演讲稿之卡西欧杯法语演讲比赛

演讲稿之卡西欧杯法语演讲比赛卡西欧杯法语演讲比赛【篇一：2012法语演讲比赛细则】中南财经政法大学外语学院第二届法语演讲大赛暨第五届卡西欧杯全国法语演讲比赛校内选拔赛新学期伊始，为促进本院法语专业学习氛围与加强师生间的沟通交流，也为全力响应第五届卡西欧杯全国高校法语演讲比赛的顺利举办，特组织举行我院第二届法语演讲大赛。活动时间：2011年9月15日（教学第三周周四）下午2:00-5:00活动地点：文波楼教室活动安排：1）报名要求：本次比赛限本院法语专业学生报名参加（主要集中在大二至大四三个年级的学生群体中），报名人数不限，报名截止时间为比赛日前一天（即2012/09/19）。二年级学生报名统计工作由王璇老师负责，三年级学生报名统计由夏正华老师负责。2）参赛准备：赛前通知各报名选手自行准备讲演稿一份，话题范围不限（可借鉴或摘录引用各类文献资料），演讲时间控制在三到五分钟之间（比赛时可带稿上台，但不可朗读全文，尽量脱稿完成演讲）。3）比赛流程：比赛当日，各参赛选手按照抽签结果排列出场顺序。每位选手首先报告自己的选题，然后完成自己的演讲。演讲结束后由评委组老师根据该选手的演讲内容及选题予以提问2-3个，选手作答（提问及回答要求使用法语进行）。所有选手的个人成绩将在整轮比赛流程进行完毕后予以公布，同时公布所有选手的名次排列顺序。备注1：鉴于本次比赛还同时负有选拔参加全国比赛的人选名单，比赛当天也将同期宣布接下来参加后续比赛的人员名单。备注2：要求各位参赛选手在演讲结束时向评委组呈交演讲稿一份。4）评选标准：a）演讲环节要求主题明确，立意积极，发音清晰，语言流畅，感情真挚，表情生动，举止得当…….每项要求占演讲环节总分值不同比值（见附表），单项打小分，归总后成为此环节得分；b）即兴问答环节要求反应机敏，语言组织迅速，……打分方式如上；c）两个环节得分合并即成为评委之一为该选手的打分；d）各评委对一位选手的打分取平均值即成为该选手的最终得分。5）评委组成：法语专业教研室各位老师均要参加评选工作，出席当天比赛。6）奖励办法：本次比赛设一等奖一名，二等奖两名，三等奖三名，其余均为优秀奖。每位选手都将获得相应的奖状一份，奖品一份。其中一等奖获得者同时将作为我校推荐参加全国法语演讲比赛的参赛者。每位评委老师也将给予劳务补贴150元。选手得分细评规则表法语演讲比赛选手得分细则le/laparticipant(e):_____________________选手姓名（年级）：lanote:【篇二：卡西欧杯演讲比赛计划】卡西欧杯首届宁波市日语演讲比赛计划比赛内容、日程和规则1、举办时间：2010年12月14日（星期二）2、比赛地点：宁波大学外语学院报告厅3、比赛规则：（1）以“日本語勉強の楽しさ”为题进行5分钟的命题演讲比赛。downloadingreadingmaterialfromanamericani.p.address.asoftheeveningistoppedsearchingtheinternetandactuallywentouttoenjoyberlin,e-booksaccountedfornearly20percentofthesalesofamericanpublishers.ingermany,however,e-booksaccountedforonly1percentlastyear.ibeganaskingthemultilingual,multi?ethnicartistsaroundmewhythatwas.itwas2a.m.,atsohohouse,aprivateclubi’dcrashedintheformerhitler?jugendheadquarters.oneinstallationistsaid,“americanslikee-booksbecausethey’reeasiertobuy.”aperformanceartistsaid,“they’realsoeasiernottoread.”trueenough:theirpresencedoesn’tremindyouofwhatyou’remissing;theydon’ttakeupspaceonshelves.thenextmorning,alexanderprovanandiluggedthebooksfordistribution,gratis.question:ifbooksbecomemereartobjects,doe-booksbecomeconceptualart?juxtaposingpsychiatriccasenotesbythephysician-novelistrivkagalchenwithadramaticallyillustratedinvestigationintothedevastationofneworleans,“invalidformat”isamongthemostartfulnewattemptstoreinventthewebbythecodex,andthecodexbytheweb.itstexts“scroll”:horizontally,vertically;titlepagesevoke“screens,”reframingcontentthatfollowsnotuniformlyandcontinuouslybutratherasawelterofcolumnshiftsandfonts.itsclosestpredecessorsmightbemixed-mediadada(duchamp’sloose-leafed,shuffleable“greenbox”);orperhaps“icanhascheezburger?,”thebest-sellingbookversionofthepet-pictures-with-funny-captionswebsite;orsimilarvolumesfromand.theselatterbooksaremerelythekitschiestproductsofpublishing’srecententhusiasmfor“back-engineering.”they’repseudoliterature,commoditiessubjecttothesamereversingprocessthatforoveracenturyhaspaused“movies”into“stills”—intop.r.photosanddormposters—andnotatedpoprecordingsforsheetmusic.translatingmediumscanseemjustasunm?glichastranslatingbetweenuelatedlanguages:therewillbeconfusions,distortions,technicallimitations.thewebande-bookcaninfluencetheprintbookonlyinmattersofstyleandsubject—nolinks,ofcourse,justtheirmetaphor.“theghostinthemachine”can’tbeexorcised,onlyturnedaround:themachineinsidetheghost.asforme,iwashauntedbymysuitcase.theextraone,theempty.mylastdayinkreuzbergwasspentconsideringitsfate.mywheeliebagwaspacked.mylaptopwasstowedinmycarry-on.iwantedtoleavethepleatherimmensityonthecornerofkottbusserdamm,downbythecanal,buti’veneverbeenawaster.ibroughtitback.itsitsinthemiddleofmyapartment,uevertible,onlyimprovable,hollow,itslidfloppedopenlikethecoverofabook.模糊不清，语意歪曲和技术的限制。网络和电子书只能在形式和主题上影响纸质书籍——没有相互联系，当然，仅仅是他们的比喻。“机器中的鬼魂”不能被驱散，只能倒过来说是：鬼魂体内的机器。于我而言，我被自己的行李箱困扰着。那个多余的空箱子。我在克罗伊茨贝格的最后一天是忧虑着它的命运度过的。我那个带小轮子的包裹已经打包好了。我的笔记本电脑也已经整齐的收起。我想把这个人造革的产物扔在科特布斯的角3落，顺运河而下，但是我从不是一个浪费者。我又把箱子带了回来。它蹲坐在我公寓的正中间，即使修理也不能完好如初了。它失落地展开了盖子，中间空着，就像一本书的封面。第八届卡西欧杯翻译竞赛原文（英文组）来自:flaa(《外国文艺》)howwritersbuildthebrandbytonyperrottetaseveryauthorknows,writingabookistheeasypartthesedays.it’swhenthepublicationdateloomsthatwehavetorollupoursleevesandtackletherealliterarylabor:rabidself-promotion.forweeksbeforehand,wearecompelledtobombardeveryfriend,relativeandvagueacquaintancewithcreativee-mailsandfacebookalerts,polishupourwebsiteswithsuspiciouslyyouthfulauthorphotos,and,inanorgyofblogs,tweetsandyoutubetrailers,attempttoinformanalreadyinundatedworldofoureveryreading,signing,review,interviewand(well,onecandream!)tv?appearance.inthiserawhenmostwritersareexpectedtodoeverythingbutruntheprintingpresses,self-promotionissoacceptedthatwehardlygiveitasecondthought.andyet,wheneverihaveanewbookabouttocomeout,ihavetoshaketheunpleasantsensationthatthereissomethingunseemlyaboutmyownclamorforattention.peddlingmyworklikeaviagrasalesmanstillfeelsatoddswiththehighcallingofliterature.insuchmomentsofdoubt,ilooktohistoryforreassurance.it’salwayscomfortingtoberemindedthatliterarywhoring—imean,self-marketing—hasbeenpracticedbythegreats.themostreveredoffrenchnovelistsrecognizedtheneedforp.r.“forartists,thegreatproblemtosolveishowtogetoneselfnoticed,”balzacobservedin“lostillusions,”hisclassicnovelaboutliterarylifeinearly19th-centuryparis.as