Mining literature for deeper meanings - Amy E. Harter

397,539 views ใƒป 2013-05-31

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

00:00
Transcriber: Andrea McDonough Reviewer: Jessica Ruby
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ืชืจื’ื•ื: Shlomo Adam ืขืจื™ื›ื”: Ido Dekkers
00:13
We often hear that studying literature
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ืœืขืชื™ื ืงืจื•ื‘ื•ืช ืื ื• ืฉื•ืžืขื™ื ืฉืœื™ืžื•ื“ ืกืคืจื•ืช
00:15
involves finding a deeper meaning to a text.
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ื›ืจื•ืš ื‘ืžืฆื™ืืช ืžืฉืžืขื•ืช ืขืžื•ืงื” ื™ื•ืชืจ ื‘ื˜ืงืกื˜.
00:18
When writing about literary works,
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ื›ืฉื›ื•ืชื‘ื™ื ืขืœ ื™ืฆื™ืจื•ืช ืกืคืจื•ืช,
00:20
we're expected to mentally dive below the surface
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ื”ืฆื™ืคื™ื” ืžืื™ืชื ื• ื”ื™ื ืœืฆืœื•ืœ ืืœ ืžืชื—ืช ืœืคื ื™ ื”ืฉื˜ื—
00:22
in order to come back up with big ideas.
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ื›ื“ื™ ืœื—ื–ื•ืจ ื•ืœืขืœื•ืช ืขื ืจืขื™ื•ื ื•ืช ื’ื“ื•ืœื™ื
00:24
But you may find yourself looking
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ืื‘ืœ ืื•ืœื™ ืชืžืฆืื• ืขืฆืžื›ื ื‘ื•ื”ื™ื
00:26
at the flat page of a book,
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ื‘ื“ืฃ ืฉืœ ืกืคืจ,
00:27
wondering how deep it can really go?
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ื•ืœืชื”ื•ืช ืื™ื–ื” ืขื•ืžืง ืขืฉื•ื™ ืœื”ื™ื•ืช ื‘ื•,
00:29
How do we reach those ideas that turn into great essays?
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ื•ืื™ืš ืœื”ื’ื™ืข ืืœ ืื•ืชื ืจืขื™ื•ื ื•ืช ืฉื™ื›ื•ืœื™ื ืœื”ืคื•ืš ืœื—ื™ื‘ื•ืจื™ื ืžืขื•ืœื™ื.
00:32
Well, there are two crucial thinking steps
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ื•ื‘ื›ืŸ, ื™ืฉ ืฉื ื™ ืฉืœื‘ื™ ื—ืฉื™ื‘ื” ืžื›ืจื™ืขื™ื
00:34
that can lead us in the right direction:
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ืฉืขืฉื•ื™ื™ื ืœื”ื•ื‘ื™ืœ ืื•ืชื ื• ื‘ื›ื™ื•ื•ืŸ ื”ื ื›ื•ืŸ:
00:36
practicing insight
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ืชื•ื‘ื ื” ืžืขืฉื™ืช
00:37
and acknowledging complexity.
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ื•ื”ืชื™ื™ื—ืกื•ืช ืœืžื•ืจื›ื‘ื•ืช.
00:39
Insight is the ability to arrive
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ื”ืชื•ื‘ื ื” ื”ื™ื ื”ื™ื›ื•ืœืช ืœื”ื’ื™ืข
00:41
at an intuitive understanding of a big idea
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ืœื”ื‘ื ื” ืื™ื ื˜ื•ืื™ื˜ื™ื‘ื™ืช ืฉืœ ืจืขื™ื•ืŸ ื’ื“ื•ืœ
00:43
using only small clues to get there.
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ื‘ืขื–ืจืช ืจืžื–ื™ื ืงื˜ื ื™ื ื‘ืœื‘ื“.
00:46
If you're practicing insight,
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ืื ืชืฉืชืžืฉื• ื‘ืชื•ื‘ื ื”,
00:47
you'll able to use observations
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ืชื•ื›ืœื• ืœื ืฆืœ ืชืฆืคื™ื•ืช
00:49
about character behavior to figure out
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ืขืœ ื”ืชื ื”ื’ื•ืช ื”ื“ืžื•ืช ื›ื“ื™ ืœื”ื‘ื™ืŸ
00:51
their true emotions and motivations.
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ืืช ืจื’ืฉื•ืชื™ื” ื•ืกื™ื‘ื•ืชื™ื” ื”ืืžื™ืชื™ื™ื.
00:53
Pay attention to little things
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ืฉื™ืžื• ืœื‘ ืœื“ื‘ืจื™ื ืงื˜ื ื™ื
00:55
because they add up to what is really meaningful.
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ื›ื™ ื”ื ืžืฆื˜ื‘ืจื™ื ืœืžื” ืฉืžืฉืžืขื•ืชื™ ื‘ืืžืช.
00:57
For example, if you consider a character
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ืœื“ื•ื’ืžื”, ืื ืชื‘ื—ื ื• ื“ืžื•ืช
00:59
like Mr. Darcy from <i>Pride and Prejudice</i>,
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ื›ืžื• ืžืจ ื“ืืจืกื™ ืž"ื’ืื•ื•ื” ื•ื“ืขื” ืงื“ื•ืžื”",
01:01
who openly declares his dislike for Miss Lizzy Bennet,
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ืฉืžืฆื”ื™ืจ ื‘ื’ืœื•ื™ ืขืœ ืกืœื™ื“ืชื• ืžื”ืขืœืžื” ืœื™ื–ื™ ื‘ื ื˜,
01:05
you might, at first, assume he's just a mean guy.
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ืชื ื™ื—ื• ืชื—ื™ืœื” ืฉื”ื•ื ืคืฉื•ื˜ ื‘ื—ื•ืจ ืžืจื•ืฉืข.
01:07
But, using your powers of insight,
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ืื‘ืœ ื‘ืขื–ืจืช ื›ื•ื—ื•ืช ื”ืชื•ื‘ื ื” ืฉืœื›ื,
01:09
you're noticing other smaller things -
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ืชื‘ื—ื™ื ื• ื‘ื“ื‘ืจื™ื ืงื˜ื ื™ื ื ื•ืกืคื™ื--
01:11
how Darcy's eyes linger on Lizzy's face
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ืื™ืœ ืขื™ื ื™ื• ืฉืœ ืžืจ ื“ืืจืกื™ ืžืฉืชื”ื•ืช ืขืœ ืคื ื™ื” ืฉืœ ืœื™ื–ื™
01:13
and how he seems all flustered when she's around.
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ื•ืื™ืš ื”ื•ื ื‘ื ื‘ืžื‘ื•ื›ื” ืฉื”ื™ื ื‘ืกื‘ื™ื‘ื”.
01:16
Add to the mix your knowledge that Mr. Darcy
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ื”ื•ืกื™ืคื• ืœืชืขืจื•ื‘ืช ื”ื–ื• ืืช ื”ื™ื“ื™ืขื” ืฉืžืจ ื“ืืจืกื™
01:18
is in a much higher social class than Lizzy,
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ื‘ื ืžืžืขืžื“ ื—ื‘ืจืชื™ ื’ื‘ื•ื” ื‘ื”ืจื‘ื” ืžืฉืœ ืœื™ื–ื™,
01:20
and your sense of insight should be telling you
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ื•ื—ื•ืฉ ื”ืชื•ื‘ื ื” ืฉืœื›ื ื•ื“ืื™ ื™ืืžืจ ืœื›ื
01:22
that there's something more here.
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ืฉื™ืฉ ื›ืืŸ ื“ื‘ืจ-ืžื” ื ื•ืกืฃ.
01:24
In this case, it will tell you
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ื‘ืžืงืจื” ื–ื”, ื”ื•ื ื™ืืžืจ ืœื›ื
01:25
that Darcy's surface behavior is in conflict
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ืฉื”ืชื ื”ื’ื•ืชื• ื”ื—ื™ืฆื•ื ื™ืช ืฉืœ ื“ืืจืกื™ ืžืชื ื’ืฉืช
01:27
with his true feelings of attraction
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ืขื ืจื’ืฉื•ืช ื”ืžืฉื™ื›ื” ื”ืืžื™ืชื™ื™ื ืฉืœื•
01:29
because the difference in wealth between himself and Lizzy
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ื›ื™ ื”ื‘ื“ืœื™ ื”ืขื•ืฉืจ ื‘ื™ื ื• ืœื‘ื™ืŸ ืœื™ื–ื™
01:32
makes him feel that it'll never work.
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ื’ื•ืจื ืœื• ืœื—ื•ืฉ ืฉืื™ืŸ ืœื”ื ืกื™ื›ื•ื™ ื‘ื™ื—ื“.
01:34
Thinking about all those small clues
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ื›ืฉื—ื•ืฉื‘ื™ื ืขืœ ื›ืœ ื”ืจืžื–ื™ื ื”ืงื˜ื ื™ื ื”ืืœื”
01:36
gives us insight about some of the big, abstract ideas
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ื–ื•ื›ื™ื ื‘ืชื•ื‘ื ื” ืœื’ื‘ื™ ื›ืžื” ืžื”ืจืขื™ื•ื ื•ืช ื”ื’ื“ื•ืœื™ื, ื”ืžื•ืคืฉื˜ื™ื
01:39
within the novel that we can approach in an essay:
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ื”ื˜ืžื•ื ื™ื ื‘ืกื™ืคื•ืจ, ืฉืืœื™ื”ื ื ื•ื›ืœ ืœื”ื’ื™ืข ื‘ื—ื™ื‘ื•ืจื ื•:
01:42
appearances versus reality,
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ื”ืจื•ืฉื ื”ืจืืฉื•ื ื™ ืœืขื•ืžืช ื”ืžืฆื™ืื•ืช,
01:44
the power of wealth and social stratification,
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ื›ื•ื— ื”ืžืžื•ืŸ ื•ื”ืจื™ื‘ื•ื“ ื”ื—ื‘ืจืชื™,
01:46
and the unpredictable nature of love and attraction.
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ื•ื˜ื™ื‘ืŸ ื”ื‘ืœืชื™-ืฆืคื•ื™ ืฉืœ ื”ืื”ื‘ื” ื•ื”ืžืฉื™ื›ื”.
01:49
Look at that! Deeper meaning.
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ื•ื”ืจื™ ืœื›ื! ืžืฉืžืขื•ืช ืขืžื•ืงื” ื™ื•ืชืจ.
01:52
The second step to a sophisticated analysis
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ื”ืฉืœื‘ ื”ืฉื ื™ ื‘ื ื™ืชื•ื— ื”ืžืชื•ื—ื›ื
01:54
is acknowledging complexity.
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ื”ื™ื ื• ื”ื”ืชื™ื™ื—ืกื•ืช ืœืžื•ืจื›ื‘ื•ืช.
01:56
Let's face it. In both life and literature,
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ื”ื‘ื” ื ื•ื“ื” ื‘ื›ืš. ื’ื ื‘ื—ื™ื™ื ื•ื’ื ื‘ืกืคืจื•ืช
01:59
situations are complicated
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ื”ืžืฆื‘ื™ื ื”ื™ื ื ืžื•ืจื›ื‘ื™ื.
02:00
due to social forces like relationships,
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ื›ืชื•ืฆืื” ืžื›ื•ื—ื•ืช ื—ื‘ืจืชื™ื™ื ื›ื’ื•ืŸ ืžืขืจื›ื•ืช ื™ื—ืกื™ื,
02:03
moral codes,
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ืงื•ื“ื™ื ืžื•ืกืจื™ื™ื,
02:04
personal desires,
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ืจืฆื•ื ื•ืช ืื™ืฉื™ื™ื
02:05
and power structures.
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ื•ืžื‘ื ื™ื ืฉืœ ื›ื•ื—.
02:06
This means that there are, at any given time,
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ื”ืžืฉืžืขื•ืช ื”ื™ื ืฉื‘ื›ืœ ืจื’ืข ื ืชื•ืŸ
02:08
multiple factors that shape what is true.
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ื™ืฉ ืžืกืคืจ ื’ื•ืจืžื™ื ืฉืžืขืฆื‘ื™ื ืืช ื”ืืžืช.
02:11
In order to acknowledge complexity in your writing,
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ื›ื“ื™ ืœื”ืชื™ื™ื—ืก ืœืžื•ืจื›ื‘ื•ืช ื‘ื›ืชื™ื‘ืชื›ื,
02:13
refrain from making broad generalizations about a text
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ื”ื™ืžื ืขื• ืžื”ื›ืœืœื•ืช ื ืจื—ื‘ื•ืช ื‘ื ื•ื’ืข ืœื˜ืงืกื˜
02:17
or establishing quick, simple judgements about a character.
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ืื• ื‘ื™ืฆื•ืข ืฉื™ืคื•ื˜ื™ื ืžื”ื™ืจื™ื ื•ืคืฉื•ื˜ื™ื ืฉืœ ื”ื“ืžื•ื™ื•ืช.
02:20
Explore each facet of your subject carefully
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ื”ืชืขืžืงื• ื”ื™ื˜ื‘ ื‘ื›ืœ ื”ื™ื‘ื˜ ืฉืœ ื”ืžื•ืฉื ืฉืœื›ื
02:22
and make sure to consider multiple influences on events.
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ื•ื”ืงืคื™ื“ื• ืœืฉืงื•ืœ ื”ืฉืคืขื•ืช ืจื‘ื•ืช ืขืœ ื”ืื™ืจื•ืขื™ื.
02:26
Explain the tension of multiple forces
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ื”ืกื‘ื™ืจื• ืืช ื”ืžืชื— ืฉืœ ื”ื›ื•ื—ื•ืช ื”ืจื‘ื™ื
02:28
that create the story.
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ืฉื™ื•ืฆืจื™ื ืืช ื”ืกื™ืคื•ืจ.
02:30
For example, a basic analysis of Toni Morrison's <i>Beloved<i>,
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ืœืžืฉืœ, ื ื™ืชื•ื— ื‘ืกื™ืกื™ ืฉืœ "ื—ืžื“ืช", ืžืืช ื˜ื•ื ื™ ืžื•ืจื™ืกื•ืŸ,
02:34
where the protagonist has killed her own child
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ืฉื‘ื” ื”ื“ืžื•ืช ื”ืจืืฉื™ืช ื”ืจื’ื” ืืช ื‘ืชื”
02:35
rather than allow her to grow up in slavery,
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ื‘ืžืงื•ื ืœืืคืฉืจ ืœื” ืœื’ื“ื•ืœ ื‘ืชื ืื™ ืขื‘ื“ื•ืช,
02:38
might sound like this,
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ืขืฉื•ื™ ืœื”ื™ืฉืžืข ื›ืš:
02:39
"Sethe murdered her own daughter.
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ืกืช' ืจืฆื—ื” ืืช ื‘ืชื”.
02:41
This act was wrong,
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ื–ื” ื”ื™ื” ืžืขืฉื” ืคืกื•ืœ,
02:42
and causes the ghost of the child
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ื•ื’ืจื ืœืจื•ื—ื” ืฉืœ ื”ื™ืœื“ื”
02:44
to haunt her throughout the novel."
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ืœืจื“ื•ืฃ ืืช ื”ืื ืœื›ืœ ืื•ืจืš ื”ืกืคืจ."
02:46
These observations are simplistic.
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ืงื‘ื™ืขื•ืช ืืœื” ื”ืŸ ืคืฉื˜ื ื™ื•ืช.
02:48
They don't acknowledge all the different forces
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ื”ืŸ ืœื ืžืชื™ื™ื—ืกื•ืช ืœื›ืœ ื”ื›ื•ื—ื•ืช ื”ืฉื•ื ื™ื
02:50
that contribute to what the character has done.
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ืฉืชื•ืจืžื™ื ืœืžื” ืฉืขืฉืชื” ื”ื“ืžื•ืช.
02:52
Try something like this instead,
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ืœื—ื™ืœื•ืคื™ืŸ, ื ืกื• ืžืฉื”ื• ื›ื–ื”:
02:54
"A culture of slavery disturbs the ability
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"ืชืจื‘ื•ืช ืฉืœ ืฉืขื‘ื•ื“ ืคื•ื’ืขืช ื‘ื™ื›ื•ืœืช ืœืงื‘ื•ืข
02:56
to determine what is morally right.
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ืžื” ื ื›ื•ืŸ ืžื‘ื—ื™ื ื” ืžื•ืกืจื™ืช.
02:58
Sethe's past experiences with violence
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ื”ืชื ืกื•ืชื” ืฉืœ ืกืช' ื‘ืขื‘ืจ ื‘ืืœื™ืžื•ืช
03:00
reinforce the fear she has for her child's fate,
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ื—ื™ื–ืงื• ืืช ืคื—ื“ื” ืœื’ื‘ื™ ื’ื•ืจืœื” ืฉืœ ื‘ืชื”,
03:03
and transform the murder into a protective act.
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ื•ื”ืคื›ื• ืืช ื”ืจืฆื— ืœืคืขื•ืœืช ื”ื’ื ื”.
03:06
As the novel progresses,
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ืขื ื”ืชืคืชื—ื•ืช ื”ืขืœื™ืœื”
03:07
Sethe is haunted both by the angry spirit of her daughter
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ืกืช' ื ืจื“ืคืช ื”ืŸ ืข"ื™ ืจื•ื—ื” ื”ื–ื•ืขืžืช ืฉืœ ื‘ืชื”,
03:10
and by the memories of everything else
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ื•ื”ืŸ ืข"ื™ ื”ื–ื›ืจื•ื ื•ืช ืฉืœ ื›ืœ ื™ืชืจ ื”ื“ื‘ืจื™ื
03:11
slavery took from her."
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ืฉื”ืขื‘ื“ื•ืช ื’ื–ืœื” ืžืžื ื”."
03:13
Here, we see those influential forces at work,
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ื›ืืŸ ืื ื• ืจื•ืื™ื ืืช ืคืขื•ืœืช ื”ื›ื•ื—ื•ืช ื”ืžืฉืคื™ืขื™ื,
03:16
and we've shown off our ability to understand
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ื•ื‘ื ื•ืกืฃ, ื”ืคื’ื ื• ืืช ื™ื›ื•ืœืชื ื• ืœื”ื‘ื™ืŸ
03:18
the complicated nature of the human experience,
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ืืช ื˜ื™ื‘ื• ื”ืžื•ืจื›ื‘ ืฉืœ ื”ื ืกื™ื•ืŸ ื”ืื ื•ืฉื™,
03:20
which, again, allows us to access
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ืžื” ืฉืžืงื ื” ืœื ื• ืฉื•ื‘ ื’ื™ืฉื”
03:22
those big ideas that reveal the deeper meaning of a story,
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ืœืื•ืชื ืจืขื™ื•ื ื•ืช ื’ื“ื•ืœื™ื ืฉื—ื•ืฉืคื™ื ืืช ื”ืžืฉืžืขื•ืช ื”ืขืžื•ืงื” ื™ื•ืชืจ ืฉื‘ืกื™ืคื•ืจ,
03:26
ideas, in this case, like the parameters of maternal instinct,
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ืจืขื™ื•ื ื•ืช, ื‘ืžืงืจื” ื–ื”, ื›ืžื• ื”ืคืจืžื˜ืจื™ื ืฉืœ ื”ืื™ื ืกื˜ื™ื ืงื˜ ื”ืื™ืžื”ื™,
03:29
the consequences of injustice,
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ื”ื”ืฉืœื›ื•ืช ืฉืœ ืื™-ืฆื“ืง,
03:31
and the question of whether or not
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ื•ื”ืฉืืœื” ืื ื”ืžื•ืกืจ
03:33
ethics can even exist in a corrupted moral system.
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ื™ื›ื•ืœ ื‘ื›ืœืœ ืœื”ืชืงื™ื™ื ื‘ืžืขืจื›ืช ืžื•ืกืจื™ืช ืžื•ืฉื—ืชืช.
03:36
It's impossible to sit down
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ืื™-ืืคืฉืจ ืœืฉื‘ืช
03:37
and write an amazing essay about literature
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ื•ืœื›ืชื•ื‘ ื—ื™ื‘ื•ืจ ืžืขื•ืœื” ืขืœ ืกืคืจื•ืช
03:39
without first thinking about it.
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ืžื‘ืœื™ ืœื—ืฉื•ื‘ ืชื—ื™ืœื” ืขืœ ื›ืš.
03:41
Before you hit the keys,
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ื‘ื˜ืจื ืชืชื—ื™ืœื• ืœื”ืงืœื™ื“,
03:42
go back to the text
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ื—ื™ื–ืจื• ืืœ ื”ื˜ืงืกื˜
03:43
and fish out the small moments,
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ื•ื ืกื• ืœื“ื•ื’ ืžืžื ื• ืืช ื”ืจื’ืขื™ื ื”ืงื˜ื ื™ื,
03:45
the complicated moments in the story.
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ื”ืจื’ืขื™ื ื”ืžื•ืจื›ื‘ื™ื ืฉืœ ื”ืกื™ืคื•ืจ.
03:47
Line them up in your mind,
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ืืจื’ื ื• ืื•ืชื ื‘ืžื•ื—ื›ื,
03:49
practice insight,
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ื”ืฉืชืžืฉื• ื‘ืชื•ื‘ื ื”,
03:50
acknowledge complexity,
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ื”ืชื™ื™ื—ืกื• ืœืžื•ืจื›ื‘ื•ืช,
03:51
arrive at some big ideas.
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ื•ืชื’ื™ืขื• ืœื›ืžื” ืจืขื™ื•ื ื•ืช ื—ืฉื•ื‘ื™ื.
03:53
Before you know it,
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ื•ื‘ืžื”ืจื”,
03:54
the deeper meaning will be close at hand.
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ื”ืžืฉืžืขื•ืช ื”ืขืžื•ืงื” ื™ื•ืชืจ ืชื”ื™ื” ื‘ื”ื™ืฉื’ ื™ื“ื›ื.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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