求《红字》英文读后感，500~600个单词即可
共30篇书评。
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between Hawthorne's earlier and his later productions there is no solution of literary continuity, but only increased growth and grasp. Rappaccini's Daughter, Young Goodman Brown, Peter Goldthwaite's Treasure, and The Artist of the Beautiful, on the one side, are the promise which is fulfilled in The Scarlet Letter and the House of The Seven Gables, on the other; though we should hardly have understood the promise had not the fulfillment explained it. The shorter pieces have a lyrical quality, but the longer romances express more than a mere combination of lyrics; they have a rich, multifarious life of their own. The material is so wrought as to become incidental to something loftier and greater, for which our previous analysis of the contents of the egg had not prepared us. The Scarlet Letter was the first, and the tendency of criticism is to pronounce it the most impressive, also, of these ampler productions. It has the charm of unconsciousness; the author did not realize while he worked, that this most prolix among tales was alive with the miraculous vitality of genius. It combines the strength and substance of an oak with the subtle organization of a rose, and is great, not of malice aforethought, but inevitably. It goes to the root of the matter, and reaches some unconventional conclusions, which, however, would scarce be apprehended by one reader in twenty. For the external or literal significance of the story, though in strict correspondence with the spirit, conceals that spirit from the literal eye. The reader may choose his depth according to his inches but only a tall man will touch the bottom.The punishment of the scarlet letter is a historical fact; and, apart from the symbol thus ready provided to the author's hand, such a book as The Scarlet Letter would doubtless never have existed. But the symbol gave the touch whereby Hawthorne's disconnected thoughts on the subject were united and crystallized in organic form. Evidently, likewise, it was a source of inspiration, suggesting new aspects and features of the truth,—a sort of witch-hazel to detect spiritual gold. Some such figurative emblem, introduced in a matter-of-fact way, but gradually invested with supernatural attributes, was one of Hawthorne's favorite devices in his stories. We may realize its value, in the present case, by imagining the book with the scarlet letter omitted. It is not practically essential to the plot. But the scarlet letter uplifts the theme from the material to the spiritual level. It is the concentration and type of the whole argument. It transmutes the prose into poetry. It serves as a formula for the conveyance of ideas otherwise too subtle for words, as well as to enhance the gloomy picturesqueness of the moral scenery. It burns upon its wearer's breast, it casts a lurid glow along her pathway, it isolates her among mankind, and is at the same time the mystic talisman to reveal to her the guilt hidden in other hearts. It is the Black Man's mark, and the first plaything of the infant Pearl. As the story develops, the scarlet letter becomes the dominant figure,—everything is tinged with its sinister glare. By a ghastly miracle its semblance is reproduced upon the breast of the minister, where God's eye beheld it! the angels were forever pointing at it! the devil knew it well, and fretted it continually with the touch of his burning finger!—and at last, to Dimmesdale's crazed imagination, its spectre appears even in the midnight sky as if heaven itself had caught the contagion of his so zealously hidden sin. So strongly is the scarlet letter rooted in every chapter and almost every sentence of the book that bears its name. And yet it would probably have incommoded the average novelist. The wand of Prospero, so far from aiding the uninititated, trips him up, and scorches his fingers. Between genius and every other attribute of the mind is a difference not of degree, but of kind. Every story may be viewed under two aspects: as the logical evolution of a conclusion from a premise, and as something colored and modified by the personal qualities of the author. If the latter have genius, his share in the product is comparable to nature's in a work of human art,—giving it everything except abstract form. But the majority of fiction-mongers are apt to impair rather than enhance the beauty of the abstract form of their conception, -- if, indeed, it possess any to begin with. At all events, there is no better method of determining the value of a writer's part in a given work than to consider the work in what may be termed its prenatal state. How much, for example, of The Scarlet Letter was ready made before Hawthorne touched it? The date is historically fixed at about the middle of the seventeenth century. The stage properties, so to speak, are well adapted to become the furniture and background of a romantic narrative. A gloomy and energetic religious sect, pioneers in a virgin land, with the wolf and the Indian at their doors, but with memories of England in their hearts and English traditions and prejudices in their minds; weak in numbers, but strong in spirit; with no cultivation save that of the Bible and the sword; victims, moreover of a dark and bloody superstition,—such a people and scene give admirable relief and color to a tale of human frailty and sorrow. Amidst such surroundings, then, the figure of a woman stands, with the scarlet letter on her bosom. But here we come to a pause, and must look to the author for the next step.For where shall the story begin? A twenty-number novel, of the Dickens or Thackeray type, would start with Hester's girlhood, and the bulk of the narrative would treat of the genesis and accomplishment of the crime. Nor are hints wanting that this phase of the theme had been canvassed in Hawthorne's mind. We have glimpses of the heroine in the antique gentility of her English home; we see the bald brow and reverend beard of her father, and her mother's expression of heedful and anxious love; we behold the girl's own face, glowing with youthful beauty. She meets the pale, elderly scholar, with his dim yet penetrating eyes, and the marriage, loveless on her part and folly on his, takes place; but they saw not the bale-fire of the scarlet letter blazing at the end of their path. The ill-assorted pair make their first home in Amsterdam; but at length, tidings of the Puritan colony in Massachusetts reaching them, they prepare to emigrate thither. But Prynne, himself delaying to adjust certain affairs, sends his young, beautiful, wealthy wife in advance to assume her station in the pioneer settlement. In the wild, free air of that new world her spirits kindled, and many unsuspected tendencies of her impulsive and passionate nature were revealed to her. The rich, voluptuous, Oriental characteristics of her temperament, her ardent love of beauty, her strong intellectual fibre, and her native energy and capacity,—such elements needed a strong and wise hand to curb and guide them, scarcely disguised as they were by the light and graceful foliage of her innocent, womanly charm. Being left, however, for two years to her own misguidance, her husband had little cause to wonder, when, on emerging from the forest, the first object to meet his eyes was Hester Prynne, standing up, a statue of ignominy, before the people. She doubtless was strongly tempted to her fall; and though the author leaves the matter there, so far as any explicit statement is concerned, it is manifest that, had he written out what was already pictured before his imagination, the few pregnant hints scattered through the volume would have been developed into as circumstantial and laborious a narrative as any the most deliberate English or French novelist could desire.For his forbearance he has received much praise from well-meaning critics, who seem to think that he was restrained by considerations of morality or propriety. This appears a little strained. As an artist and as a man of a certain temperament, Hawthorne treated that side of the subject which seemed to him the more powerful and interesting. But a writer who works with deep insight and truthful purpose can never be guilty of a lack of decency. Indecency is a creation, not of God or of nature, but of the indecent. And whoever takes it for granted that indecency is necessarily involved in telling the story of an illicit passion has studied human nature and good literature to poor purpose.
软件作坊读后感(转)
[软件作坊读后感(转)]2010年10月20日 读《走出软件作坊》-1 自认为看书不消做笔记，促翻过一遍便能汲取个中的精华，软件作坊读后感(转)。
其实我不克不及。
自认为可以把事业和情感均衡的很好，做到鱼与熊掌可以兼得。
其实我也不克不及。
那就一个一个来改吧。
先来读读《走出软件作坊》这本书，每天把本身的心得写上来，看看本身毕竟能学到甚么。
今天读了“双龙会”和“人，是人，真的是人”两篇。
“双龙会”讲重要CTO和技巧总监之间的分工不合，也有阿朱（书作者）对CTO和老板之间关系的一些懂得。
技巧总监负责产品，然则常常眼光不敷广阔，不克不及以市场的角度来看这个产品，他也无暇乃至是不屑与其它部分互相【空间】。
技巧总监做出个器械，然则要发卖出去能变成公司的营业额才能称之为产品，这就须要CTO从高处核阅这个问题。
然则我小我更感兴趣的是阿朱对CTO和老板之间关系的懂得。
老板自有老板的设法主意，职业经理人必须要在老板给的舞台上尽情发挥，两边面才能取得最大年夜的收益。
这个事理，我想不然则在职业经理人和公司老板之间实用，也实用于通俗的高低级之间。
常常有人会认为本身是怀才不遇，我想这类人应当起首推敲一下在今朝的情况下，上级勾引毕竟是须要甚么样的“才”
实际中到底须要甚么样的才能
要明白上级勾引的需乞降设法主意，再有针对性的发挥本身的才能才能博得台下的喝采。
假如不推敲这个问题，就算是顶级黑客，扔到酒店后厨也照样无出头之日。
“人，是人，真的是人”讲的是团队文化。
只要进了公司，进入到某个团队，就要接收团队文化的浸礼。
刚开端只是通俗员工，对团队文化生怕也只有接收的份，碰着比较开放的勾引，或许还可以提提本身的看法。
在如许的情况，只能尽可能接收与本身的小我品德和职业操守不相抵触的处所。
然则一旦升任，便面对着扶植本身团队文化的义务。
对此，阿朱总结了五条心得：抓大年夜放小，让员工本身表演；师傅带门徒；朝九晚五，禁止加班；弄好情况，整好形象；急速嘉奖，立时兑现。
小我感到除禁止加班在今朝的小企业没法实用外，其它的都还算不错。
别的，很多治理人员在谈到本身的部队时，老是一副恨铁不成钢的模样，固然对中初级干部是没有方法决定本身部队的人选的，毕竟从雇用开端的那一关就不属于本身掌控。
然则，必须要清楚弗成能存在某个团队满是精兵强姑息等着你来勾引的情况。
毕竟，作为一个勾引，员工成长的若何，照样和勾引有极大年夜关系。
毕竟如何样的员工是好员工呢
阿朱给出了本身的看法：义务心；情商；专业成长，流程协作；互订交换，制订下一阶段目标。
这点且记下，比及合适的时刻再来评论。
阿朱还提到了几种团队文化创建缺点的典范，看了看，十分汗颜，我想假如我走上勾引岗亭，十有【日常】要犯这类缺点。
比如“新官上任三把火”，弄很多噱头，比如送诞辰礼品啊，弄节日会餐啊。
阿朱一言指出其大年夜错：“这与进步才能，发明效益毕竟有多大年夜关系，让你当勾引不是为了弄【茶叶】主义的”。
深认为是。
读《走出软件作坊》-2 “四套马车”讲团队合营。
书中所讲是常见的小范围的软件开辟公司的情况，若何公道的分派各项义务使得开辟顺利的完成对这些小公司来讲确切是问题。
但对今朝我地点的公司，临时不存在如许的问题。
毕竟部分的范围照样有的，70人，义务也单一，只是软件测试，除有时义务较多显得有点忙以外，基本上照样能敷衍的过来。
然则个中提到一些问题和建议照样可以用到的。
比如书中提到应用专业和高等的对象未必就可以进步效力和质量，这一点对我有很大年夜的惊醒感化。
我平常照样很迷信这些一些好的对象亲睦的轨制，认为有了这些，全部流程，所有都可以正规起来。
如今想想，其实是没有须要。
假如要进步中存在的问题。
常常一些小的治理技能要比复杂的软件和轨制来的有效，简单的Word+Excel+PPT用的好了不比高等的治理软件差。
别的，有些是须要有一个专门的人来负责的的。
如许其实不是说这小我有多强可以或许做多项的义务。
“大年夜长今“讲项目经理。
先讲了项目经理所须要的本质，然后分析了几类不适于向项目经理成长的人的优缺点。
读完这篇我脑海中有几个问题： 1：我们本身和职业规划的关系应当是如何的
是在中设定一个目标，比如成长为“项目经理”，然后再以之为目标让本身朝这方面成长
照样根据我们本身的前提来规划和断定本身的目标
2：如何才能认清本身前提，弄清楚本身的长处和短处
靠勾引和同事反馈吗
若何取得这些反馈
这些反馈完全吗
和本身的看法雷同吗
不合点在哪里
为甚么
今朝我对这些问题的答案是： 1：刚走上岗亭，临时还谈不上职业规划。
3个乃至6个月后，人的各方面本质才逐步浮现出来。
合适不合适这个行业，这个，到时刻都本身也会有必定的设法主意。
1年以内，基本上就“本相毕露”了。
这时候，勾引，同事的看法，本身对这个行业和公司的懂得和评估基本上都已出来了。
毕竟走甚么样的规划门路，勾引会给一个建议，这是勾引的看法，你本身断定也有设法主意，都评估一下。
然后再做调剂。
基本上，假如确有合适公司当时成长的才能，一般都邑取得必定的提拔。
在新的岗亭今后，断定会出现很多的新问题，这时候又是一个轮回的开端了。
2：人要看清本身很难。
没有第三方的参与生怕都是不完全的。
一则可以看看书，从中对比本身，不论是心理类的，照样励志类的，找准本身的类型。
二来勾引的评价确切一个方面。
常人总感到勾引很害怕，不轻易亲近。
其实这个也是不太精确的熟悉。
平常平凡和勾引多沟通熟了今后便可以询问一下本身比来的表示若何之类的话题，在平常平凡的申报和评价中，也会有所表现。
所以说申报有时刻其实不是多余的，干技巧的人老是感到申报是浪费时光，实际上这是沟通一个很重要的方面。
从各个方面要对本身定位，定位准了，职业规划也就好做了。
我想这些问题解决好了，职业规划的问题也就解决了大年半夜。
之前在黉舍里谈职业规划，如今看来真恰是空言无补。
比较实际一点的做法就是在职业生活中一边航行，一边不时的调剂偏向，读后感《软件作坊读后感(转)》。
读《走出软件作坊》-3 这本书内容很丰富，很多章节我几近是看不懂的，然则其实无妨碍我进修个中具有广泛性的事理。
然则有些篇章我仿佛急速就可以用上，先读了吧。
昨天和今天读了2篇，鼓励考察篇和职业成长篇。
这两篇我想一路谈，个中也混淆着一些我对职业生活的熟悉。
或许我们都还没有走上治理职位，然则假如能以治理者的角度来看通俗员工，很多常日中的事便能想的通了。
像我一样的年青人，刚进入公司时迟疑满志，半年乃至一年后不得升迁，工资不涨，便牢骚满腹，心里算着小九九了。
这是人之常情。
从治理者乃至老板的角度来看，假如他看不到在你身上表现的效益，试问如何会有好处给你。
沉下去，一小我能完成两小我的义务，或你做出来的器械就是比他人做出来的好，那样你才是和他人不合的，你的劳动能转化为实其实在的成果和效益。
假如你是老板，你能不留意如许的人吗
然则为甚么大年夜多半人做不到这点
阿朱在书及第了个数字，从到一个新公司开端的谨小慎微到后期的放松本身，上彀、打游戏，时刻预备着跳槽，正好是10个月。
我本身虽没有这类经验，但回想四周，也大年夜致如此。
保持、专心，我想这是大年夜多半人没有的品德，这就是答案。
Outliers（一译《出类拔萃》、一译《卓尔不群》）的作者总结了一个“1万小时定律”。
“Itseemsthatittakesthebrainthislongtoassimilateallt hatitneedstoknowtoachievetruemastery”。
作者认为，在专业上专注地花上1万个小时（10年，每天3小时），就可以在该范畴出类拔萃。
十年粗略一想确切很长，然则对我们来讲在KTV陈奕迅上身的时刻也不过是一首歌。
假如十年做不到，保持一年，一天8个小时，专心个中的6个小时。
一年今后，我不认为不会有人在高处留意到你。
两年今后，你可能也站在高处了，固然可能不是那么高。
鼓励固然只是一个策略，假如没有鼓励你也能长时光如一的表示优胜，信赖自但是然的回报要比所谓的鼓励成果更好。
固然对大年夜多半人来讲，恰当的鼓励要比没有鼓励好。
因为我还没有真实的站在稍高一点的地位，所以对鼓励只有含混的设法主意。
我只能熟悉到，假如你想升迁，想涨工资，那么就不要想如何样会取得这些，而是要想若何更好的完成。
仿佛听起来有点令人困惑，然则事理就是如许。
就比如你要要某小我伴你平生，这其实不注解你要去想着若何“取得”她，而是给她（他）必定自由，同时在没有可预感的回报的情况下付出，才能终究“取得”。
可惜的是，晚了好几年才明白这个事理，所幸，还不算太晚。
3月14日 读《走出软件作坊》-4 比来几天又把这本书看了一遍，抛开具体的技巧不谈，我只看到了一个字-“人”。
不论是作为治理阶层照样履行层，所接触的只是人罢了。
固然大年夜家的目标是为了干事，然则工作只是接洽人与人之间的纽带。
治理阶层选对了人，工作想必不会被做的太差。
履行层做对了人，天然会有工作让你去做，工作做好了，也就会有取得观赏的机会。
唐骏不厌其烦在各个访谈上说“先做人，后干事，有时造作秀”。
本书的第二节章就是“人，人，真的是人”。
细心想想人生最难的是甚么
干事照样做人
有若干经理在焦头烂额的时刻不是大年夜骂工作难做而是抱怨能人难找
有若干基层员工离职后并不是感到艰苦而是痛斥勾引非人的
从上往下看，你要主动，你要机警，你要随叫随到，你要成功完成义务，你还不克不及抱怨，让你干事是那是组织上信赖你。
往大年夜了说，这工作给你，办得了就办，办不了就走，就你这才能，我把职位在雇用市场一贴，随便召回来一打个个都能顶替你，还试用期3个月不消给钱的。
往小了说，让你办个事你都吞吞吐吐，推三阻四，你还想不想提拔了，你要不可，从新找个下级来培养，说不定前程还比你大年夜，办了事还任劳任怨决不恬着脸要涨工资的，再往后你这就算是被打入冷宫了。
从下往上看，你要和睦，你要可亲，你要批驳人的时刻春风化雨，表扬人的时刻广而告之，你要过年过节发器械发钱，你要加班的时刻和部属安危与共还要买来吃的喝的慰劳一下，加班还不克不及频繁，也不克不及太累，要不我可吃不消，要想我更上一层楼，那行啊，涨工资吧。
中你不克不及任人唯亲，不克不及受人蒙蔽，我干的是最多的，最累的，最苦的，你咋就看不见，他人啥事不干，净拍马匹咋就升的这么快，得，此处不留爷，自有留爷处，风紧，扯呼。
大年夜家都是出来混，都要最后还，都不轻易，都是在公司里下面拱上面骂，在家里媳妇嫌儿女怕，那咋就可以有这么多抵触呢
这是人平易近内部抵触照样阶层抵触
能调和不
问题在哪
问题都在他人那吧
对不起，您想错了，我看您这逝世轮回是跳不出来了，告诉您，问题都在本身身上，本身做人若何
干事若何
先衡量衡量再重出江湖吧。
作为员工，要有主动性，要推敲工作周全，比他人想的多一点，做的多一点，有时还须要一点耐烦，这很难吗
确切很难，要不说好员工就这几点，无它尔。
是，上班时光打网页游戏很轻易，聊QQ很轻易，无所事事坐着发楞最轻易，人的大年夜脑也是贱，你不把持它，它就往着简单的工作上面去了，非要用大年夜力量把它拉回来弗成，就像偏向盘似的，一刻不留心它，它就要跑偏了。
做就是做人，人做好了，工作天然就好做了。
为甚么都邑把缺点归结在他人身上
因为这很轻易，大年夜脑都是捡轻易的工作做，找到一个便利的方法就不想其它的了。
要能发明本身的问题，还要能改正它，最好还能找出问题本源地点避免再犯。
其实各个公司，各个企业招员工的时刻看重的就这几点，要不认为面试是干吗呢
看学历
看背景
看看你有没有面试官长得帅
作为勾引，就要有勾引的度量，有时刻不消压抑性格，可以小小爆发一下，那也是机会恰当的时刻。
或许作为大年夜勾引，该有的特质基本上都是有的，要不如何坐的稳呢，必有其过人的地方。
作为一个短序导，小义务组长，小项目经理，一方面要有勾引才能，团队才有战斗力；另外一方面照样个部属，要有才能；所谓中层，就是风箱里的老鼠，两端受气，然则工作来了还得做，还得做的好。
人生就是一个个艰苦接踵而来的路程，要不回避沉沦，要不迎难而上，绝无第三条路，对这个有了心理预备，才能不措手不及，或叫苦不迭。
阿朱如何做的，他是不是是有问题了回避，或只是坐在那边抱怨
是不是是员工才能不足就看他不顺眼就一脚踢开本身来干
是不是是有了好处和部属抢
是不是是不思朝长进步，僵化掉队
是不是是有点功绩洋洋得意，以已为重
是不是是犯点缺点就惶惶弗成整天
是不是是遇事浮躁，毫无耐烦
我想应当都不是吧。
既然如此，学着做不就好了。
多简单。
别说这是他人干了十几年才有的经验，所以你没有这积聚，没有这经历，所以没法领会，没法成长。
别傻了，工资甚么和动物不合，因为我们会进修，并且主如果从他人那边。
谁说非要吃一堑才能长一智了。
（最后一句话是一个链接： awshank-part1\\\/） 〔软件作坊读后感(转)〕随文赠言：【这世上的一切都借希望而完成，农夫不会剥下一粒玉米，如果他不曾希望它长成种粒；单身汉不会娶妻，如果他不曾希望有孩子；商人也不会去工作，如果他不曾希望因此而有收益。
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