沙利文教海伦凯勒什么东西?小片段

主要讲了海伦在老师指导下摸盲文,拼写单词,艰苦地训练自己的说话能力.

1沙利文老师的到来,就像春天云间泻下的一缕阳光射入我的心灵,把我从无声的黑暗中领向无尽的灿烂光明.
2莎莉文老师的到来,就像涓涓溪水流入山间,把我由无知的孩童塑为今天的海伦凯勒.
3莎莉文老师的到来,就像末冬时最早绽放的花朵,把已对生活感到无限茫然的我的心灵里注入希望的光芒.
·····还好··看过海伦凯勒传···

海伦凯勒回报了沙利文老师对她所倾注的爱与关怀.

　　老师教我认识具体事物.
　　老师教我认识和理解大自然.
　　老师教我理解“爱”的含义.
　　探究：在这些事件中,作者表现出来的老师是怎样一个人.请结合具体的语句进行分析.
　　“一个陌生人握住了我的手,把我紧紧地抱在怀中.”“第二天早晨,莎莉文老师带我到她的房间,给了我一个洋娃娃.”从文章的叙述中我们不难知道,莎莉文与作者的初次接触,首先让“我”感受到的是关爱.当“我玩了一会儿洋娃娃”之后,“莎莉文小姐拉起我的手,在手掌上慢慢地拼写‘doll’这个词,这个举动让我对手指游戏产生了兴趣,并且模仿着在她手上画画.”这里,我们初步懂得了莎莉文老师的教育方法和良苦用心,送给海伦的这个洋娃娃,真是巧妙极了,既是老师对小海伦的爱心表达,更是用来启迪小海伦智慧的“道具”.
　　“我和莎莉文老师为‘杯’和‘水’这两个字发生了争执.她想让我懂得‘杯’是‘杯’,‘水’是‘水’,而我却把二者混为一谈,‘杯’也是‘水’,‘水’也是‘杯’.”当莎莉文老师丢开这个问题,重新练习布娃娃“doll”这个词时,“我”却把布娃娃摔到地上.对此,莎莉文老师既不是简单粗暴,更不是撒手放弃,而是换一种教育方式──或者在寻找让“我”乐意接受的、可能有效的方式：莎莉文小姐把洋娃娃碎片扫到炉子边后,便领着“我”到外面暖和的阳光里去了.
　　她俩“散步”来到井房──这时的“散步”恐怕是莎莉文小姐的精心安排吧.“散步”让小海伦从刚才的坏心情中解脱出来,从而赢得轻松愉快的学习心境,获得最佳的教育契机.在井房,“莎莉文老师把我的一只手放在喷水口下,一股清凉的水在我手上流过.她在我的另一只手上拼写‘water’──‘水’字,起先写得很慢,第二遍就写得快一些.”盲聋哑人只有通过触觉来感知事物,当“water”从海伦的手中流过的时候,莎莉文老师则在她的另一只手上写着“water”这个词,时机抓得多么准确,教学方法多么巧妙.果然,“突然间,我恍然大悟,有股神奇的感觉在我脑中激荡,我一下子理解了语言文字的奥秘了,知道了‘水’这个字就是正在我手上流过的这种清凉而奇妙的东西.”莎莉文的教育取得了神奇的效果,“水唤醒了我的灵魂,并给予我光明、希望、快乐和自由.”可以说,莎莉文用“水”启开了海伦智慧和情感的大门.“水”让海伦油然而生求知的欲望,用新奇的眼光看待每一样东西,获得了生命的意识和感情,也拥有了求知的无比美妙的感受.
　　莎莉文老师还善于引导海伦在大自然中接受教育,创造条件和机会让海伦走进自然,亲近自然.在与自然的相处中感受自然的伟大和世界的美好.对这一段经历的回忆,作者是用诗一样的语言把它呈现在我们的眼前,阅读这一段,我们会情不自禁地朗诵起来,去体会莎莉文小姐的教育艺术：“繁花似锦的夏季来临,莎莉文小姐牵着我的手漫步在田纳西河的岸边,望着田野、山坡,人们正在田间地头翻土播种.我们在河边温软的草地上坐下,开始了人生新的课程.……莎莉文小姐先教会我从那粗壮的树木,那细嫩的草叶,还有我妹妹的那双小手贪图美的享受,然后才教我画地球的形状.她把对我的启蒙同大自然联系起来,使我同花同鸟结成愉快的伙伴.”甚至,莎莉文小姐帮助海伦坐到树上,甚至两人在野外就餐.虽然,那次海伦体验到大自然严厉、暴躁的一面,受到一次惊吓,很难说是莎莉文的巧妙安排,但让海伦获得对大自然全面、深刻的体验,无疑符合莎莉文老师的初衷.
　　关于“爱”的解释,对于一个视听健全的人来说,都不是一件易事.但是,莎莉文不仅极其艺术地解释了爱,而且让海伦体验了爱,懂得了爱,唤醒了爱.当“我”在花园里摘了几朵早开的紫罗兰送给莎莉文老师,莎莉文立即予以感情的回报；当我不愿意接受别人亲吻的表达时,莎莉文则用胳膊轻轻地搂着“我”,并在“我”手上拼写出了“我爱海伦”几个字.由此进行着关于“爱”字的问答和探讨.当“我”问“爱是什么”,莎莉文并没有直接回答,我们试想一下,对于一个感官健全的人也难以回答吧,但莎莉文并没回避,而是“把我搂得更紧了”,“用手指着我的心说：‘爱在这里.’”莎莉文老师先要让海伦感受到“爱”,表明“爱”是发自心灵的情感.尽管这种解释并没有让海伦完全明白,但实际上已引导海伦对“爱”字有所感悟,所以,海伦才相继问道：“爱就是花的香味吗?”“爱是不是太阳?”一般看来,海伦能对“爱”有这样的感受已经很可贵了,但是莎莉文并没有给予认同.从下文我们才得知,这正是莎莉文的教育艺术.她要引导海伦从“能触摸的东西”中获得思维的提升,“领悟到抽象的概念”.她不希望对“爱”理解得太具体,她想通过对“爱”的探讨,进一步开发海伦的思维、智慧和心灵世界.所以,当海伦再一次问到“爱是不是太阳”,莎莉文老师在海伦的已有认识的基础上给予升华：“爱有点儿像太阳没出来以前天空中的云彩.你摸不到云彩,但你能感觉到雨水.你也知道,在经过一天酷热日晒之后,要是花和大地能得到雨水会是多么高兴呀!爱也是摸不着的,但你却能感到她带来的甜蜜.没有爱,你就不快活,也不想玩了.”莎莉文对“爱”作了多么绝妙的解释,抽象的道理说得具体形象,深刻的内涵又与孩子的实际生活联系在一起.而且莎莉文能做到循循善诱.在海伦略有所悟而又困惑不解时,给予解释和引导,不愧为杰出的教育家.作者最后写道：“刹那间,我明白了其中的道理──我感觉到有无数无形的线条正穿梭在我和其他人的心灵中间.”此时,作者已感受到了“穿梭在我和他人的心灵中间”的那种美好的情感──这便是“爱”.
　　是六三的不?刚才没登陆,上面的也是我发的,选哪个都无所谓,尽量选这个啊!谢了!

海伦凯勒是一个不放弃生活的人，沙莉文是一个帮助海伦凯勒走出黑暗的人，是给海伦凯勒再一次生命的人。

精心指导、心疼、一一包扎

　　没有她就没有后来海伦的辉煌
　　对“再塑生命”该怎样理解呢?
　　明确：原意指“重新获得生命”这里指“海伦的生命被莎莉文老师从无光、无声的黑暗世界里引领出来,重新感受到了光明和希望”.
　　莎莉文老师应该教会海伦许多东西,为什么海伦只写了“认识文字、了解大自然、理解爱”三件事呢?
　　明确：
　　文字是人类沟通的桥梁,是走出黑暗的希望.
　　自然是生活的根基
　　爱是人类的灵魂
　　回顾生命再塑的过程,海伦以超人的毅力旺盛的求知欲,跨越了生命的一道道沟坎,莎莉文老师用博大而深沉的师爱改变了海伦的生命轨迹.
　　“再塑生命”从字面意思看,是“重新塑造生命、重新获得生命”的意思.但在本文中,再塑生命,是指“爱的光明照到了我的身上”,本来,“我在那个寂静而又黑暗的世界里,根本就不会有温柔和同情.”但是,在莎莉文老师的教育下,“我”的灵魂被唤醒,再次拥有“光明、希望、快乐和自由”（这里的“光明”一词是用其喻义）.是莎莉文老师让“我”又回到自然,理解自然.莎莉文老师还教“我”懂得“什么是爱”.正如作者自己所言：“她就是那个来对我启示世间的真理、给我深切的爱的人.”从这个意义上说,莎莉文老师是“再塑生命的人”,从中表达了作者对莎莉文老师无比的敬爱和感激

沙利文老师倾注了一生的精力,终于让海伦.凯勒闻名于世.

Louis Henry Sullivan (September 3, 1856 – April 14, 1924) was an American architect, and has been called the "father of skyscrapers"and "father of modernism".He is considered by many as the creator of the modern skyscraper, was an influential architect and critic of the Chicago School, was a mentor to Frank Lloyd Wright, and an inspiration to the Chicago group of architects who have come to be known as the Prairie School. Along with Henry Hobson Richardson and Wright, Sullivan is one of "the recognized trinity of American architecture".He posthumously received the AIA Gold Medal in 1944.

Biography
Louis Henry Sullivan was born to an Irish-born father, Patrick Sullivan, and a Swiss-born mother, née Andrienne List, both of whom had immigrated to the United Statesin the late 1840s.After graduating from high school, Sullivan studied architecture briefly at the Massachusetts Institute of Technology. Learning that he could both graduate from high school a year early and pass up the first two years at the Massachusetts Institute of Technology by passing a series of examinations, Sullivan entered MIT at the age of sixteen. After one year of study, he moved to Philadelphia and took a job with architect Frank Furness.
The Depression of 1873 dried up much of Furness's work, and he was forced to let Sullivan go. At that point Sullivan moved on to Chicago in 1873 to take part in the building boom following the Great Chicago Fire of 1871. He worked for William LeBaron Jenney, the architect often credited with erecting the first steel-frame building. After less than a year with Jenney, Sullivan moved to Paris and studied at the École des Beaux-Arts for a year. He returned to Chicago and began work for the firm of Joseph S. Johnston & John Edelman as a draftsman. Johnston & Edleman were commissioned for the design of the Moody Tabernacle, with the interior decorative "fresco secco" stencils (stencil technique applied on dry plaster) designed by Sullivan. In 1879 Dankmar Adler hired Sullivan; a year later, he became a partner in the firm. This marked the beginning of Sullivan's most productive years.Adler and Sullivan initially achieved fame as theater architects. While most of their theaters were in Chicago, their fame won commissions as far west as Pueblo, Colorado, and Seattle, Washington(unbuilt). The culminating project of this phase of the firm's history was the 1889 Auditorium Building (1886-1890, opened in stages) in Chicago, an extraordinary mixed-use building which included not only a 4,200-seat theater, but also a hotel and an office building with a 17-story tower, with commercial storefronts at the ground level of the building fronting Congress and Wabash Avenues. After 1889 the firm became known for their office buildings, particularly the 1891 Wainwright Building in St. Louis, The Schiller (later Garrick) Building and theater (1890) in Chicago, along with the Chicago Stock Exchange Building (1894), the Guaranty Building (also known as the Prudential Building) of 1895–1896 in Buffalo, New York and the 1899-1904 Carson Pirie Scott Department Store by Sullivan on State Street in Chicago.

爱就是在太阳出来前天空中的云.
后面说了,云在太阳出来之前,润物细无声,你摸不到它,但是你可以感受到它的爱.

海伦为了避免与有声有色的世界再次隔绝,她开始跟着沙利文学盲文.

不仅 还