Contents Preface ix PART ONE: Experiences in a Concentration Camp 3 PART TWO: Basic Concepts of Logotherapy 149 Bibliography 215 Preface Dr. FRANKL, author-psychiatrist, sometimes asks his patients who suffer from a multitude of torments great and small, “Why do you not commit suicide?” From their answers he can often find the guide-line for his psychothera- py: in one life there is love for one’s children to tie to; in another life, a talent to be ...

ContentsPreface ixPART ONE:Experiences in a Concentration Camp 3PART TWO:Basic Concepts of Logotherapy 149Bibliography 215PrefaceDr. FRANKL, author-psychiatrist, sometimesasks his patients who suffer from a multitudeof torments great and small, “Why do you notcommit suicide?” From their answers he canoften find the guide-line for his psychothera-py: in one life there is love for one’s childrento tie to; in another life, a talent to be used; ina third, perhaps only lingering memories worthpres...

Part OneExperiences ina Concentration Cam /p‘THIs BOOK DOES NOT claim to be an account offacts and events but of personal experiences,experiences which millions of prisoners havesuffered time and again. It is the inside story ofa concentration camp, told by one of its sur-vivors. [his tale is not concerned with thegreat horrors, which have already been de-scribed often enough (though less often be-lieved), but with the multitude of small tor-ments. In other words, it will try to answerthis ques...

The education system of the industrial era has fulfilled its mission.In the 19th century, Prussia was the pioneer of the modern education system.The foundation of all modern nations initially required collectivism: the establishment of basic industries, a sense of societal identity, and the compliance of its citizens. This is the greatest value of a centralized education system characterized by large class sizes, standardization, and unified examinations.But times have changed.The creator econom...

工業時代的教育體系，已經完成它的使命。19 世紀的普魯士，是現代教育體系的開山鼻祖。所有現代國家的構建，一開始一定是集體主義，基礎工業的建設，社會認同感的構建，民眾的服從性——這是大班制、標準化、統一考試的中心化教育體制，最大的價值。但是，時代變了。創作者經濟，會成為新一代的教育體系。個性化、去中心化是未來的教育趨勢我創業 1 年學到的實用性技能，也許比我上了 20 年學來的都多。傳統教育是一場大型的開模現場，無論你是什麼材質，先把你的觀念打碎，再全部按照一個標準，鑄造成“社會可用之才”。用互聯網的話來說...

1禁錮式灌溉教育理論小朋友來剛來畫室的時候畫的不好，什麼都不會畫，然後通過畫室老師的熱心盡職"教導",越畫越好。如果沒有好的美術老師，那麼這些小朋友們來畫室之前不會畫畫，來了畫室以後也不可能"學會"畫畫。但幸虧是畫室的美術老師打造了一個個的雪球，並且推動著雪球越滾越大。因此家長們都應該感謝老師。2激發天賦的土壤理論:本質上畫室的功能其實只是篩選 - 只有那些本來就喜歡畫畫，甚至天賦是畫畫的小朋友，才會自然而然地留在畫室長期"學”畫畫。 這裡的"學"是要有引號的，因為他們其實是在“自學”； 是基於自己的興趣和好奇...

誤區之一： 過於注重請某位老師長期固定地給孩子上課家長在藝術教育方面過於注重老師的資歷並且希望固定不變的老師長期上課，但其實反而會限制了孩子自身的發展。不知道家長們對金庸的武俠小說有沒有了解，我們可以用郭靖和楊過這些練成蓋世武功的大俠的經歷來舉例：小朋友應該多接觸各種風格和思維方式的老師，就好像武俠小說裡的郭靖和楊過那樣，跟東邪西毒南帝北丐都有拜師學藝，這樣才能集大成，練就蓋世奇功。長期由一位老師指導會過早導致孩子被單一的風格所局限，而較難在以後打破這種局限來形成真正屬於自己的藝術風格。所以，小朋...

過多的指導反而會變成干擾，也是對創作者獨立思維與獨立想象力的扭曲。藝術創作的過程本質上是一個獨立靈魂不被打擾的寶貴過程，所以好的藝術導師並不會過於干擾孩子的創作，而是會勤於觀察孩子自己的創作行為，並在關鍵的技巧上指導孩子。好像學習駕駛，教練的職責是幫學生理解規則，掌握核心技能並只在犯錯時糾錯；但如果新手司機總被過多干預，只會喪失信心，反而更難學會開車。這世界並沒有真正的藝術“教師”，只有好的藝術“導師”最好的藝術導師並不會“教”藝術而是會“引導”和“指導”獨立創作藝術的本質在於“個體“的最真實體...