篇一：篮球比赛观后感
篮球比赛观后感
20130960 车辆四班 王鹏军
经过一个多月的焦急等待，Cuba四川赛区的比赛终于在我校拉开帷幕，对于我们这些篮球爱好者来说，这是一个很好的契机可以让我们领略到高水平篮球比赛的魅力，同时也可以给我们这些初学者一个很好的机会去领悟和学习篮球比赛的技巧和团队配合的方式。 由于时间有限。我只看了一场我们学校校队跟外校的一场比赛，这其中我对我们学校校队的首发控卫印象最为深刻。他不仅速度快，而且投篮很准，屡屡用突破和急停跳投撕破对方防线。让我印象最深的一个镜头就是当他和我方一内线大个挡拆时，通过单挡掩护后，他佯装出手投篮，将防守球员骗起，就在这时，他眼睛用余光看到了我方前锋在迅速空切，他毫不犹豫将球一拨，只见篮球飞快的穿越了对方两名球员的防守区域，如手术刀般的精准的找到了那位空切的前锋，此时这名前锋早已无人防守，轻松将球打进。主场球迷都激动的为这个精彩的进球而喝彩，而这一球也极大地将队员们的士气调动起来，对方教练见形势不妙，赶忙向裁判叫了一个暂停。这时候我就在想，真正的孔位不仅要有得分能力，更重要的是应该得有组织进攻的能力，只有将队员的进攻能力跟进攻欲望充分调动起来才有取得胜利的希望。这才是一个控球后卫真正的精髓所在，这也是为什么一些攻击力不强但组织球能力很好的球星能够在NBA立足的原因。
这场比赛我们校队以30分的巨大优势战胜了来访的阿坝师专，我想，这场比赛不是属于某个人的胜利，也不是属于某个球队的胜利，
而是属于我们学校良好的篮球氛围建设的胜利，一场酣畅淋漓的大胜让我们获得了巨大的信心，同时我们也相信我们那支勇于拼搏的校队最终能够披荆斩棘，最终捧起冠军奖杯！
这次的比赛让我感触良多，这次的比赛让我近距离的看到了篮球的跳跃、飞舞；感受到了篮球带给我们的魅力与震撼力！篮球比赛更是体力上的较量，且包含了技巧与智慧。比如抢球时猛跳，却因为抓不准时间，而总是抢不到;截球时，又双手乱舞，想以密不透风的动作拦阻对方传球，碰到差的对手固然有效，遇见高手却毫无用处，最后往往累得上气不接下气而先退场。所以当你觉得体能不济的时候，应该渐进的方式提升，而不要勉更应检讨一下，是不是在基本的技巧出了问题，而非逞一时之勇。
这场比赛还让我想了更多关于大学篮球文化建设方面的事情，大学校园具备建设篮球文化的多方面优势。首先大学校园的主体是大学生，这是一个充满活力，有良好的文化修养和文化素质，渴望激情、追求时尚的群体，容易接受篮球文化；其次，大学校园作为高等院校，有更多的经费和条件组织各种相关的篮球活动，促进篮球文化的传播。同时，大学校园地位特殊，具有社会示范性作用，能在很大程度上、很长时间内影响整个社会爱好兴趣的取向。篮球文化在大学校园的兴盛必然会带动整个社会篮球文化的传播。
篇二：老人与海英文读后感1500字
Impression of “The Old Man and the Sea”
When I was a middle school student, I’ve finished this book in Chinese.But when I read it in English,I really gain something new both in the way of expression and the spirit it shows to us.May be different ages to read the same book we will learn different things from it.At least, for my part, that is true.
Firstly,I would like to review some information about this book.Such as the background,major characters and the topic of it.
The Old Man and the Sea is a story by Ernest Hemingway, written in Cuba in 1951 and published in 1952. It was the last major work of fiction to be produced by Hemingway and published in his lifetime. One of his most famous works, it centers upon Santiago, an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream.[1]
The Old Man and the Sea served to reinvigorate Hemingway's literary reputation and prompted a reexamination of his entire body of work. The novella was initially received with much popularity; it restored many readers' confidence in Hemingway's capability as an author. Its publisher, Scribner's, on an early dust jacket, called the novella a "new classic," and many critics favorably compared it with such works as William Faulkner's "The Bear" and Herman Melville's Moby-Dick.
This book gives me a deep impression especially the description about the man’s braveness and persistence.
In this book, in order to suggest the profundity of the old man’s sacrifice and the glory that derives from it, Hemingway purposefully likens Santiago to Christ, who, according to Christian theology, gave his life for the greater glory of humankind. Crucifixion imagery is the most noticeable way in which Hemingway creates the symbolic parallel between Santiago and Christ. When Santiago’s palms are first cut by his fishing line, the reader cannot help but think of Christ suffering his stigmata. Later, when the sharks arrive, Hemingway portrays the old man as a crucified martyr, saying that he makes a noise similar to that of a man having nails driven through his hands. Furthermore, the image of the old man struggling up the hill with his mast across his shoulders recalls Christ’s march toward Calvary. Even the position in which
Santiago collapses on his bed—face down with his arms out straight and the palms of his hands up—brings to mind the image of Christ suffering on the cross. Hemingway employs these images in the final pages of the novella in order to link Santiago to Christ, who exemplified transcendence by turning loss into gain, defeat into triumph, and even death into renewed life.
The major characters in this book are also vivid and lively.
Santiago ,the old man of the novella’s title, Santiago is a Cuban fisherman who has had an extended run of bad luck. Despite his expertise, he has been unable to catch a fish for eighty-four days. He is humble, yet exhibits a justified pride in his abilities. His knowledge of the sea and its creatures, and of his craft, is unparalleled and helps him preserve a sense of hope regardless of circumstance. The marlin ,Santiago hooks the marlin, which we learn at the end of the novella measures eighteen feet, on the first afternoon of his fishing expedition. Manolin ,a boy presumably in his adolescence, Manolin is Santiago’s apprentice and devoted attendant. The old man first took him out on a boat when he was merely five years old. Due to Santiago’s recent bad luck, Manolin’s parents have forced the boy to go out on a different fishing boat. Manolin, however, still cares deeply for the old man, to whom he continues to look as a mentor.
Joe DiMaggio, although DiMaggio never appears in the novel, he plays a significant role nonethel
ess. Santiago worships him as a model of strength and commitment, and his thoughts turn toward DiMaggio whenever he needs to reassure himself of his own strength. Perico ,Perico, the reader assumes, owns the bodega in Santiago’s village. He never appears in the novel, but he serves an important role in the fisherman’s life by providing him with newspapers that report the baseball scores. This act establishes him as a kind man who helps the aging Santiago.
Martin,like Perico, Martin, a café owner in Santiago’s village, does not appear in the story. The reader learns of him through Manolin, who often goes to Martin for Santiago’s supper. As the old man says, Martin is a man of frequent kindness who deserves to be repaid.
From the very first paragraph, Santiago is characterized as someone struggling against defeat. He has gone eighty-four days without catching a fish—he will soon pass his own record of eighty-seven days. Almost as a reminder of Santiago’s struggle, the sail of his skiff resembles “the flag of permanent defeat.” But the old man refuses defeat at every turn: he resolves to sail out beyond the other fishermen to where the biggest fish promise to be. He lands the marlin, tying his record of eighty-seven days after a brutal three-day fight, and he continues to ward off sharks from stealing his prey, even though he knows the battle is useless.
Because Santiago is pitted against the creatures of the sea, some readers choose to view the tale as a chronicle of man’s battle against the natural world, but the novella is, more accurately, the story of man’s place within nature. Both Santiago and the marlin display qualities of pride, honor, and bravery, and both are subject to the same eternal law: they must kill or be killed. As Santiago reflects when he watches the weary warbler fly toward shore, where it will inevitably meet the hawk, the world is filled with predators, and no living thing can escape the inevitable struggle that will lead to its death. Santiago lives according to his own observation: “man is not made for defeat . . . [a] man can be destroyed but not defeated.” In Hemingway’s portrait of the world, death is inevitable, but the best men (and animals) will nonetheless refuse to give in to its power. Accordingly, man and fish will struggle to the death, just as hungry sharks will lay waste to an old man’s trophy catch.
The novel suggests that it is possible to transcend this natural law. In fact, the very inevitability of destruction creates the terms that allow a worthy man or beast to transcend it. It is precisely through the effort to battle the inevitable that a man can prove himself. Indeed, a man can prove this determination over and over through the worthiness of the opponents he chooses to face. Santiago finds the marlin worthy of a fight, just as he once found “the great negro of Cienfuegos” worthy. HSantiago, though destroyed at the end of the novella, is never defeated. Instead, he emerges as a hero. Santiago’s struggle does not enable him to change man’s place in the world. Rather, it enables him to meet his most dignified destiny.
While it is certainly true that Santiago’s eighty-four-day run of bad luck is an affront to his pride as a masterful fisherman, and that his attempt to bear out his skills by sailing far into the gulf waters leads to disaster, Hemingway does not condemn his protagonist for being full of pride. On the contrary, Santiago stands as proof that pride motivates men to greatness. Because the old man acknowledges that he killed the mighty marlin largely out of pride, and because his capture of the marlin leads in turn to his heroic transcendence of defeat, pride becomes the source of Santiago’s greatest strength. Without a ferocious sense of pride, that battle would never have been fought, or more likely, it would have been abandoned before the end.
Santiago’s pride also motivates his desire to transcend the destructive forces of nature. Throughout the novel, no matter how baleful his circumstances become, the old man exhibits an unflagging de
termination to catch the marlin and bring it to shore. When the first shark arrives, Santiago’s resolve is mentioned twice in the space of just a few paragraphs. Even if the old man had returned with the marlin intact, his moment of glory, like the marlin’s meat, would have been short-lived. The glory and honor Santiago accrues comes not from his battle itself but from his pride and determination to fight.
Santiago dreams his pleasant dream of the lions at play on the beaches of Africa three times. The first time is the night before he departs on his three-day fishing expedition, the second occurs when he sleeps on the boat for a few hours in the middle of his struggle with the marlin, and the third takes place at the very end of the book. In fact, the sober promise of the triumph and regeneration with which the novella closes is supported by the final image of the lions. Because Santiago associates the lions with his youth, the dream suggests the circular nature of life. Additionally, because Santiago imagines the lions, fierce predators, playing, his dream suggests a harmony between the opposing forces—life and death, love and hate, destruction and regeneration—of nature.
This book gives me courage of conquering all kinds of difficulties .And I have the belief that the most beautiful thing is the process that we make our best to achieve our dream,and never say give up .
篇三：《甜心先生》观后感
《甜心先生》观后感
此片的大意：一个事业有成的体育经济人由于一次良心发现写了本揭露本行业内幕的文章而被老板炒了鱿鱼，不甘心失败的他拉着暗恋他的秘书和一个过气球星一起踏上了艰难的创业之道，历经千难万险最终成功的故事。
杰里（汤姆〃克鲁斯 Tom Cruise饰）待人和善，仪表不凡，是个出色的体育界经纪人。杰里因为一篇流畅出色的发言稿而招来上司不满，导致被炒鱿鱼。漂亮女友离他而去，职业前景也陷入一片迷茫，从巅峰跌入谷底的杰克在临走前奋起疾呼，动员同事们跟他离开公司一起创业。结果，杰克只带走了一条鱼，还有愿意和他干一番事业的会计多萝西（芮妮〃齐薇格 Renée Zellweger饰）。现在，杰克的客户只剩下一名二流的黑人橄榄球员罗德（小库珀〃古丁 Cuba Gooding Jr饰）。万事开头难，杰克和多萝西还没有完全搞清楚要如何开始创业生涯。看来，要想迎来事业的第二春，杰克还要狠狠摸爬滚打一番；也正是在逆境中，他得以实践自己的职业信念，并寻获一生中的最爱。
1、“我们要多为客户考虑，多关照客户……”
在影片中，由汤姆〃克鲁斯主演的Jerry Maguire（杰瑞），是国际体育明星管理集团的一名顶级经纪人，深深了解这一行的他是这一行中的佼佼者。他代理了许多体育大明星, 为他们争取高额的体育和广告合同。
一个休息日的夜晚，杰瑞即兴写下一篇使命宣言，该宣言为体育明星管理集团辉煌的未来提出了激动人心但不切实际的建议。同时又做出了理想主义的论断，即公司应该重质量而不是数量，应将精力集中在关心少数真正有价值的委托人身上。虽然这部影片为汤姆〃克鲁斯赢得了殊荣，但是，真正值得欣赏的并不是他的演技，而是故事中揭示出来的大客户关系中的道理。
当看到杰瑞介绍经纪人这个行业的时候，我想到了中国也有许多明星，无论是影视明星，还是体育明星，少有知名的经纪人。经纪人一般都是在幕后的，甚至明星可能也不愿意给经纪人机会，经纪人嘛，不就是借明星来获利的吗，他们自己有什么价值呢？
然而，当看到杰瑞冲动地撰写使命宣言的时候，看到宣言中的那些话，“我们要多为客户考虑，多关照客户，可以少一点客户”的时候，我开始意识到经纪人也可以突破戒条去体现价值，也可以考虑为客户多创造价值，而不仅仅是替客户签一个巨额的合同，然后拿20%的提成那么简单。
2、“这行最重要的是人际关系。”
然而，杰瑞却为自己写的使命宣言付出了代价，他被以牟利为第一目的的公司解雇了。
此时，杰瑞已经不再是公司的雇员，而是竞争对手，公司要抢夺他手里的72个明星，不能被他带走，要维护在公司手里。而杰瑞当然希望他最有前途的明星克许——那个26个橄榄球队争夺的目标，仍然愿意委托他来经营，他甚至愿意将代理费降低到8%。此时，他想到了自己的职业导师的话——“这行最重要的是人际关系”，他的导师叫迪克〃福克斯。在他个人职业发展上，迪克的话语从来没有间断过。然而，面对体育明星管理集团这个公司强大的实力，克许最终没有跟随杰瑞，而是仍然委托体育明星管理集团做他的经纪人。
影片最精彩的这个段落有4分45秒，两个经纪人，一个背靠国际体育明星管理集团，一个依靠自己的个人魅力。这让我想到中国企业也经常会出现优秀的
销售人员跳槽的情况，跳槽出来的人经常有能力带走大批客户，而原来的企业无能为力。
再来看看体育明星管理集团的成功阻击，一切都是有计划，有组织，有步骤，有手段的。最后，杰瑞，这个离开公司的优秀经纪人只剩下惟一的一个、愿意委托他的体育明星——罗德。而罗德在橄榄球界不过是一个接球手，名气并不大，3年的合约才100万美金，根本不能在一流的行列中，显然国际体育明星管理集团也没有努力去争抢这个客户。
3、“挫折总是会过去的，明天太阳还是会升起。”
杰瑞，一个每天必须处理264个电话的名销售员，突然间陷入了可怕的寂静，只有一个客户了。虽然，杰瑞鼓励自己，大声宣告“就是一个客户，我也能重获新生。”然而，他也知道，罗德，这个接球手，3年100万美金，又有多少前途。迪克〃福克斯的话再次响起——“挫折总是会过去的，明天太阳还是会升起。” 这个长达139分钟的影片，其中迪克〃福克斯的话出现过6次，每次都是支撑杰瑞的精神力量，而最关键的话是最后两次，也是为这部影片点睛的神来之笔。第三次的话是这样的——“除非你真的对客户投入，否则你什么都无法销售出去”，第四次——“我最喜欢的就是清晨，我会为自己鼓掌，并宣告，这将是最美好的一天。”还记得我们上期解剖的影片《华尔街》吗？巴德也是在清晨得到了电脑的提示，决定带上礼物拜访跟进了59天的客户的。没错，杰瑞也一样，看样子，美国的销售人员都类似。
4、“如果心是空的，大脑就没有用了。”
迪克第五次话语才是至关重要的——“如果心是空的，大脑就没有用了。”这句话出现在杰瑞与罗德最深入的沟通中。杰瑞对罗德说：“球场上你没有用心，你一直考虑的是如何可以多挣钱，怎样提高你的签约费，你已经没有了小时候驱动你投入到球场中去的那种激情，如果仍然如此，你的前途永远会是一个二流的运动员。”同样，杰瑞在维护这惟一的客户时也是在用心，而不是在思考着如何挣钱，正如他自己写的使命宣言一样，关照客户，而不是仅仅想着拿到更多的佣金。
交心才是获得一切的核心道理，无论是在赛场上、家庭中，还是在接触客户、销售中，一切都是由心开始的。这让我想到影片的开始，影片的开始就是用心的过程，杰瑞在思考体育经纪人对明星的作用，在思考是什么驱动自己投入这个行业的，深夜在计算机键盘上敲打的根本就不是文字，而是激情，他在用激情书写着任何事业的核心本质——用心。
用心生活，才有可能用心成就。没有用心的家庭，任何事业的成就都不完整，没有用心，一切都不完整。罗德似乎是被敲醒了，球场上，他开始不顾一切，开始冲锋陷阵，开始狂热，不仅对手看到了，全场的观众看到了，现成转播的解说员看到了，杰瑞也看到了，他看到了那种投入的激情，也看到了用心的力量。 一个好的影片多看几次，往往会有连贯的、整体的镜头同时出现在脑海中，我又想到了影片开始时杰瑞的自言自语。经纪人都是在幕后的，报纸上运动员的照片随时可以看到，然而，几乎没有经纪人的照片，一般运动员不会宣传经纪人，所以经纪人也只能在幕后。然而，影片结束的时候，罗德的出色表现赢得了全场观众的关注，赢得了媒体的关注，获得了一个60分钟的专题采访。在采访结束的时候，罗德特别强调，他能够有今天，完全是经纪人的作用。杰瑞，他不断重复着经纪人的名字，没有自己的经纪人，不可能有现在的3年1200万美金的合同，不可能有大众的认可，不可能有现在的专访。一切，都是经纪人，都是经纪
人的使命宣言，都是一种激情四射的冲动，都是心的力量。
在影片最后，迪克〃福克斯说了最后一段话——“我不是十万个为什么，我没有答案，在生活中，失败与成功的几率几乎相同，但是，我热爱我的家庭，我热爱生活。对你的期望就是成功，如同我祝愿的那种成功。”
我们能从中学到很多：真心对待客户。像对自己朋友一样，关心他，鼓励他，为客户着想。提高服务质量，而不是数量。客户多造成无法真心相待，人的精力是有限的，精力过于分散不利于照顾好各个方面。充满激情，才能做好工作，才能从低谷中站起。做销售就是做人。生活中，输赢一样多，但我爱我的太太，爱我的生活，爱所有的人。
最后当罗德从球场出来和杰里相拥时，当初抛弃杰里的球星问他的经纪人:为什么我们之间没有这样的关系？我们知道，杰里征服了所有人。
《cuba观后感1000字》
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