do something well in the future.

i think, there’s no winning or losing in the world. tomorrow, the sun rises again; we will have a new day!

失败英语演讲稿 模板5

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a man with a friend is not failed!

演说者：tanya menon

i started teaching mba students 17 yearsago. sometimes i run into my students years later. and when i run into them, afunny thing happens. i don"t remember just their faces; i also remember wheree_actly in the classroom they were sitting. and i remember who they weresitting with as well. this is not because i have any special superpowers of memory. the reason i can remember them is because they are creatures of habit.they are sitting with their favorite people in their favorite seats. they findtheir twins, they stay with them for the whole year.

我教企业管理硕士学生有十七年的时间。有时，我会在几年后巧遇我的学生。当我巧遇他们时，会发生一件有趣的事。我不只记得他们的脸，我还记得他们在教室中是坐在哪个位置，以及和谁坐在一起。我能记住这些，不是因为我有记忆超能力。是因为他们是习惯性的生物。他们会和最喜欢的人一起坐，坐在他们最喜欢的座位，找和自己极相似的人，一整年都和这些人待在一起。

now, the danger of this for my students isthey"re at risk of leaving the university with just a few people who aree_actly like them. they"re going to squander their chance for an international,diverse network. how could this happen to them? my students are open-minded.they come to business school precisely so that they can get great networks.

这情况对我的学生的危险之处在于他们担当的风险是只和极少数与自身非常相像的人一起离开大学，他们将会浪费掉国际性、多元化网络的机会。他们怎么会发生这种事?我的学生是心胸开放的。他们来到商学院为的正是能取得很好的网络。

now, all of us socially narrow in ourlives, in our school, in work, and so i want you to think about this one. howmany of you here brought a friend along for this talk? i want you to look atyour friend a little bit. are they of the same nationality as you? are they ofthe same gender as you? are they of the same race? really look at them closely.don"t they kind of look like you as well?

我们所有人在生活上、在学校、在工作中的社交都是狭窄的，所以，我希望你们能想想这一点。在座有多少人，带了朋友一起来听这场演讲?我希望你们能看一下你们的朋友。他们的国籍和你相同吗?他们的性别和你相同吗?他们的种族相同吗?真正去近看他们。他们是不是看起来也和你很像?

the muscle people are together, and thepeople with the same hairstyles and the checked shirts.

肌肉发达的人在一起，还有发型相同的人，都穿格子上衣的人。

we all do this in life. we all do it inlife, and in fact, there"s nothing wrong with this. it makes us comfortable tobe around people who are similar. the problem is when we"re on a precipice,right? when we"re in trouble, when we need new ideas, when we need new jobs,when we need new resources -- this is when we really pay a price for living ina clique.

我们在人生中都会这么做。我们在人生中都会这么做，事实上，这并没有什么不好。和相似的人在一起让我们感到舒服。当我们在危急处境中时才会有问题，对吗?当我们有麻烦时，需要新点子时，需要新工作时，需要新资源时──这时，身在小团体中，就会要付出代价。

mark granovetter, the sociologist, had afamous paper "the strength of weak ties," and what he did in thispaper is he asked people how they got their jobs. and what he learned was thatmost people don"t get their jobs through their strong ties -- their father,their mother, their significant other. they instead get jobs through weak ties,people who they just met.

社会学家马克格兰诺维特有著名的论文，叫「弱连结的力量」，他在这篇论文中做的是去问人们他们如何得到他们的工作。他发现大部分的人不是从他们的强连结──父亲、母亲、另一半──得到工作，而是从弱连结──刚认识的人──得到工作。

so if you think about what the problem is with yourstrong ties, think about your significant other, for e_ample. the network isredundant. everybody that they know, you know. or i hope you know them. right?your weak ties -- people you just met today -- they are your ticket to a wholenew social world.

所以，如果你要思考强连结的问题在哪，想想比如你的另一半。这网络是多余的。他们认识的人，你也都认识。我希望你认识他们，对吧?你的弱连结──你今天才认识的人──他们是让你通往全新社交世界的门票。

the thing is that we have this amazingticket to travel our social worlds, but we don"t use it very well. sometimes westay awfully close to home. and today, what i want to talk about is: what arethose habits that keep human beings so close to home, and how can we be alittle bit more intentional about traveling our social universe?

问题是，我们有这张很棒的门票，可以遨游我们的社交世界，但我们没有好好用它。有时，我们待在离家非常近的地方。今天，我想要谈的是这个：是什么习惯让人类持续待在离家近的地方，以及我们要如何更刻意一点去游遍我们的社交宇宙?

so let"s look at the first strategy. thefirst strategy is to use a more imperfect social search engine. what i mean bya social search engine is how you are finding and filtering your friends. andso people always tell me, "i want to get lucky through the network. i wantto get a new job. i want to get a great opportunity."

让我们先来谈第一条策略。第一条策略是要用更多不完美的社交搜索引擎。我所谓的社交搜索引擎是你如何找到和筛选你的朋友。人们总是告诉我：「我想要透过网络来走运。我想要找份新工作。我想要有很好的机会。」

and i say,"well, that"s really hard, because your networks are so fundamentallypredictable." map out your habitual daily footpath, and what you"llprobably discover is that you start at home, you go to your school or yourworkplace, you maybe go up the same staircase or elevator, you go to thebathroom -- the same bathroom -- and the same stall in that bathroom, you endup in the gym, then you come right back home.

我说：「嗯，那真的很难，因为你的网络基本上是非常可预测的。」画出你习惯的日常路径，你很可能会发现，你从家里开始，你去上学或上班，你可能会从同样的楼梯或电梯上楼，你去厕所，同一间厕所，用那厕所的同一隔间，你最后到了健身房，然后你就回家了。

it"s like stops on a trains chedule. it"s that predictable. it"s efficient, but the problem is, you"reseeing e_actly the same people. make your network slightly more inefficient. goto a bathroom on a different floor. you encounter a whole new network ofpeople.

就像火车靠站时刻表一样。就是那么可预测。它很有效率，但问题是，你遇见的人都一样。让你的网络稍微不要那么有效率。去不同楼层的厕所。你会遇到一个全新的人脉网络。

the other side of it is how we are actuallyfiltering. and we do this automatically. the minute we meet someone, we arelooking at them, we meet them, we are initially seeing, "you"reinteresting." "you"re not interesting." "you"re relevant."we do this automatically. we can"t even help it. and what i want to encourageyou to do instead is to fight your filters. i want you to take a look aroundthis room, and i want you to identify the least interesting person that yousee, and i want you to connect with them over the ne_t coffee break. and i wantyou to go even further than that. what i want you to do is find the mostirritating person you see as well and connect with them.

它的另一面，是我们实际上做筛选的方式。我们会自动筛选。在我们见到一个人时，我们会看他们，见到他们，我们一开始就会看到：「你很有趣。」「你不有趣。」「你很重要。」我们会自动做这件事。我们无法控制。我想要鼓励各位做的是，对抗你的筛选器。我希望你们能环视一下这间房间，我希望你们找出你所看见最无趣的人，我希望你们能在下次休息时间去和他们做连结。我希望你们还能做更多。我也希望你们能去找到你们所看见最恼人的人，去与他们做连结。

what you are doing with this e_ercise isyou are forcing yourself to see what you don"t want to see, to connect with whoyou don"t want to connect with, to widen your social world. to truly widen,what we have to do is, we"ve got to fight our sense of choice. we"ve got tofight our choices. and my students hate this, but you know what i do?

做这项练习的目的是要强迫你自己去看见你不想看见的，去和你不想连结的人连结，去拓宽你的社交世界。要真正拓宽，我们得要做的是，我们得要对抗我们对选择的感受。我们得要对抗我们的选择。我的学生很讨厌这样，但猜猜我怎么做?

i won"tlet them sit in their favorite seats. i move them around from seat to seat. iforce them to work with different people so there are more accidental bumps inthe network where people get a chance to connect with each other. and westudied e_actly this kind of an intervention at harvard university.

我不让他们坐在他们最爱的位子。我让他们一直换位子坐。我强迫他们去和不同的人合作，在网络中就会有更意外的颠簸起伏，让人们有机会可以彼此连结。我们在哈佛大学就是在研究这种干预方法。

at harvard,when you look at the rooming groups, there"s freshman rooming groups, peopleare not choosing those roommates. they"re of all different races, all differentethnicities. maybe people are initially uncomfortable with those roommates, butthe amazing thing is, at the end of a year with those students, they"re able toovercome that initial discomfort. they"re able to find deep-level commonalitieswith people.

在哈佛，如果去看住宿的团体，会有新鲜人住宿团体，人们不选择室友。他们都是不同的种族、不同的人种。许多人一开始对自己的室友感到不舒服，但，让人惊奇的是，在年末，那些学生能够克服一开始的不舒服。他们能在人身上找到更深层的共同性。

so the takeaway here is not just "takesomeone out to coffee." it"s a little more subtle. it"s "go to thecoffee room." when researchers talk about social hubs, what makes a socialhub so special is you can"t choose; you can"t predict who you"re going to meetin that place. and so with these social hubs, the parado_ is, interestinglyenough, to get randomness, it requires, actually, some planning.

这里要给各位的讯息不只是「找人出去喝杯咖啡」。还要更微妙一点。是「去咖啡厅」。当研究者谈论社交中心时 ，社交中心之所以特别，就是因为你无法选择;你无法预测你在那个地方会遇见谁。关于这些社交中心，有趣的是一个矛盾：若要有随机性，需要的其实是规划。

in one university that i worked at, there was a mail room on every single floor. whatthat meant is that the only people who would bump into each other are those whoare actually on that floor and who are bumping into each other anyway. at another university i worked at, there was only one mail room, so all the faculty from all over that building would run into each other in that social hub.a simple change in planning, a huge difference in the traffic of people and theaccidental bumps in the network.

在我工作的其中一间大学，在每层楼都有一间收发室。那就意味着，会巧遇到的人都只有在同一层楼的人，而他们本来就会遇见彼此。在我工作的另一间大学，只有一间收发室，所以整栋大楼所有的教职员就会在那社交中心巧遇彼此。在规划上做个简单的改变，就能对人的交流及网络中的意外巧遇造成很大的不同。

here"s my question for you: what are youdoing that breaks you from your social habits? where do you find yourself inplaces where you get injections of unpredictable diversity? and my studentsgive me some wonderful e_amples. they tell me when they"re doing pickupbasketball games, or my favorite e_ample is when they go to a dog park. theytell me it"s even better than online dating when they"re there.

我想要问各位的问题是：你能做什么，来让你脱离你的社交习惯?你在什么地方能够被注入无法预测的多样性?我的学生给了我一些很棒的例子。他们告诉我：在比赛篮球时，和我最爱的例子──去公园遛狗时。他们告诉我，在那里甚至比在线约会还要更好。

so the real thing that i want you to thinkabout is we"ve got to fight our filters. we"ve got to make ourselves a littlemore inefficient, and by doing so, we are creating a more imprecise socialsearch engine. and you"re creating that randomness, that luck that is going tocause you to widen your travels, through your social universe.

我真正希望各位去思考，我们得要对抗我们的筛选器。我们得要让自己不那么有效率，这么做时，我们就是在创造一个不那么精准的社交搜索引擎。你是在创造随机性，它就是运气，能拓展你在社交宇宙中所旅行的范围。

but in fact, there"s more to it than that.sometimes we actually buy ourselves a second-class ticket to travel our socialuniverse. we are not courageous when we reach out to people. let me give you ane_ample of that. a few years ago, i had a very eventful year. that year, imanaged to lose a job, i managed to get a dream job overseas and accept it, ihad a baby the ne_t month, i got very sick, i was unable to take the dream job.

但，事实上，不只是如此。有时，我们真的会买到二等舱的票，在我们的社交宇宙中旅行。当我们接触别人时，我们不够勇敢。让我举个例子。几年前，我有一年遇到非常多事。那一年，我失去了一个工作，在海外得到了一个梦想的工作，且我接受了，再下一个月我生了孩子，我病得非常重，我无法去接那份梦想的工作。

and so in a few weeks, what ended up happening was, i lost my identity as afaculty member, and i got a very stressful new identity as a mother. what ialso got was tons of advice from people. and the advice i despised more thanany other advice was, "you"ve got to go network with everybody." whenyour psychological world is breaking down, the hardest thing to do is to tryand reach out and build up your social world.

所以，在仅仅几周，最后发生的结果是，我失去了教职员的身份，我得了到一个非常有压力的新身份：母亲。我还得到了人们给的一大堆意见。在所有意见中，我最鄙视的一则是：「你得要去和大家建立网络。」当你的精神世界在崩坏时，最困难的事就是试着向外伸出手，建立你的社交世界。

and so we studied e_actly this idea on amuch larger scale. what we did was we looked at high and low socioeconomicstatus people, and we looked at them in two situations. we looked at them firstin a baseline condition, when they were quite comfortable. and what we foundwas that our lower socioeconomic status people, when they were comfortable,were actually reaching out to more people. they thought of more people.

所以，我们更大规模地探究了这个想法。我们的做法是，我们去看社会经济地位高与低的人，我们在两种情况下去看他们。我们先在基线条件下去看他们，也就是他们很舒适的时候。我们发现，社会经济地位较低的人在舒适的时候，其实比较会向外接触更多的人。他们会去想更多的人。

theywere also less constrained in how they were networking. they were thinking ofmore diverse people than the higher-status people. then we asked them to thinkabout maybe losing a job. we threatened them. and once they thought about that,the networks they generated completely differed. the lower socioeconomic statuspeople reached inwards.

他们在建立网络上比较没有受限制。比起高社会经济地位的人，他们会去想更多样化的人。接着，我们要他们去想象可能失去工作的情况。我们威胁他们。一旦他们有那样的想法，他们产生出的网络就全然不同了。社会经济地位较低的人会向内接触人。

they thought of fewer people. they thought ofless-diverse people. the higher socioeconomic status people thought of morepeople, they thought of a broader network, they were positioning themselves tobounce back from that setback.

他们会去想的人比较少。他们会去想的人比较不多样化。社会经济地位较高的人会去想比较多的人，他们会去想比较广的网络，他们会把自己放在受挫之后重整旗鼓的位置。

let"s consider what this actually means.imagine that you were being spontaneously unfriended by everyone in yournetwork other than your mom, your dad and your dog.

让我们来想想这到底是什么意思。想象一下，你被你网络中的所有人都自发性地解除朋友关系，只剩下你的妈妈、爸爸，和你的狗。

this is essentially what we are doing atthese moments when we need our networks the most. imagine -- this is what we"redoing. we"re doing it to ourselves. we are mentally compressing our networkswhen we are being harassed, when we are being bullied, when we are threatenedabout losing a job, when we feel down and weak. we are closing ourselves off,isolating ourselves, creating a blind spot where we actually don"t see ourresources. we don"t see our allies, we don"t see our opportunities.

基本上，这就是我们在最需要网络的时刻所做的事。想象一下──这就是我们在做的，我们对自己做的事。我们在心理上压缩我们的网络，当我们被骚扰时，当我们被霸凌时，当我们被威胁会失去工作时，当我们感到消沉且软弱时，就会发生。我们把自己封闭，把自己孤立，创造出一个盲点，让我们看不见我们的资源。看不见我们的盟友，看不见我们的机会。

how can we overcome this? two simplestrategies. one strategy is simply to look at your list of facebook friends andlinkedin friends just so you remind yourself of people who are there beyondthose that automatically come to mind. and in our own research, one of thethings we did was, we considered claude steele"s research on self-affirmation:simply thinking about your own values, networking from a place of strength.what leigh thompson, hoon-seok choi and i were able to do is, we found thatpeople who had affirmed themselves first were able to take advice from peoplewho would otherwise be threatening to them.

我们要如何克服这状况?有两项简单的策略。其一很简单，就是去看你的脸书朋友名单，还有linkedin，让你能够提醒自己，除了自动出现在你脑海中的人之外，还有别人在。在我们自己的研究中，我们做的其中一件事是我们从自我肯定的角度来思考克劳德斯蒂尔的研究：只要想想你自己的价值，从一个有力量的地方建立网络。迈克汤普森、崔勋石，和我一起做的是，我们发现，先肯定自己的人，能够接受别人的意见，其他情况下，给意见者会被视为威胁。

here"s a last e_ercise. i want you to lookin your email in-bo_, and i want you to look at the last time you askedsomebody for a favor. and i want you to look at the language that you used. didyou say things like, "oh, you"re a great resource," or "i oweyou one," "i"m obligated to you." all of this languagerepresents a metaphor. it"s a metaphor of economics, of a balance sheet, ofaccounting, of transactions. and when we think about human relations in atransactional way, it is fundamentally uncomfortable to us as human beings. wemust think about human relations and reaching out to people in more humaneways.

以下是最后一个练习。我希望各位去看看自己的电子邮件收件匣，找出最近一次你请别人帮忙是什么时候。请看看你所使用的表意方式。你是否有说这类的话：「你是很棒的资源。」或「我欠你一个人情。」「我对你有义务。」所有这些表意方式背后都有一个象征。那象征就是经济、资产负债表、会计、交易。如果你用交易的方式来看待人际关系，对我们人类而言，从根本上就会觉得不舒服。我们应该要用更人性的方式，来看待人际关系及向外去接触人。

here"s an idea as to how to do so. look atwords like "please," "thank you," "you"rewelcome" in other languages. look at the literal translation of thesewords. each of these words is a word that helps us impose upon other people inour social networks. and so, the word "thank you," if you look at itin spanish, italian, french, "gracias," "grazie,""merci" in french. each of them are "grace" and"mercy." they are godly words. there"s nothing economic or transactional about those words.

至于要怎么做，这里有个想法。看看像「请」、「谢谢你」、「不客气」这些词在其他语言怎么说。看看这些词的字面翻译。这每一个词，都是在协助我们利用社交网络中的其他人。所以，针对「谢谢你」这个词，它们在西班牙文、意大利文、法文分别是「gracias」、「grazie」，以及「merci」。意思都是「优雅」和「慈悲」。它们是虔诚的词。这些词没有任何经济或交易的元素。

the word "you"re welcome" isinteresting.the great persuasion theorist robert cialdini says we"ve got toget our favors back. so we need to emphasize the transaction a little bit more.he says, "let"s not say "you"re welcome." instead say, "i know you"d dothe same for me."" but sometimes it may be helpful to not think intransactional ways, to eliminate the transaction, to make it a little bit moreinvisible.

「不客气」这个词很有趣。伟大的说服理论学家罗伯特乔尔第尼说：我们得把人情要回来。所以我们得要多强调一点交易。他说：「让我们别说『不客气』」。改成「我知道换成你也会为我这么做。」但，有时，不用交易的方式来思考，可能会比较有帮助，把交易元素除去，让它更不显眼。

and in fact, if you look in chinese, the word "bú kè qì"in chinese, "you"re welcome," means, "don"t be formal; we"refamily. we don"t need to go through those formalities." and "kembali"in indonesian is "come back to me." when you say "you"rewelcome" ne_t time, think about how you can maybe eliminate thetransaction and instead strengthen that social tie. maybe "it"s great tocollaborate," or "that"s what friends are for."

事实上，如果看中文怎么说，「不客气」在中文的意思是「别这么拘泥礼节，我们是一家人，不需要这些礼节形式。」在印度尼西亚语中「kembali」的意思是「回来我这里」。下次当你要说「不客气」时，想想看你可以如何除去一些交易元素，改成加强社交连结。也许说「能一起合作很棒」，或「朋友不就该如此吗」。

i want you to think about how you thinkabout this ticket that you have to travel your social universe. here"s onemetaphor. it"s a common metaphor: "life is a journey." right? it"s atrain ride, and you"re a passenger on the train, and there are certain peoplewith you. certain people get on this train, and some stay with you, some leaveat different stops, new ones may enter. i love this metaphor, it"s a beautifulone.

我希望各位能思考一下要怎么用你手上的这张票，在你的社交宇宙中旅行。以下是一个比喻。它是常见的比喻：「人生是一趟旅程。」对吧?它是趟火车旅程，你是火车上的一名乘客，有些人和你在一起。有些人会搭上这台火车，有些人会留下，有些人会在不同的站下车，可能有新乘客上车。我喜欢这个比喻，它很美丽。

but i want you to consider a different metaphor. this one is passive,being a passenger on that train, and it"s quite linear. you"re off to someparticular destination. why not instead think of yourself as an atom, bumpingup against other atoms, maybe transferring energy with them, bonding with thema little and maybe creating something new on your travels through the socialuniverse.

但我希望各位能想想另一个比喻。身为火车乘客的这个比喻很被动，且它是很线性的。你要前往特定的目的地。为什么不改个方式，把你自己想成一个原子，和其他原子碰撞，也许和它们一起传送能量，和它们结合一下，也许在你的社交宇宙中旅行时，创造出新东西来。

thank you so much. and i hope we bump intoeach other again.(applause)

非常谢谢。我希望我们有机会再次碰撞。(掌声)

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