《ＦＢＩ心理操控术·来自美国联邦调查局的心理操控术》

读书笔记

熟悉美国大片的人都知道，ＦＢＩ的大名可谓是如雷贯耳，没错，它就是美国联邦调查局。这个成立于19xx年的机构在其100多年的历史进程中为美国立下了赫赫战功，处理了很多核心案件，而击毙本拉登是其极为辉煌的一笔。ＦＢＩ的设备之先进，成员素质之高，令人叹为观止，堪称世界上最大的情报机构和执法机构。而在ＦＢＩ众多一流的技术和手段中，其成员的心理素质和工作过程中运用心理学的能力最为人称道。

正是ＦＢＩ一流的心理操控术，使其具有了超强的办案效率。FBI从对犯罪主体的研究中总结出这样一句话：“在国际安全形势严峻的情况下，人们首先要做到识别一个人，在对这个人持续的观察中要真正分辨出这个人的内心变化情况，只有这样，才能做到对一个人进行心理分析。”事实确实如此，ＦＢＩ非常注重心理操控术的运用。

值得指出的是，ＦＢＩ的心理操控术很大程度上在我们的日常生活中也适用，人性的相通性决定了它完全可以适用于我们平日的生活。在我们平日的生活中，人与人之间的交往，往往就是心理与心理的较量，不是你影响他人，就是他人影响你，因此我们非常有必要学一些ＦＢＩ的心理操控术。

人心是世界上最复杂的东西，人与人之间的关系也是世界上最复杂的关系，洞察别人的心理，操控别人的心理，是一种战术，也是一种技术，需要我们仔细观察，正确判断，正所谓知人知面更要知心，能掌控别人的心理就能掌控一切。并且心理学家通过大量实验发现，世界上所有人都有可能陷入心理操控关系中，操控者借助各种情绪、言行和心理游戏控制对方。而一旦学会了ＦＢＩ的心理操控术，哪怕是一星半点，我们都可能在这种操控关系中摆脱被动局面，占据主导地位，或者说我们可以用行之有效的方法，从心理层面去影响和控制他人。 这本《ＦＢＩ心理操控术》从6大方面介绍了ＦＢＩ的心理操控技巧，分别是“言语攻略”、“博弈秘笈”、“行事准则”等等，按照内容的先后编排顺序我们将首先可以从别人的外貌举止中洞察其心理和本性，做到知己知彼；然后运用相应的心理学技巧搞定交往中的各种问题，从而构建和谐融洽的人际关系；最后，还可以洞察别人的性格，进入一个“高屋建瓴”的境界，达到无往而不胜的效果。

以下内容是我认为本书中较为精彩的部分，摘抄出来与大家分享：

１、 有预谋的发怒，直击对方死穴

ＦＢＩ在审讯犯罪嫌疑人时，常常会按“原计划”发怒，以此来攻破犯罪嫌疑人的心理防线，获得有价值的信息。从心理学上来讲，猛烈的刺激会对人的心理造成震荡，使人的思维趋于不按主导意识运行，正因为思维呢减弱了认为加工因素，因而会更加接近于真实。而发怒是一种剧烈的行为，会对接受者的视觉、听觉方面造成强烈冲击，这样有利于降低他们的加工因素，接近真实，从而让他们获得有价值信息。ＦＢＩ深谙心理操控术，他们会根据心理规律预先设计好“发怒点”，在审讯犯罪嫌疑人的时候实施，往往能取得成功。

我们常常可以看到，联邦警察在审讯犯罪嫌疑人的时候，出示已掌握的证据，然后加以语言诱导、警告，这是犯罪嫌疑人往往会脸色苍白，甚至脸颊上渗出汗滴，他们的心理防线瞬间崩溃，束手就擒。当然，有时候ＦＢＩ人员在直击对方死穴的时候并不是运用发怒的方法，他们和颜悦色，但推理十分缜密，语言十分深刻，同样会让犯罪嫌疑人脸色苍白。可是说这时候，他们是给了犯罪嫌疑人“温柔的一刀”。

从心理学上讲，“有预谋的发怒”和“直击对方死穴”都是攻破对方心理防线的好方法。ＦＢＩ在其操控术中十分重视这两种方法的运用。其实这两种发放在生活中也有很广泛的运用市场，在职场、商场、政界等，如果能用好这两种方法，同样能收到意想不到的效果。

２、 用沉默挫败敌人

ＦＢＩ指出，沉默是一种很大的力量，一个人善于沉默、敢于沉默、能够沉默，是以良好的心理素质做基础的。沉默是心理博弈战争中的空隙，但它不是可有可无的，而是更高层次的较量。一个人能够沉默，比对方沉默的时间长，说明这个人有强大的心理。沉默会给对方带来恐慌，带来不安，FBI在审讯犯罪嫌疑人的时候，有时候就只是在那静静的等，犯罪嫌疑人就会大汗淋漓，这就是沉默的力量。在ＦＢＩ的心理操控术中，沉默是一种很有力的武器。

我们常常会听到沉默是金这个词，沉默是一种超越语言力量的传播方式。在

心理较量中，沉默是一种威慑。常看恐怖片的人一定会有这样的体验：最令人心惊胆战的往往是落一根针都能听见的寂静之时。适当的沉默，比起滔滔不绝的说话更不易让人看穿内心并给人一种威慑力。电影中的特工首领往往是一个沉默寡言的人，因为他知道太多置人于死地的秘密。一些“老大级”的任务往往也是一个沉默的人，因为他一开口说话就会有什么事情发生。对某些气势汹汹来找茬的人，如果你不动声色，不理不睬，便会产生比硬碰硬更大的威慑力量，此时的沉默以然转化为最强硬的武器。

３、 如果怕被拒绝，干脆放大要求

在FBI的心理操控术中，“留面子”效应是其精髓之一。也就是说，ＦＢＩ人员在审讯犯罪嫌疑人的过程中，当他们怎么也不承认自己所犯的罪行时，ＦＢＩ人员就放大他们所犯的罪行进行审讯，这样往往能审出他们实际所犯的罪行。比如一名犯罪嫌疑人偷到了一辆摩托车，而他总是矢口否认，这时ＦＢＩ人员就声称他偷到了一辆汽车，会受到严厉的惩罚，犯罪嫌疑人当然会极力否认，说他没有偷盗汽车，这时ＦＢＩ人员就问他是不是偷盗了一辆摩托车，犯罪嫌疑人往往就会承认。这就是犯罪心理学上的“留面子”效应。

而在生活中也是这样，同样存在留面子效应。平时我们求人办事，最担心的就是遭到对方的拒绝。这个时候我们就要运用“留面子效应”，具体做法就是干脆放大自己的要求，这样往往会收到好的效果。

ＦＢＩ曾指出过一个心理学实验：研究人员将参与实验的大二学生分成两组，对于第一组大学生，研究人员要求他们带领一个少年管教所的少年犯去动物园玩一次，需要两个小时，但只有六分之一的学生答应了这个请求。对于第二组大学生，研究人员首先请求他们花两年时间担任这个少年管教所的义务辅导员，这无疑是一个很有难度的工作，费时费力，几乎所有的大学生都委婉推辞了。他们接着提出了一个小的要求，让这些大学生们带领少年犯们去动物园玩两个小时，这下一般大学生都答应了这个请求，他们说：“不就带着去玩两个小时吗？这太容易了！”

４、巧妙的给他人洗脑

在这个世界上最难改变的就是人的思想，思想是一种很深的心理意识，是经过长期积累的，改变需要强烈的刺激或是缓慢的过程。那么一时半刻之间想要给他人“洗脑”就需要有方法，讲智慧。

ＦＢＩ人员在审讯犯罪嫌疑人的时候，往往先不问犯罪嫌疑人那些直指要害的问题，而是先就以掌握的基本情况做一些提问，比如家庭住址、年龄、职业、血型等等。因为这些资料是固定的，犯罪嫌疑人不会否认，一般就会点头说“是”，这样就已经形成了一种配合的心理氛围，这对后面的审讯工作是有帮助的，是个极大的铺垫。另外正式审讯的时候，ＦＢＩ人员也往往会站在犯罪嫌疑人的立场上讲出道理，以表明是替他们着想，比如提及犯罪嫌疑人的家人、亲戚、朋友等，这就无形中给犯罪嫌疑人做了一定的心理刺激，让他们想想后果，如果一味矢口否认或不配合的话会影响这些人的利益，给他们带来危害，这样犯罪嫌疑人心理上良性因素就恢复的更快一点，案情就能更快的出结果。也就是说，ＦＢＩ人员用“不断让对方说是”和“潜移默化中给他输入思想”的方法完成了给犯罪嫌疑人的“洗脑”。

其实这两种方法在生活中也完全适用，我们有时为了办成一些事，同样需要给他人“洗脑”，因此我们务必要想ＦＢＩ学习。

12级应用心理学 杨子

1211011001

第二篇：读书笔记4

Wuhan Institute of Technology

读 书 笔 记

书 目 名 称 The Great Gatsby 起 止 页 码 120-194

姓 名 邓林 班 级 2014级英语2班 学 号 1410010406 指 导 教 师 陈珩 所 在 学 院 外语学院

20xx年5月

On Cross-cultural Communication Chapter 7 brings the conflict between Tom and Gatsby into the open, and their confrontation over Daisy brings to the surface troubling aspects of both characters. Throughout the previous chapters, hints have been accumulating about Gatsby’s criminal activity. Research into the matter confirms Tom’s suspicions, and he wields his knowledge of Gatsby’s illegal activities in front of everyone to disgrace him. Likewise, Tom’s sexism and hypocrisy become clearer and more obtrusive during the course of the confrontation. He has no moral qualms about his own extramarital affairs, but when faced with his wife’s infidelity, he assumes the position of outraged victim.

The importance of time and the past manifests itself in the confrontation between Gatsby and Tom. Gatsby’s obsession with recovering a blissful past compels him to order Daisy to tell Tom that she has never loved him. Gatsby needs to know that she has always loved him, that she has always been emotionally loyal to him. Similarly, pleading with Daisy, Tom invokes their intimate personal history to remind her that she has had feelings for him; by controlling the past, Tom eradicates Gatsby’s vision of the future. That Tom feels secure enough to send Daisy back to East Egg with Gatsby confirms Nick’s observation that Gatsby’s dream is dead.

Gatsby’s decision to take the blame for Daisy demonstrates the deep love he still feels for her and illustrates the basic nobility that defines his character. Disregarding her almost capricious lack of concern for him, Gatsby sacrifices himself for Daisy. The image of a pitiable Gatsby keeping watch outside her house while she and Tom sit comfortably within is an indelible image that both allows the reader to look past Gatsby’s criminality and functions as a moving metaphor for the love Gatsby feels toward Daisy. Nick’s parting from Gatsby at the end of this chapter parallels his first sighting of Gatsby at the end of Chapter 1. In both cases, Gatsby stands alone in the moonlight pining for Daisy. In the earlier instance, he stretches his arms out toward the green light across the water, optimistic about the future. In this instance, he has made it past the green light, onto the lawn of Daisy’s house, but his dream is gone forever.

Gatsby’s recounting of his initial courting of Daisy provides Nick an opportunity to analyze Gatsby’s love for her. Nick identifies Daisy’s aura of wealth and privilege—her many clothes, perfect house, lack of fear or worry—as a central component of Gatsby’s attraction to her. The reader has already seen that Gatsby idolizes both wealth and Daisy. Now it becomes clear that the two are intertwined in Gatsby’s mind. Nick implicitly suggests that by making the shallow, fickle Daisy the focus of his life, Gatsby surrenders his extraordinary power of visionary hope to the simple task of amassing wealth. Gatsby’s dream is reduced to a motivation for material gain because the object of his dream is unworthy of his power of dreaming, the quality that makes him “great” in the first place.

In this way, Gatsby continues to function as a symbol of America in the 1920s, which, as Fitzgerald implies throughout the novel’s exploration of wealth, has become vulgar and empty as a result of subjecting its sprawling vitality to the greedy pursuit of money. Just as the American dream—the pursuit of happiness—has degenerated into a quest for mere wealth, Gatsby’s powerful dream of happiness with Daisy has become the motivation for lavish excesses and criminal activities.

Although the reader is able to perceive this degradation, Gatsby is not. For him, losing Daisy is like losing his entire world. He has longed to re-create his past with her and is now forced to talk to Nick about it in a desperate attempt to keep it alive. Even after the confrontation with Tom, Gatsby is unable to accept that his dream is dead. Though Nick implicitly understands that Daisy is not going to leave Tom for Gatsby under any circumstance, Gatsby continues to insist that she will call him.

Throughout this chapter, the narrative implicitly establishes a connection between the weather and the emotional atmosphere of the story. Just as the geographical settings of the book correspond to particular characters and themes, the weather corresponds to the plot. In the previous chapter, Gatsby’s tension-filled confrontation with Tom took place on the hottest day of the summer, beneath a fiery and intense sun. Now that the fire has gone out of Gatsby’s life with Daisy’s decision to remain with Tom, the weather suddenly cools, and autumn creeps into the air—the gardener even wants to drain the pool to keep falling leaves from clogging the drains. In the same way that he clings to the hope of making Daisy love him the way she used to, he insists on swimming in the pool as though it were still summer. Both his downfall in Chapter 7 and his death in Chapter 8 result from his stark refusal to accept what he cannot control: the passage of time.

Gatsby has made Daisy a symbol of everything he values, and made the green light on her dock a symbol of his destiny with her. Thinking about Gatsby’s death, Nick suggests that all symbols are created by the mind—they do not possess any inherent meaning; rather, people invest them with meaning. Nick writes that Gatsby must have realized “what a grotesque thing a rose is.” The rose has been a conventional symbol of beauty throughout centuries of poetry. Nick suggests that roses aren’t inherently beautiful, and that people only view them that way because they choose to do so. Daisy is “grotesque” in the same way: Gatsby has invested her with beauty and meaning by making her the object of his dream. Had Gatsby not imbued her with such value, Daisy would be simply an idle, bored, rich young woman with no particular moral strength or loyalty.

Likewise, though they suggest divine scrutiny both to the reader and to Wilson, the eyes of Doctor T. J. Eckleburg are disturbing in part because they are not the eyes of God. They have no precise, fixed meaning. George Wilson takes Doctor T. J. Eckleburg’s eyes for the all-seeing eyes of God and derives his misguided belief that Myrtle’s killer must have been her lover from that inference. George’s assertion that the eyes represent a moral standard, the upholding of which means that he must avenge Myrtle’s death, becomes a gross parallel to Nick’s desire to find a moral center in his life. The eyes of Doctor T. J. Eckleburg can mean anything a character or

reader wants them to, but they look down on a world devoid of meaning, value, and beauty—a world in which dreams are exposed as illusions, and cruel, unfeeling men such as Tom receive the love of women longed for by dreamers such as Gatsby and Wilson.

Nick thinks of America not just as a nation but as a geographical entity, land with distinct regions embodying contrasting sets of values. The Midwest, he thinks, seems dreary and pedestrian compared to the excitement of the East, but the East is merely a glittering surface—it lacks the moral center of the Midwest. This fundamental moral depravity dooms the characters of The Great Gatsby—all Westerners, as Nick observes—to failure. The “quality of distortion” that lures them to the East disgusts Nick and contributes to his decision to move back to Minnesota. There is another significance to the fact that all of the major characters are Westerners, however. Throughout American history, the West has been seen as a land of promise and possibility—the very emblem of American ideals. Tom and Daisy, like other members of the upper class, have betrayed America’s democratic ideals by perpetuating a rigid class structure that excludes newcomers from its upper reaches, much like the feudal aristocracy that America had left behind. Gatsby, alone among Nick’s acquaintances, has the audacity and nobility of spirit to dream of creating a radically different future for himself, but his dream ends in failure for several reasons: his methods are criminal, he can never gain acceptance into the American aristocracy (which he would have to do to win Daisy), and his new identity is largely an act. It is not at all clear what Gatsby’s failure says about the dreams and aspirations of Americans generally, but Fitzgerald’s novel certainly questions the idea of an America in which all things are possible if one simply tries hard enough.

The problem of American dreams is closely related to the problem of how to deal with the past. America was founded through a dramatic declaration of independence from its own past—its European roots—and it promises its citizens the potential for unlimited advancement, regardless of where they come from or how poor their backgrounds are. Gatsby’s failure suggests that it may be impossible for one to disown one’s past so completely. There seems to be an impossible divide separating Gatsby and Daisy, which is certainly part of her allure for him. This divide clearly comes from their different backgrounds and social contexts.

Throughout the novel, Nick’s judgments of the other characters are based in the values that he inherited from his father, the moral “privileges” that he refers to in the opening pages. Nick’s values, so strongly rooted in the past, give him the ability to make sense out of everything in the novel except for Gatsby. In Nick’s eyes, Gatsby embodies an ability to dream and to escape the past that may ultimately be impossible, but that Nick cherishes and values nonetheless. The Great Gatsby represents Nick’s struggle to integrate his own sense of the importance of the past with the freedom from the past envisioned by Gatsby.