Self-Confidence: A Philosophy. Charles Pepin

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Название Self-Confidence: A Philosophy
Автор произведения Charles Pepin
Жанр Прочая образовательная литература
Серия
Издательство Прочая образовательная литература
Год выпуска 0
isbn 9780008324025



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      This truth about relational confidence helps us to better understand the suffering of certain oppressed minorities. Often, the best way to oppress them has been to destroy the bonds between individuals by every means possible, and even to remove the possibility of forming interpersonal solidarity. The accounts of former black slaves, and survivors of the Nazi camps, illustrate this unequivocally: nothing is more effective in breaking men than breaking the bonds between them, separating families, pitting one against another, and creating a climate of pervasive distrust and denunciation.

      This is similarly illustrated by paranoiacs: they have no confidence in themselves, nor do they have confidence in others. Being suspicious of everything that comes from the people around them, from the media, from the world in general, they suffer from ‘inner insecurity’. Consumed by their general mistrust, they can find no basis for having confidence in themselves.

       Go into Training

      Confidence through practice

      Give me a fulcrum, and with my lever I will move the earth.

      – ARCHIMEDES

      As an adolescent, Madonna shook off her inhibitions thanks to the words of her dance teacher. But she already danced well, having studied the art for years. And it was because he had noticed her talent for dance that the teacher singled her out for particular praise. We have stressed the relational component of self-confidence, but we mustn’t forget that it also has a great deal to do with skill.

      This confidence came from her tennis skills, a product of her intense training. But it doesn’t just come down to skill. Thanks to repeating the same gestures over and over, they had become second nature to her. Her extreme skill in the end coloured her personality: in Serena Williams’s case, expertise seems to have transformed into confidence. Does this always happen?

      The results surprised him. By the age of twenty, none of those who would go on to become ‘just’ music teachers had played his or her instrument for more than 4,000 hours. All those who would become highly qualified professional musicians had played and practised on their instrument for about 8,000 hours. And the highest achievers, those who would become stars in the violin world, had all played for more than 10,000 hours. There wasn’t a single exception. Anders Ericsson then repeated his research with pianists and came up with similar results: professional pianists had about 8,000 hours of playing under their belts, while virtuosos had at least 10,000 hours. He didn’t find a single case of a musician who became a virtuoso without passing the 10,000-hour