哈佛財(cái)商心得體會(huì)及收獲受益一生的哈佛情商課讀后感(4篇)

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格式：DOC 上傳日期：2023-01-09 20:24:33 頁(yè)碼：13

2023-01-09 20:24:33 小編：ZTFB

我們?cè)谝恍┦虑樯鲜艿絾l(fā)后，應(yīng)該馬上記錄下來(lái)，寫(xiě)一篇心得體會(huì)，這樣我們可以養(yǎng)成良好的總結(jié)方法。好的心得體會(huì)對(duì)于我們的幫助很大，所以我們要好好寫(xiě)一篇心得體會(huì)以下是小編幫大家整理的心得體會(huì)范文，歡迎大家借鑒與參考，希望對(duì)大家有所幫助。

最新哈佛財(cái)商心得體會(huì)及收獲二

盡管這不是一部派拉蒙、時(shí)代華納或索尼公司的大制作，更不是好萊塢花費(fèi)巨資開(kāi)發(fā)出來(lái)的大片。但事實(shí)上你能聽(tīng)到凡是看過(guò)這部電影的人都說(shuō)這是最令人感動(dòng)的電影。這部電影所講述的故事真的很感人，充滿(mǎn)著很多感動(dòng)的情節(jié)，每個(gè)人看完之后對(duì)自己都會(huì)有所啟發(fā)，同時(shí)也會(huì)改變我們對(duì)待生活的態(tài)度——我們不論處在怎樣的困境中都不要對(duì)生活失去希望，因?yàn)樯钣泻艽笠徊糠诌x擇權(quán)是掌握在我們自己手中的，我們完全可以像這部電影中的主人公一樣通過(guò)自己的努力來(lái)改變當(dāng)下的不如意的生活。

“我一直都愛(ài)著我的媽媽?zhuān)瑹o(wú)論何時(shí)何地，我一直都愛(ài)著她，盡管有的時(shí)候連她自己都忘記了，但是我一直都愛(ài)著她，自始至終，對(duì)，自始至終?！?/p>

“你曾經(jīng)睡在街上，流浪，你有沒(méi)有覺(jué)得自己很可憐。”

“我為什么要覺(jué)得可憐，這就是我的生活。我甚至要感謝它，它讓我在任何情況下都必須往前走。我沒(méi)有退路，我只能不停地努力向前走。我為什么不能做到？”

她說(shuō)“我不會(huì)累垮，我會(huì)挺過(guò)來(lái)?！?/p>

父母吸毒、8歲開(kāi)始乞討、15歲母親死于艾滋病、父親進(jìn)入收容所、17歲開(kāi)始用2年的時(shí)光學(xué)完高中4年課程，獲得1996年紐約時(shí)報(bào)一等獎(jiǎng)學(xué)金，進(jìn)入哈佛學(xué)習(xí)，一個(gè)真實(shí)、努力女孩的人生經(jīng)歷、一段自強(qiáng)不息昂揚(yáng)奮斗的生命歷程。托拉·伯奇演繹了一個(gè)女孩子克服種。種不利條件、努力奮進(jìn)的真實(shí)故事。

throa birch飾演的liz出生在紐約的貧民窟，她的鄰居靠撿破爛和偷盜為生。她曾經(jīng)有過(guò)一個(gè)美好的童年，總是會(huì)想起和媽媽在金色的秋天里玩耍，從草坡上快樂(lè)的滑下……。.這些美好的記憶使她無(wú)論生活有多糟糕，都不感到失望忿恚的原因。

我想，不管時(shí)間過(guò)去多久，liz都會(huì)被我記起：那是一種不開(kāi)明，不明確，卻表達(dá)一種內(nèi)斂的表情、不崩潰的尊嚴(yán)和不狼狽的痛楚。為了飾演liz，throa曾和真實(shí)的liz呆過(guò)兩個(gè)星期來(lái)熟悉liz。我要說(shuō)的是，liz并不是在告訴我無(wú)論處境如何艱難都要振作，絕對(duì)不是告誡或教訓(xùn)你要鍥而不舍。這樣說(shuō)有些奇怪，但liz不斷努力的目的只是像她說(shuō)的那樣她已經(jīng)很糟了，生活對(duì)她來(lái)說(shuō)已無(wú)退路，那么她就要看看生活到底還會(huì)有多糟。這點(diǎn)也正是影片的價(jià)值之一，它不是簡(jiǎn)單對(duì)你進(jìn)行勵(lì)志說(shuō)教——事實(shí)上影片確實(shí)意非如此。生活在new york city的liz在最末落時(shí)做過(guò)乞丐，在垃圾箱里撿拾過(guò)食物。她并不在乎，不管她將來(lái)會(huì)如何的富有美麗，也不管過(guò)去怎樣的窮困潦倒，她始終是那副表情，看起來(lái)她已習(xí)慣任何的變故。throa的演技真是頂好，記得影片里liz母親吸毒死去那一天，只有棺木，連簡(jiǎn)單的葬禮儀式都沒(méi)有。棺木就要被下葬，她跳上了棺木，靜靜躺在上邊。自己的母親下場(chǎng)如此慘。她的臉上沒(méi)有痛苦，也無(wú)撕心裂肺的哭喊。更不是神情木然，茫然無(wú)措。她只是坐在那兒，略帶不滿(mǎn)意和失落。但是我們知道，安慰大多數(shù)時(shí)候捉襟見(jiàn)肘，她很堅(jiān)強(qiáng)，并不試著憎恨埋怨。要活下去。她影片最后liz最后走在哈佛的路上時(shí)，她依然是一幅內(nèi)斂的表情。不崩潰的尊嚴(yán)和不狼狽的痛楚。通過(guò)小姑娘liz被雨水淋濕的臉龐上的堅(jiān)韌表情，我們可以知道，她永遠(yuǎn)不會(huì)妥協(xié)。

只有在天空最黑暗時(shí)，我們抬頭才能看到天上的星星。liz是個(gè)堅(jiān)強(qiáng)的人，她從沒(méi)有迷失過(guò)自我，即使她生活在母親去世，父親吸毒，無(wú)依無(wú)靠流浪街頭等糟糕得無(wú)法再糟糕的環(huán)境里，她依然在surviving（to remain alive or in e_istence,除此之外，我找不到中文有哪個(gè)詞能體現(xiàn)這層意思）。她記住的只是愛(ài)，或者說(shuō)出了愛(ài)以外，她并不在乎別的什么。是的，她從不在乎得太多，所以無(wú)論現(xiàn)實(shí)怎樣悲慘她總是很健康真摯。我們看不出他有任何軟弱，從他的口吻聽(tīng)得出她一直是相當(dāng)冷靜地看待自己的生活，不帶一點(diǎn)感情色彩。堅(jiān)毅成熟的liz在紐約的街頭，嗯…旅行。

不去說(shuō)所謂的觀后感受或深受教育，我向來(lái)討厭這種正直聽(tīng)話(huà)的態(tài)度，影片也非此種勵(lì)志態(tài)度。而只是要告訴觀眾不要抱怨或想太多，無(wú)論什么時(shí)候都不要放棄希望。我應(yīng)該像liz一樣，無(wú)論怎樣，冷靜堅(jiān)毅。也許我可以不再在世俗中湮沒(méi)，試著不涉足世俗的事情，什么辣妹演唱團(tuán)，什么小資加晦澀加哈根達(dá)斯冰激凌…我要擺好姿勢(shì)進(jìn)行深邃的沉思，作出存在的詮釋。好的生活總是在別處，我要準(zhǔn)備好體驗(yàn)我自己的生活，尋找我的奇跡。

我們，都必須向前走，這是唯一的路。誰(shuí)都不知道將來(lái)會(huì)發(fā)生什么。你努力去做，總會(huì)改變一些什么?！? liz

“世界在轉(zhuǎn)動(dòng)，你只是一粒塵埃，就算你消失了，地球仍然轉(zhuǎn)動(dòng)?，F(xiàn)實(shí)是不會(huì)按照你的意志去改變的，因?yàn)閯e人的意志更強(qiáng)些?！?/p>

這是女主角liz站在哈佛大學(xué)的校園里，仰望著高高的學(xué)府樓由衷的感慨。她的童年是有夾雜著骯臟黑色的灰暗構(gòu)成，父母都吸毒，對(duì)于她和姐姐永遠(yuǎn)視而不見(jiàn)。她在這樣的混亂境遇中成長(zhǎng)起來(lái)，在她最終找到戴維老師之前她流浪過(guò)、偷竊過(guò)、經(jīng)歷了被爺爺憎恨的無(wú)家可歸、感受了媽媽的死去……然后她終于醒悟她在這個(gè)世上唯一的維系也離開(kāi)了，所以她開(kāi)始想要擺脫自己的命運(yùn)，她想要一個(gè)正常人的生活。

對(duì)于我們這些真正的正常、平凡的人來(lái)說(shuō)，她最終的結(jié)局何止是得到了正常生活，簡(jiǎn)直就是一個(gè)大歡喜。的確，一粒塵埃在追逐一場(chǎng)不過(guò)是正常人生的過(guò)程中，本身所釋放的光彩已經(jīng)足夠照亮她的整個(gè)人生。

其實(shí)liz波折人生的原罪無(wú)法歸咎到任何一個(gè)人身上，liz沒(méi)有遇上惡人，她的悲慘只是因?yàn)橐粋€(gè)不能改變的社會(huì)底層的位置。如果我們站在liz現(xiàn)今一切安好的角度來(lái)回顧過(guò)去，那些和她生命有過(guò)交集的人都在她原先的貧民窟兒童身份上，幫助重新塑造一個(gè)有尊嚴(yán)、有夢(mèng)想、有未來(lái)的完整的人，這些幫助者甚至包括她糟糕的父母。

首先是她的父親，影片的第一個(gè)鏡頭就是liz的姐姐和她們的媽媽搏斗的場(chǎng)景，這場(chǎng)混亂的理由只是家里所剩無(wú)幾的錢(qián)財(cái)應(yīng)該給媽媽吸毒還是給兩個(gè)女兒買(mǎi)食物。而坐在一旁的是liz窩在沙發(fā)里看有獎(jiǎng)競(jìng)答節(jié)目的父親。這是一個(gè)隱喻，他也渴望生活的轉(zhuǎn)變，鏡頭多次停留在這檔類(lèi)似《誰(shuí)是百萬(wàn)富翁》的節(jié)目上，說(shuō)明他表面冷漠卻不自覺(jué)地渴望著改變，這從最后只有他告訴liz好好讀書(shū)、改變生活就可以得到印證。而且liz自己也說(shuō)過(guò)，他的父親是一個(gè)永遠(yuǎn)能夠給出正確答案的人，盡管對(duì)于兩個(gè)女兒他同樣的不聞不問(wèn)，但是他不是一個(gè)愚昧的人，他聰明并且識(shí)大體，這從他熱心于答對(duì)競(jìng)猜題目和愿意為liz去學(xué)校做擔(dān)保就能夠看出來(lái)。也許只是令人惱怒的糟糕生活讓他成為了鏡頭一開(kāi)始就奠定的樣子，使得他的聰明從來(lái)不作用在兩個(gè)女兒和改變生活之上。

然后是戴維老師和他的秘書(shū)，這兩個(gè)人是善良的，她們是liz蛻變道路上的重要轉(zhuǎn)折點(diǎn)，當(dāng)liz想要脫離苦海的堅(jiān)定信念遇上這樣兩個(gè)伸出橄欖枝的人時(shí)，世界便可以慢慢明朗起來(lái)。女秘書(shū)給了遲到的liz一份考卷并且在后來(lái)提醒她紐約時(shí)報(bào)的獎(jiǎng)學(xué)金項(xiàng)目，戴維老師從一開(kāi)始就用寬容的態(tài)度接納她并耐心地給她輔導(dǎo)功課。

照這樣分析，liz的爺爺把她趕出去讓她理解了流浪的不易，而她的女伴clics又和她相扶相持不至于餓死，她的姐姐在最后關(guān)頭借給她可以去面試的大衣，撿垃圾的大媽幫助她上學(xué)并一直是一個(gè)安慰她的角色。而她的媽媽看似是一切的罪魁禍?zhǔn)?，卻是讓liz這個(gè)成長(zhǎng)在貧民窟的孩子尚且保留著溫暖和愛(ài)的理由，而她的離去，也成為了liz蛻變的的動(dòng)力和開(kāi)始。

liz是沒(méi)有退路的，她自己也說(shuō)過(guò)：“我已經(jīng)無(wú)路可走了，所以我只能向前看?！彼f(shuō)：“我希望能和別人平起平坐，而不是低人一等。我希望能去哈佛，接受良好教育，讀遍所有好書(shū)。”最后她說(shuō)：“我必須成功，別無(wú)選擇?！?/p>

然后她做到了。我會(huì)永遠(yuǎn)記得當(dāng)她站在哈佛大學(xué)里說(shuō)過(guò)的那段話(huà)：“我不得不背負(fù)我的過(guò)去，但是我記得所有我認(rèn)識(shí)的人，所有我做過(guò)的事情，所有難過(guò)的往事。我忘記所有微小的事情，但是仍然很難單獨(dú)承受。這就是為什么我告訴你我的故事，現(xiàn)在我能讓它燃燒、平息，然后我就可以向前走了。”

這是一部被定義為勵(lì)志大片的經(jīng)典電影，甚至有大批的網(wǎng)友都發(fā)言說(shuō)常常會(huì)靠這個(gè)來(lái)激勵(lì)自己。我想，這不止是因?yàn)榕魅斯詈髮?shí)現(xiàn)的是進(jìn)入頂級(jí)大學(xué)的夢(mèng)想，更重要的是因?yàn)樗龔囊涣m埃到終于有了自己的色彩這個(gè)過(guò)程激起了所有平凡人的共鳴。我們是這個(gè)浩大世界中每一個(gè)平凡的微粒，更多的人來(lái)自沒(méi)有權(quán)勢(shì)沒(méi)有金錢(qián)的平凡家庭，但是夢(mèng)想是件公平的物，是每個(gè)人都可以懷有的物。liz成長(zhǎng)的環(huán)境已經(jīng)不能用糟糕來(lái)概括，甚至可以說(shuō)是絕境，但因?yàn)閴?mèng)想的公平性，這便是她唯一擁有的東西，也是僅憑著這唯一的夢(mèng)想，她成功了。如此看來(lái)，我們除了夢(mèng)想所擁有的一切和liz相比來(lái)說(shuō)都是附加值，所以我們更沒(méi)有逃避現(xiàn)實(shí)、萎靡頹唐的理由。

這是一個(gè)和我們同時(shí)代的傳奇故事。電影的最后有一行字：“l(fā)iz20__年從哈佛大學(xué)轉(zhuǎn)到哥倫比亞大學(xué)學(xué)習(xí)電影專(zhuān)業(yè)?！边@是電影的結(jié)束，舊故事的完結(jié)，也是liz生活新的開(kāi)始。我想，影片結(jié)束了，但是影片帶來(lái)的信念也將是同樣一個(gè)新的開(kāi)始。

除了主人公liz之外，這部電影還刻畫(huà)了其他很多人物形象，其中clics就是一個(gè)很典型的人物形象。clics的命運(yùn)和主人公liz很相似，都來(lái)自美國(guó)的貧民窟，都是自小生活在艱苦的環(huán)境中，但是最終的遭際卻完全不一樣，究其原因，根本上就是由于兩人的理想不一樣，對(duì)自己未來(lái)的規(guī)劃不一樣——liz選擇的是學(xué)習(xí)深造，而則clics選擇了逃避生活甚至是自甘墮落。由此可見(jiàn)沒(méi)有理想的生活是多么的難熬，這樣的人又是多么可憐。這一點(diǎn)也可以從liz的父親的身上體現(xiàn)出來(lái)，影片的一開(kāi)始便是一個(gè)破敗家庭的生活場(chǎng)景，liz的母親由于吸毒發(fā)瘋了似的向家里要錢(qián)，但是這個(gè)家實(shí)在是太窮了，為了錢(qián)liz的母親甚至向她下跪，最終liz還是不忍心地給了她母親錢(qián)。但是從頭至尾他的父親都沒(méi)有出面，他一直在看電視，可見(jiàn)他在逃避現(xiàn)實(shí)，不想管這些事，盡管在他面前發(fā)生，他還是裝作無(wú)動(dòng)于衷，好像沒(méi)有任何事一樣，最后還是在liz的說(shuō)服下才去外面找他的妻子?？梢?jiàn)此人的精神已經(jīng)麻木了，已經(jīng)對(duì)生活失去信心了，當(dāng)然到最后也是死于墮落。

這部影片人物情感刻畫(huà)細(xì)膩，是一部適合我們大學(xué)生觀看的影片，除了傳遞給我們心靈的震撼，還有深深的感動(dòng)，更好的是她為我們樹(shù)立了努力奮進(jìn)、樹(shù)立人生目標(biāo)的榜樣。

在那樣惡劣、艱苦的家庭環(huán)境中，莉斯都能克服重重困難，取得那樣好的學(xué)習(xí)成績(jī)，我們又有什么理由不好好學(xué)習(xí)，來(lái)回報(bào)家長(zhǎng)、回報(bào)老師、回報(bào)社會(huì)呢？

這是一部好電影，值得我們?cè)谝庵鞠粒j唐迷惘時(shí)觀看，來(lái)敲打我們的心靈。我們的現(xiàn)況比莉茲好得多，正因?yàn)槿绱耍覀儾痪邆淇辞搴兔镆暽钪幸磺辛b絆的力量，所以，終日郁悶苦惱。是時(shí)候拿一把剪刀剪掉我們的脆弱，驕傲，懶惰了，努力變得堅(jiān)韌，簡(jiǎn)單，視死如歸。我們也可以成為莉茲，只要我們用心去落實(shí)我們每一個(gè)任務(wù)，目標(biāo)，一個(gè)接著一個(gè)，在平實(shí)甚或些許痛苦中踏踏實(shí)實(shí)地走下去，我們必將是勝者。試著從下一秒改變自己。

最后我認(rèn)為人都應(yīng)該給自己一個(gè)正當(dāng)?shù)哪繕?biāo)，這個(gè)目標(biāo)不需要太大，只需要能讓自己有一個(gè)期盼，不至于落入無(wú)聊空虛之中就可以了，因?yàn)槿艘坏╅e下來(lái)無(wú)所事事，就很可能會(huì)陷入墮落的泥潭而不可自拔。人只有在確立了自己的生活的目標(biāo)之后才能使自己過(guò)的充實(shí)，正像劇中的主人公一樣在確立了要考哈佛之后就為之孜孜奮斗，通過(guò)努力最終圓夢(mèng)哈佛！我相信只要我們有目標(biāo)有動(dòng)力就一定能到達(dá)我們自己的“哈佛”！

最新哈佛財(cái)商心得體會(huì)及收獲三

“who will tell your story?”

may 24, 20xx

greetings, class of 20xx.

and so it is here—the week of your commencement. the days of miracle and wonder when your theses are written, classes have ended, and you still have free hbo. and so it may seem strange to be gathered here today, as we pause for this ancient and curious custom called the baccalaureate—but here we are, me in a pulpit and you in pews, dressed for a sermon in which i am to impart the sober wisdom of age to the semi-sober impatience of youth. now, it is a daunting task. especially since over the course of four years i have succeeded in disconcerting people on all sides of the many issues that you will soon be discussing with parents and grandparents over dinner—so in addition to a speech, for handy reference i’ve created a placemat for commencement, filled with useful phrases. such as, “it’s ‘final club,’ without an ‘s.’”

now, i am truly privileged today, for you are an extraordinary group. your 80 countries of origin do not begin to describe you.

you may remember the day when we escaped the rain at your freshman convocation, and you heard from me and a phalanx of elders in dark robes: connect, we said, make harvard part of your narrative. take risks, we told you. don’t always listen to us.

and for four years you have distinguished yourselves with dazzling variety: in what may be harvard’s most pergent dozen, you produced six rhodes scholars, including one who broke the world record for standing on a “swiss” exercise ball, plus six athletes invited to the national football league to play ball, players whose interests range from the ministry to curing infectious diseases.

you were good at long distances: you probed the atmosphere of an exoplanet; researched antibiotic use on a pig farm in denmark; and you created a pilot program that cut shuttle times from the quad by half.

you experienced old traditions: the mumps. a class color, orange. and the time-honored lampoon theft of the crimson president’s chair—this time transporting it across state lines to manhattan’s trump tower, for a staged photo op with a then dark-horse presidential candidate.

you found your way: on campus, through a maze of renovations and swing housing; onstage, doing stand-up comedy on nbc, dancing in bogota, and mounting black magic at the loeb; through the halls of business and finance, running an intercollegiate investment fund; and exposing a privacy issue with facebook’s messenger app.

you won, with style and grace: as you captured the first national trophy for harvard mock trial—by being funnier than yale; and then you shellacked the bulldogs in the game for—yes—the 9th straight year; you produced the first ivy “three-peats” in football and women’s track; and brought home the first ivy crown in women’s rugby—how “fierce and beautiful” was that!

and, of course, all this was powered by huds, since 20xx, powered with ceaseless servings of swai.

and you were just plain good: you wrote prize-winning theses on sea level change, a water crisis in detroit; you engineered a better barbecue smoker—and tested it in a blizzard; you joined the fight to end malaria; and earned the award for best hockey player in the ncaa for strength of character as well as skill; you became well connected—to alzheimer’s patients, to kids in kenya, to homeless youth; and, as the inaugural class of ed school teacher fellows, 20 of you are preparing to help high-need students rise.

and i understand you even rested with ambition, as you tried to “netflix and chill.”

you made it all look easy—all while facing blows to the spirit that have tempered and tested you. you arrived just after a breach of academic trust that, by your senior year, produced the first honor code in harvard’s history, events that raised hard questions for all of us: what is success? what is integrity? to whom, or what, are we accountable?

when a hurricane prompted the first harvard closing in 34 years, you rallied with generosity and goodwill—and did so again when we closed for snowstorm nemo—the fifth largest in boston history. and that was just a warm up, so to speak, for the winter of our misery—the worst in boston history—when you sledded the slopes of widener in a kayak.

and when the bombs went off at the boston marathon, in just your second semester, we considered still larger questions: who are we? what matters most? what do we owe to one another? you told me that you became bostonians that day, bonded to a city beyond harvard square, and to each other during the manhunt and lockdown, when the university closed for an unprecedented third time in 6 months.

who can forget the images—of the mayhem, of the people who ran, not for safety, buttoward the danger, into the chaos? the army veteran, who smelled cordite, and expecting more bombs, saved a college student’s life; the man in the cowboy hat, who ripped away fencing in order to reach the most injured. and who can forget the moment when red sox first baseman david ortiz stood in the center of fenway park and said in eleven words of fellowship and defiance that the fcc chose not to censor, though i will today—“this is our [bleeping] city and nobody[’s] gonna dictate our freedom.”

a few months ago as i was lucky enough to be sitting in a broadway theater, absorbing the final number of the musical hamilton, i thought of you, and that fierce spirit of inclusion and self-determination. i watched as eliza, center stage, sang, “i put myself back in the narrative,” and asked the question in the title of her song, “who lives, who dies, who tells your story?,” the spirited summation of a production that, like you, has broken records. like you, has created a new drama inside a very old one.

harvard, one might say, is a bastion of opportunity and unimaginable good fortune—for all of us, who find a place, with varying degrees of comfort, at the center of its long and successful narrative. and yet the burden is on us—to locate the discomfort, to act on the restless spirit of that legacy. as i thought about speaking to you here today, it occurred to me how much the question in that final song has framed your time here, and how much it will continue to affect your lives, as college graduates, as harvard alumni, as citizens and as leaders. who will tell your story?

you. you will tell your story. that is the point that i want to leave you with today. telling your own story, a fresh story, full of possibility and a new order of things, is the task of every generation, and the task before you. and that task is exactly what your liberal arts education has prepared you to do, in three vital ways:

first, telling your own story means discovering who you are, and not what others think you should be. it means being mindful of others, but deciding for yourself. it’s easy to tell a tale that others define, the one they expect to hear. a moment ago i sketched your harvard history. but what did i leave out? one of harvard’s legendary figures and reverend walton’s predecessor, the reverend peter gomes, used to put it this way: “don’t let anyone finish your sentences for you.” he loved being a paradox, an unpredictable surprise, but always true to himself: a republican in cambridge; a gay baptist preacher; black president of the pilgrim society—afro-saxon, as he sometimes put it. playful. unapologetic. unbounded by others’ expectations. “my anomalies,” he once said, “make it possible to advance the conversation.”

advance the conversation. this is my next point. telling our own stories is not just about us. it is a conversation with others, exploring larger purposes and other worlds and different ways of thinking. your education is not a bubble. think of it as an escape hatch, from what nigerian novelist and former radcliffe fellow chimamanda adichie calls “the danger of a single story.” she has observed, “[h]ow impressionable and vulnerable we are in the face of a story.” not because it may be untrue, but because, in her words, “[stories] are incomplete. they make one story become the only story,” even though “[m]any stories matter.” for four years you have learned the rewards of other stories, and the risk of critical misunderstandings when they go unheard—whether those stories emerge from the office for lgbtq life, or the black lives matter movement, or the international conversation on sexual assault—and perhaps most powerfully, from one another. this is precious knowledge. only by knowing that other stories are possible can we imagine a different future. what will medicine look like in the 21st century? energy? migration? how will cities be designed? the question, as one of you wrote in the crimson, is not “what am [i] going to be,” but “what problem do [i] solve?”

which brings me to my final point: keep revising. every story is only a draft. we re-tell even our oldest sagas—whether of hamilton and the american revolution or of harvard itself. the best education prepares you because it is unsettling, an obstacle course that forces us to question and push and reinvent ourselves, and the world, in a new way. steven spielberg, who will speak to us on thursday, has explained the foundation of his powerful storytelling. he says: “fear is my fuel. i get to the brink of not knowing what to do and that’s when i get my best ideas.”

what is a university but a place where everyone should feel equally sure to be unsure? our best discoveries can start out as mistakes. as herbie hancock told us, his mentor jazz legend miles davis, said there is no playing a “wrong” note, only a surprising one, whose meaning depends on whatever you play next.

in the evolving universe of profiles and hashtags and selfies, it seems no accident that you are the class of snapchat—a platform that took hold when you were freshmen and developed with you, from showing “snaps” to telling and sharing “stories”—stories that vanish every day, to be replaced by new stories, free of “l(fā)ikes” or “followers.” an app that, in the words of a founder, “isn’t about capturing … what[’s] pretty or perfect … but … creates a space to … communicat[e] with the full range of human emotion.”

and so for four years you have been learning to re-tell things: finding your voices, putting yourself in a narrative, whether that was demanding action against climate change, discovering that you love statistics, or creating the powerful message of “i, too, am harvard.” you have seen things re-told. even harvard’s story. last month one of my heroes, congressman john lewis, came to harvard yard to unveil a plaque on wadsworth house, documenting the presence of four enslaved inpiduals who lived in the households of two harvard presidents. john lewis said, “we try to forget but the voices of generations have been calling us to remember.” titus, venus, bilhah and juba—their lives change our story. after three centuries, they have a voice. they, too, are harvard.

telling a new story isn’t easy. it can take courage, and resolve. it often means leaving the safe path for the unknown, compelled, as john lewis put it, to “disturb the order of things.” and during your years here you have learned to make, as he urged, “good trouble, necessary trouble.”

for years i have been telling students: find what you love. do what matters to you. it might be physics or neuroscience, or filmmaking or finance. but don’t settle for plot b, the safe story, the expected story, until you have tried plot a, even if it might require a miracle. i call this the parking space theory of life. don’t park 10 blocks away from your destination because you are afraid you won’t find a closer space. don’t miss your spot—don’t throw away your shot. go to where you think you want to be. you can always circle back to where you have to be. this can require patience and determination. steven spielberg was, in fact, late to class his first day as a student at california state university, because, as he put it, “i had to park so far away.” he went on to sneak onto movie sets, no matter how many times he got thrown off.

“you shouldn't dream your film,” he has said, “you should make it!”

perhaps this is the new jurassic parking space theory of life—don’t just tell your story, live it. your future is not a . it’s an attitude, a way of being that can create a new narrative no one may have thought possible, let alone probable:

jeremy lin—harvard graduate, asian-american—changed the narrative of professional basketball, still sizzling with “l(fā)insanity” when you arrived as freshmen.

think about stephen hawking, who spoke to us last month through a speech synthesizer. he changed the narrative of the universe, a story about what ultimately will become of all our stories—one he has been revising since he was your age, when he was given three years to live.

and you are already changing the story:

think of the astrophysics and mythology concentrator who started a mentorship program for women of color to change the narrative of who enters stem fields, and she wrote a science fiction novel to tell a new research-based story about the galaxy.

or think of the second lieutenant—one of 12 new harvard officers—who will serve her country in the u.s. marines, battling not only the enemy, but persistent gender pides. “how will that change,” she says, “unless we start now?”

and think about the pre-med student who found himself literally running away from campus, fleeing in misery, until he suddenly stopped in his tracks and turned back, because he remembered he needed to be at a theater rehearsal where he had stage managing responsibilities. some 20 productions later, he has a theater directing fellowship for next year, and even his parents, as he puts it, now believe “that i am an artist.”

value the ballast of custom, the foundations of knowledge, the weight of expectation. they, too, are important. but don’t be afraid to defy them.

and don’t worry, as you feel the tug of these final days together. i am here to tell you that your harvard story is never done. in 1978, two freshmen watched a screening of the movielove story in the science center. three decades later, they met for the first time. and their wedding story appeared last month in the new york times.

so, congratulations, class of 20xx. don’t forget from whence you came. change the narrative. rewrite the story. there is no one i would rather trust with that task.

go well, 20xx.

哈佛校長(zhǎng)福斯特演講中文

人們也許會(huì)說(shuō)哈佛是天堂，充滿(mǎn)了各種難以想象的機(jī)遇和好運(yùn)——確實(shí)，我們每個(gè)人都有幸在她漫長(zhǎng)而成功的歷史中占有一席之地。但這也對(duì)我們提出了要求：我們有責(zé)任走出自己的舒適區(qū)，尋找屬于我們的挑戰(zhàn)，踐行哈佛奮斗不息的精神。

在我準(zhǔn)備今天演講的時(shí)候，我想到了音樂(lè)劇《漢密爾頓》中最后那首歌里的問(wèn)題：

“誰(shuí)來(lái)講述你的故事?”

我想這個(gè)問(wèn)題奠定了你們過(guò)去四年大學(xué)生活的基調(diào)，也將對(duì)你們未來(lái)作為哈佛畢業(yè)生和校友的生活產(chǎn)生深遠(yuǎn)的影響，無(wú)論是作為公民或是領(lǐng)袖——

誰(shuí)，來(lái)講述你的故事?

是你，你要來(lái)講述你的故事!

這就是今天我要對(duì)你們說(shuō)的話(huà)：講你自己的故事，一個(gè)充滿(mǎn)了無(wú)限可能性和新秩序的嶄新故事，這是每一代人的任務(wù)，也是現(xiàn)在擺在你面前的任務(wù)。你在哈佛所接受的文理博雅教育，將會(huì)用以下三種重要方式，幫助你去完成這項(xiàng)任務(wù)。

“聽(tīng)別人的建議，做你自己的決定”

講述你的故事意味著發(fā)現(xiàn)你自己是誰(shuí)——而不是成為別人認(rèn)為你的誰(shuí)。你要參考別人的意見(jiàn)，但要做出自己的決定。講述一個(gè)別人定義好的或別人希望聽(tīng)到的故事，那太容易了。

哈佛的傳奇人物之一、可敬的彼得·戈麥斯教授曾說(shuō)：“不要讓任何人替你把話(huà)說(shuō)完?！?/p>

戈麥斯教授自己經(jīng)?！白韵嗝堋?，令人難以捉摸，但永遠(yuǎn)忠于他自己：他是一位劍橋市的共和黨人(注：在哈佛所在的劍橋市，共和黨是少數(shù)派);他是一位浸禮會(huì)的牧師，但同時(shí)是個(gè)同性戀(注：基督教大多不支持同性戀);他是朝圣者協(xié)會(huì)的會(huì)長(zhǎng)，同時(shí)又是一位黑人(注：朝圣者協(xié)會(huì)白人居多)。

他對(duì)自己的信仰堅(jiān)定不移，他不為外人的期望牽掛束縛。他說(shuō)：“我的不同尋常，讓開(kāi)啟新的對(duì)話(huà)變?yōu)榭赡?。?/p>

“開(kāi)啟與他人的對(duì)話(huà)，傾聽(tīng)他人的故事”

開(kāi)啟新的對(duì)話(huà)，這是我的下一個(gè)重點(diǎn)。講述我們自己的故事并不意味著只關(guān)注我們自己。講故事是與他人對(duì)話(huà)，借此探尋更遠(yuǎn)大的目標(biāo)、探索其他的世界、探究不同的思維方式——你所受的教育不是一個(gè)真空的大泡沫。

如果我們只講述單一的故事，那將是危險(xiǎn)的，就像諾大的場(chǎng)地只有一個(gè)逃生口，令所有人變得異常脆弱。單一的故事不一定是假的，但它是不完整的。所有的故事都很重要，不能把單一角度的故事變成唯一的故事。

過(guò)去四年，你們感受到了傾聽(tīng)他人故事的益處，也體驗(yàn)到了忽略他人故事所帶來(lái)的危險(xiǎn)。只有意識(shí)到，世界上充滿(mǎn)了各種各樣的故事，我們才能想象一個(gè)不一樣的未來(lái)。21世紀(jì)的醫(yī)療是什么樣?能源是什么樣?移民是什么樣?城市將如何設(shè)計(jì)?面對(duì)這些問(wèn)題，你要問(wèn)的不是“我會(huì)成為什么樣的人”，而是

“我能解決什么問(wèn)題”?

“在不安和不確定中，不斷修正你的故事”

這也引出了最后一個(gè)重點(diǎn)：不斷修正。每個(gè)故事其實(shí)都只是一個(gè)草稿，我們連最古老的傳說(shuō)都會(huì)不斷拿來(lái)重提——不管是漢密爾頓將軍的故事、美國(guó)獨(dú)立戰(zhàn)爭(zhēng)的史詩(shī)、亦或是哈佛自己的歷史。

好的教育之所以好，是因?yàn)樗屇阕⒉话?，它?qiáng)迫你不斷重新認(rèn)識(shí)我們自己和我們周遭的世界，并不斷去改變。

斯蒂芬·斯皮爾伯格將在畢業(yè)典禮上為我們演講，他就曾經(jīng)這樣解釋他創(chuàng)作的基石：“恐懼是我的動(dòng)力。當(dāng)我瀕臨走投無(wú)路的時(shí)候，那也是我遇見(jiàn)最好的想法的時(shí)候。”

大學(xué)，不正是這樣一個(gè)讓每一個(gè)人都接受挑戰(zhàn)、讓每一個(gè)人都產(chǎn)生不確定性的地方嗎?

就這樣，大學(xué)四年間，你都一直在學(xué)習(xí)重新講述你的故事：尋找你自己的聲音，將自己放入一個(gè)故事中——無(wú)論是對(duì)氣候變化采取反抗行動(dòng)，發(fā)現(xiàn)你對(duì)統(tǒng)計(jì)學(xué)的熱衷，還是發(fā)起了一項(xiàng)有意義的運(yùn)動(dòng)，你親眼目睹故事不斷被重新講述。

“不要妥協(xié)，直奔你的目標(biāo)”

這些年，我一直在告訴大家：

追隨你所愛(ài)!

去從事你真正關(guān)心的事業(yè)吧，無(wú)論是物理還是神經(jīng)科學(xué)，無(wú)論是金融還是電影制片。如果你想好了目的地，就直接往那里去吧。這就是我的“停車(chē)位理論”：不要因?yàn)橛X(jué)得肯定沒(méi)有停車(chē)位了，就把車(chē)停在距離目的地10個(gè)街區(qū)遠(yuǎn)的地方。直接去你想去的地方，如果車(chē)位已滿(mǎn)，你總可以再繞回來(lái)。

所以在這里，我想祝賀你們，20xx屆的哈佛畢業(yè)生們。別忘了你們來(lái)自何處，不斷改變你的故事，不斷重寫(xiě)你的故事。我相信這項(xiàng)任務(wù)除了你們自己，誰(shuí)也無(wú)法替你們完成!

哈佛財(cái)商心得體會(huì)及收獲受益一生的哈佛情商課讀后感(4篇)

最新哈佛財(cái)商心得體會(huì)及收獲一

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