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3

Happy Trails Paul !!It is with great sadness that the ELT world in Athens says

good bye to Deputy Director of Examinations Paul Sellers whohas been promoted to director and will be leaving Athens soonfor Abu Dhabi in the United Arabic Emirates. During his 4year stay at the British Council Athens, Paul has made a greatnumber of friends and has contributed immensely to theBritish Council retaining a leading position in the Greekexamination market.

Welcome MarkAs Head Examinations British Council India, over the past

four years, Mark Walker traversed the length and breadth ofthe India to oversee the administration of thousands of Britishexaminations taken by young Indians – so we guess that now atleast distances will seem .. well small, to say the least. Hopefullyin the next issue of Lingua Franca we will have the opportunityto get to know Mark a little better. In the meantime a warmwelcome from all of us and “Siderokefalos” as we say in greek.

Happy Trails Paul

Welcome MarkChange of Guard at the British Council Examinations Department

£¤Ïˆ Ó· Â˘¯·ÚÈÛÙ‹Ûˆ ÔÏ‡ Ù· Ì¤-ÏË ÙÔ˘ ∂·ÁÁÂÏÌ·ÙÈÎÔ‡ ∂ÈÌÂÏËÙË-Ú›Ô˘ ∞ıËÓÒÓ Ô˘ ÌÂ ˘ÔÛÙ‹ÚÈÍ·Ó ÌÂÙËÓ „‹ÊÔ ÙÔ˘˜ Î·È ÌÂ ÂÍ¤ÏÂÍ·Ó Ì¤-ÏÔ˜ ÙÔ˘ ¢ÈÔÈÎËÙÈÎÔ‡ ™˘Ì‚Ô˘Ï›Ô˘ ÙÔ˘ÌÂÁ·Ï‡ÙÂÚÔ˘ ∂ÈÌÂÏËÙËÚ›Ô˘ ÙË˜∂ÏÏ¿‰Ô˜. £¤Ïˆ Ó· ‰È·‚Â‚·ÈÒÛˆ Ù·Ì¤ÏË ÙÔ˘ ∂ÈÌÂÏËÙËÚ›Ô˘ Î·È ÂÈ‰ÈÎ¿ÙÔ˘˜ È‰ÈÔÎÙ‹ÙÂ˜ ∫¤ÓÙÚˆÓ •¤ÓˆÓ°ÏˆÛÛÒÓ, fiÙÈ ·fi ÙË ı¤ÛË ·˘Ù‹ ı·Ú¿Íˆ ÔÙÈ‰‹ÔÙÂ Â›Ó·È ‰˘Ó·Ùfi Î·È

ı· ÚÔÛ·ı‹Ûˆ ÁÈ· ÔÙÈ‰‹ÔÙÂ ‰Â›¯ÓÂÈ ·‰‡Ó·ÙÔ ÌÂ ÛÙfi¯Ô ÙÔÎ·Ï‡ÙÂÚÔ Ì¤ÏÏÔÓ ÁÈ· Î¿ıÂ Â·ÁÁÂÏÌ·Ù›·.

ªÂ ÂÎÙ›ÌËÛËºÏˆÚ¿˜ °ÈÒÚÁÔ˜

ª¤ÏÔ˜ ÙÔ˘ ¢.™. ÙÔ˘ ∂·ÁÁÂÏÌ·ÙÈÎÔ‡ ∂ÈÌÂÏËÙËÚ›Ô˘ ∞ıËÓÒÓ

1. ∞fi ·ÚÈÛÙÂÚ¿ Mark Walker, ¡.∆ÛÂÚfiÏ·˜, Paul Sellers, ™Ù¤ÏÏ· ºÏˆÚ¿,ÕÓÓ· ªÔ˘ÏÓÙÔ‡ÌË

2. ∞ÁÓ‹ ∫·ÙÛÈ¿ÓÔ˘, ∫ÈÎ‹∫ÔÛÌ·ÙÔÔ‡ÏÔ˘ Î·È §›ÓÙ· ∑ÂÚ‚ÔÁÈ¿ÓÓËÛÙË ‰ÂÍ›ˆÛË ÙÔ˘ British Counsil

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∂Î‰‹ÏˆÛË ÌÂ È‰È·›ÙÂÚË ∞π°§∏∂Î‰‹ÏˆÛË ÌÂ È‰È·›ÙÂÚË ∞π°§∏

TÔ ™¿‚‚·ÙÔ ÛÙÈ˜ 06.05.2006 Ú·ÁÌ·-ÙÔÔÈ‹ıËÎÂ ÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙËÓA›ÁÏË ÙÔ˘ Z·Â›Ô˘ ÌÈ· È‰È·›ÙÂÚ·

ÍÂ¯ˆÚÈÛÙ‹ ÂÎ‰‹ÏˆÛË ÌÂ ı¤Ì· ÙË ‰È‰·ÛÎ·-Ï›· ÙˆÓ Í¤ÓˆÓ ÁÏˆÛÛÒÓ ÛÙËÓ EÏÏ¿‰·(°·ÏÏÈÎ¿, °ÂÚÌ·ÓÈÎ¿, IÛ·ÓÈÎ¿). H ÂÎ‰‹-ÏˆÛË Û˘Ó‰ÈÔÚÁ·ÓÒıËÎÂ ·fi ÙÈ˜ EÎ‰fiÛÂÈ˜°Ú›‚·, ÙË ÁÂÚÌ·ÓÈÎ‹ ÂÎ‰ÔÙÈÎ‹ ÂÙ·ÈÚÂ›·Klett International, fiˆ˜ Â›ÛË˜ Î·È ÙËÁ¿ÏÏÔ-ÈÛ·ÓÈÎ‹ ÂÙ·ÈÚÂ›· Difusion-PUG.

OÈ ÂÎ‰fiÛÂÈ˜ °Ú›‚· ¤¯Ô˘Ó ÂÂÎÙÂ›ÓÂÈ ·-fi ÙÔ 1999 ÙÈ˜ ‰Ú·ÛÙËÚÈfiÙËÙ¤˜ ÙÔ˘˜ -¤Ú··fi ÙËÓ ¤Î‰ÔÛË ·ÁÁÏÈÎÒÓ ‚È‚Ï›ˆÓ- Î·ÈÛÙËÓ ¤Î‰ÔÛË ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈÎÔ‡ ÁÈ· ÙÈ˜ÚÔ·Ó·ÊÂÚfiÌÂÓÂ˜ ÁÏÒÛÛÂ˜. ™ÎÔfi˜ ·˘-

ÙÒÓ ÙˆÓ ÂÎ‰fiÛÂˆÓ Â›Ó·È Ë ˘ÔÛÙ‹ÚÈÍË ÙˆÓÎ·ıËÁËÙÒÓ Î·È ÙˆÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛ-ÛÒÓ ÌÂ Ó¤Ô, Û‡Á¯ÚÔÓÔ ‰È‰·ÎÙÈÎfi ˘ÏÈÎfi.

™ÙËÓ ÂÎ‰‹ÏˆÛË Û˘ÌÌÂÙÂ›¯·Ó ÂÎ·ÙÔÓÙ¿-‰Â˜ Î·ıËÁËÙ¤˜ ÙË˜ Á·ÏÏÈÎ‹˜, ÁÂÚÌ·ÓÈÎ‹˜Î·È ÈÛ·ÓÈÎ‹˜ ÁÏÒÛÛ·˜, ÔÈ ÔÔ›ÔÈ Â›¯·Ó ÙË‰˘Ó·ÙfiÙËÙ· Ó· ·Ú·ÎÔÏÔ˘ı‹ÛÔ˘Ó Ù· ÌÂ-ÙÂÎ·È‰Â˘ÙÈÎ¿ ÛÂÌÈÓ¿ÚÈ·, Ù· ÔÔ›· Û˘Ó-‰ÈÔÚÁ·ÓÒıËÎ·Ó ·fi ÙÈ˜ EÎ‰fiÛÂÈ˜ °Ú›‚·,ÙÈ˜ ÂÙ·ÈÚÂ›Â˜ Klett Î·È Difusion fiˆ˜ Â›-ÛË˜ Î·È ·fi ÙÔ Î¤ÓÙÚÔ ÌÂÙÂÎ·›‰Â˘ÛË˜ Î·-ıËÁËÙÒÓ °·ÏÏÈÎ‹˜ ÁÏÒÛÛ·˜ CAVILAMÙË˜ Vichy.

O Î‡ÚÈÔ˜ KÒÛÙ·˜ °Ú›‚·˜ ·Ë‡ı˘ÓÂ ÙÔÓ¯·ÈÚÂÙÈÛÌfi ÙÔ˘ ÛÂ fiÏÔ˘˜ ÙÔ˘˜ ·ÚÂ˘ÚÈÛÎÔ-

Ì¤ÓÔ˘˜ Î·È ·ÎÔÏÔ‡ıË-ÛÂ Ô ¯·ÈÚÂÙÈÛÌfi˜ ÙˆÓ‰ÈÂ˘ı˘ÓÙÒÓ ÙˆÓ ÂÙ·È-ÚÂÈÒÓ KlettInternational Î·ÈDifusion, AÌ·ÓÙ¤Ô˘˜°Î¤ÚÏ·¯ Î·È NÙ¤ÙÏÂÊB¿ÁÎÓÂÚ ·ÓÙ›ÛÙÔÈ¯·.

K·Ù¿ ÙË ‰È¿ÚÎÂÈ·ÙË˜ ÂÎ‰‹ÏˆÛË˜ ÔÈ ÂÎ-‰fiÛÂÈ˜ °Ú›‚· Î·ÈDifusion ·Ó·ÎÔ›ÓˆÛ·ÓÎ·È ÂÈÛ‹Ìˆ˜ ÙË Û˘ÓÂÚ-Á·Û›· ÙÔ˘˜ ÛÙÔÓ ÙÔÌ¤·ÙˆÓ Á·ÏÏÈÎÒÓ ÂÎ‰fiÛÂ-

ˆÓ Î·È ÂÂÛ‹Ì·-Ó·Ó È‰È·›ÙÂÚ· ÙËÛËÌ·Û›· Û˘Ó¤Î-‰ÔÛË˜ Ó¤Ô˘ ÂÎ-·È‰Â˘ÙÈÎÔ‡ ˘ÏÈ-ÎÔ‡, ÂÈ‰ÈÎ¿ ÚÔ-Û · Ú Ì Ô Û Ì ¤ Ó ÔÛÙÈ˜ ·Ó¿ÁÎÂ˜ÙˆÓ ÂÏÏ‹ÓˆÓ Ì·-ıËÙÒÓ.

OÈ Û˘ÌÌÂÙ¤¯Ô-ÓÙÂ˜ Â›¯·Ó ÙË ‰˘-

Ó·ÙfiÙËÙ· Ó· ÂÈÛÎÂÊÙÔ‡Ó ÙËÓ ¤ÎıÂÛË ‚È-‚Ï›Ô˘ Î·È Ó· ÂÓËÌÂÚˆıÔ‡Ó ÁÈ· ÙÈ˜ Ó¤Â˜ ÂÎ-‰fiÛÂÈ˜. ™ÙÔ Ù¤ÏÔ˜ ÙË˜ ÂÎ‰‹ÏˆÛË˜ ·ÎÔÏÔ‡-ıËÛÂ ÎÏ‹ÚˆÛË fiÔ˘ ·Ó·‰Â›¯ıËÎ·Ó Ù˘¯Â-ÚÔ›, ÔÈ ÔÔ›ÔÈ Î¤Ú‰ÈÛ·Ó ÌÂÙ·Í‡ ¿ÏÏˆÓ ¤Ó·Ù·Í›‰È ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙÔ MfiÓ·¯Ô, ¤Ó· Ù·-Í›‰È ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙËÓ K‡ÚÔ Î·È ¤Ó·‰Â›ÓÔ ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙËÓ A›ÁÏË Z·Â›-Ô˘.

T¤ÏÔ˜, Î·Ù¿ ÎÔÈÓ‹ ÔÌÔÏÔÁ›·, Ú·ÁÌ·ÙÔ-ÔÈ‹ıËÎÂ Ì›· ÔÏ‡ ÂÓ‰È·Ê¤ÚÔ˘Û· ÂÎ‰‹Ïˆ-ÛË ÌÂ ÔÏ‡ ıÂÙÈÎ¿ Û¯fiÏÈ· ·fi fiÏÔ˘˜.

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N¤· ¢ÈÔÈÎËÙÈÎ¿ ™˘Ì‚Ô‡ÏÈ· ÚÔ¤Î˘„·Ó·Ô ÙÈ˜ ·Ú¯·ÈÚÂÛ›Â˜ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘™˘Ó‰¤ÛÌÔ˘ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ°ÏˆÛÛÒÓ Î·È ÙÔ˘ T·ÌÂ›Ô˘ AÚˆÁ‹˜ Î·ÈAÏÏËÏÔ‚ÔËıÂ›·˜ ÙˆÓ ÌÂÏÒÓ ÙÔ˘. T· Ó¤·¢™ ¤¯Ô˘Ó ˆ˜ ÂÍ‹˜:

¶ANE§§HNIO™¶ÚfiÂ‰ÚÔ˜: AÓÓ· MÔ˘ÏÓÙÔ‡ÌËAÓÙÈÚfiÂ‰ÚÔ˜ : ™ÔÊ›· OÈÎÔÓÔÌ¿ÎÔ˘°ÂÓÈÎ‹ °Ú·ÌÌ·Ù¤·˜ : AÏ›ÎË ¢ÂÓ‰ÚÈÓÔ‡T·Ì›·˜ : ™‡ÚÔ˜ K·ÙÛÔ‡ÏË˜EÊÔÚÔ˜ EÎ‰ËÏÒÛÂˆÓ: AÓÓ· ¢·ÏÈ¿ÓËEÊÔÚÔ˜ EÍÂÙ¿ÛÂˆÓ: ™Ù¤ÏÏ· ºÏˆÚ¿

M¤ÏË: M·›ÚË M¤ÙÛË, AÓÙÒÓË˜AÌÔ˘ÚÁÈ·Ófi˜

TAMEIO APø°H™¶ÚfiÂ‰ÚÔ˜: ™‡ÚÔ˜ K·ÙÛÔ‡ÏË˜ AÓÙÈÚfiÂ‰ÚÔ˜ : ¶·Ó·ÁÈÒÙË˜ M·ÓˆÏ¿ÎÔ˜°ÂÓÈÎfi˜ °Ú·ÌÌ·Ù¤·˜ : ¢ËÌ‹ÙÚË˜TÛ·Ú·˙Ï‹˜T·Ì›·˜ : ™Ù¤ÏÏ· ™ÎÔÎ¤·-K·Ï‰‹EÊÔÚÔ˜ EÎ‰ËÏÒÛÂˆÓ: EÌÌ·ÓÔ˘¤Ï·XÚÈÛÙÔ‰Ô‡ÏÔ˘M¤ÏË: AÓ·ÛÙ·Û›·(™Ô‡ÏË) ™Ô˘Ú›‰Ë-AÔÛÙÔÏÔÔ‡ÏÔ˘, Iˆ¿ÓÓ· M·ÓˆÏ¿ÎÔ˘Î·È B·ÛÈÏÈÎ‹ MÔ˘ÏÓÙÔ‡ÌË

N¤Ô ¢ÈÔÈÎËÙÈÎfi ™˘Ì‚Ô‡ÏÈÔÛÙÔÓ ¶·ÓÂÏÏ‹ÓÈÔ Î·È ÙÔ T·ÌÂ›Ô AÚˆÁ‹˜

Chairperson, Lilika CouriVice-Chair, Jenny ZimianitouSecretary General, Ansa LakiotiTreasurer, Danae Kozanoglou

Members:Anne MakrisMichael RobbsGeorge KormpasTina MigadakiAnna Zacharatou

Alternate Members:Eftichis Kantarakis, Newsletter EditorMary DavouJoanna DimitrakopoulouEvie TsoutsouraOversight Committee:Michele CrawfordCostas PitychoutisFotini ManoliAlternate member: Sofia Panaghis

TESOL Greece Board 2006 - 2007

1111

— ¶fiÛ· ¯ÚfiÓÈ· ·Û¯ÔÏÂ›Û·È ÌÂÙ· ÎÔÈÓ¿; ∞fi ÔÈÂ˜ ı¤ÛÂÈ˜;

«ªÂ Ù· ÎÔÈÓ¿ ·Û¯ÔÏÔ‡Ì·È ¿-Óˆ ·fi 25 ¯ÚfiÓÈ·. ™ÙËÓ ·Ú¯‹ Û·ÓÌ¤ÏÔ˜ ÔÚÁ·ÓÒÛÂˆÓ Î·È Û˘ÏÏfi-ÁˆÓ Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÌÂ ı¤Ì·Ù·ÙË˜ ÙÔÈÎ‹˜ ÎÔÈÓˆÓ›·˜. ∆Ô 2002 Â-ÎÏ¤¯ÙËÎ· ¢ËÌÔÙÈÎ‹ ™‡Ì‚Ô˘ÏÔ˜µ‡ÚˆÓ· ÌÂ ÙÔ ¡›ÎÔ Ã·Ú‰·ÏÈ¿.∂›Ì·È ÚfiÂ‰ÚÔ˜ ÙÔ˘ ¡ÔÌÈÎÔ‡¶ÚÔÛÒÔ˘ “∫¤ÓÙÚÔ ªÂÏ¤ÙË˜ÃÔÚÔ‡ πÛÈ‰ÒÚ·˜ Î·È ƒ·¸ÌfiÓ‰Ô˘¡Ù¿ÓÎ·Ó” Î·È ∞ÓÙÈ‰‹Ì·Ú¯Ô˜∂ıÈÌÔÙ˘›·˜ Î·È ¢ËÌÔÛ›ˆÓ ™¯¤-ÛÂˆÓ».

— ∆È ÛÂ ¤ÛÚˆÍÂ Ó· ÍÂÎÈÓ‹-ÛÂÈ˜ ·Ú¯ÈÎ¿;

«™ÙËÓ ÔÈÎÔÁ¤ÓÂÈ¿ ÌÔ˘ ˘‹Ú¯ÂË ·Ú¿‰ÔÛË ÙË˜ ÂÓ·Û¯fiÏËÛË˜ ÌÂÙ· ÎÔÈÓ¿. ∂ÈÎÚ·ÙÔ‡ÛÂ ÓÂ‡Ì··ÏÏËÏÂÁÁ‡Ë˜ Î·È ÚÔÛÊÔÚ¿˜ Î·ÈË ÊÈÏÔÛÔÊ›· ‹Ù·Ó: Ë ˙ˆ‹ Â›Ó·ÈÈÔ Ô˘ÛÈ·ÛÙÈÎ‹ fiÙ·Ó ÚÔÛÊ¤ÚÂÈ˜ÛÙÔ Û˘Ó¿ÓıÚˆfi ÛÔ˘ - ‰›ÓÔÓÙ·˜Ï›Á· ·›ÚÓÂÈ˜ ÔÏÏ¿».

— ¶fiÛÔ ‰‡ÛÎÔÏÔ Â›Ó·È ÁÈ· ÌÈ·Á˘Ó·›Î· Ó· Û˘Ó‰˘¿ÛÂÈ Î·ÚÈ¤Ú·,ÔÈÎÔÁ¤ÓÂÈ· Î·È ÂÓÂÚÁ‹ Û˘ÌÌÂÙÔ-

¯‹ ÛÙ· ÎÔÈÓ¿;«•ÂÎ›ÓËÛ· ÂÚÁ·Û›· Î·È ÔÈÎÔ-

Á¤ÓÂÈ· ÓˆÚ›˜, Û¯Â‰fiÓ ÌfiÏÈ˜ ÙÂÏÂ›-ˆÛ· ÙÈ˜ ÛÔ˘‰¤˜ ÌÔ˘. OÈ ˘Ô¯ÚÂ-ÒÛÂÈ˜ ‹Ù·Ó ¿Ú· ÔÏÏ¤˜ Î·È È¤-ÛÙËÎ· ·ÚÎÂÙ¿. ªfiÏÈ˜ Ù· ·È‰È¿ÌÔ˘ ÌÂÁ¿ÏˆÛ·Ó Â›¯· ¿ÏÏË ¿ÓÂÛË¯ÚfiÓÔ˘ Î·È ¤ÙÛÈ ¿Ú¯ÈÛ· Ó· ·Û¯Ô-ÏÔ‡Ì·È ÌÂ ÂÚÈÛÛfiÙÂÚ· Ú¿ÁÌ·-Ù·.

∆Ô Ó· Û˘Ó‰˘¿ÛÂÈ˜ Û·Ó Á˘Ó·›Î·Î·ÚÈ¤Ú·, ÔÈÎÔÁ¤ÓÂÈ· Î·È Û˘ÌÌÂ-ÙÔ¯‹ ÛÙ· ÎÔÈÓ¿ ÌÔÚÂ› Ó· Â›Ó·È ·-fi ·Ïfi Î·È Â‡ÎÔÏÔ ¤ˆ˜ ÔÏ‡-ÏÔÎÔ Î·È ‰‡ÛÎÔÏÔ. ¶ÈÛÙÂ‡ˆ fiÙÈÂ›Ó·È ı¤Ì· ÙÚfiÔ˘ ˙ˆ‹˜ Î·È ÚÔ-

ÛˆÈÎ‹˜ ÂÎÙ›ÌËÛË˜. ŸÏ· ÌÔ-ÚÔ‡Ó Ó· Á›ÓÔ˘Ó fiÙ·Ó ·ÍÈÔÏÔÁÔ‡ÌÂÙÈ˜ ˘Ô¯ÚÂÒÛÂÈ˜ Î·È Ù˜È ÚÔÙÂ-Ú·ÈfiÙËÙ¤˜ Ì·˜ Î·È Î¿ÓÔ˘ÌÂ Ûˆ-ÛÙfi ÚÔÁÚ·ÌÌ·ÙÈÛÌfi. ¶ÚÔÛˆÈ-Î¿ Â›Ì·È Ù˘¯ÂÚ‹ ÁÈ·Ù› ¤¯ˆ ¤Ó·ÓÛ‡ÓÙÚÔÊÔ Û˘Ì·Ú·ÛÙ¿ÙË, Ô˘Ì·˙› ÌÂ Ù· ·È‰È¿ ÌÔ˘ ÌÂ ÛÙËÚ›-˙Ô˘Ó Î·È ÌÂ ‚ÔËıÔ‡Ó ÛÂ Î·ıËÌÂ-ÚÈÓ‹ ‚¿ÛË».

— ¶ÔÈ· Â›Ó·È Ù· ÂfiÌÂÓ· Û¯¤-‰È¿ ÛÔ˘, ÂÊfiÛÔÓ ÌÂ ÙÔ Î·Ïfi Â·-ÓÂÎÏÂÁÂ›˜;

«∂¿Ó ÔÈ Û˘Ó‰ËÌfiÙÂ˜ ÌÔ˘ ÌÂ ÙÈ-Ì‹ÛÔ˘Ó Î·È ·˘Ù‹ ÙË ÊÔÚ¿ ÌÂ ÙËÓ„‹ÊÔ ÙÔ˘˜, Ê˘ÛÈÎ¿ Î·È ı· Û˘ÓÂ-¯›Ûˆ Ó· ÚÔÛÊ¤Úˆ ·fi ÔÔÈ·‰‹-ÔÙÂ Î·ÈÓÔ‡ÚÈ· ı¤ÛË ÌÔ˘ ‰ÔıÂ›.

∂Èı˘ÌÒ Ó· Â›Ì·È ¿ÓÙ· ÎÔÓÙ¿ÛÙÔ ·È‰› Î·È ÙË Á˘Ó·›Î·, Ì¤Û· ·-

fi ÙËÓ È‰ÈfiÙËÙ¿ ÌÔ˘ ˆ˜ ÂÎÚÔÛÒ-Ô˘ ÙÔ˘ ¢‹ÌÔ˘, ·ÏÏ¿ Î·È ·˘Ù‹˜ÙË˜ ¶ÚÔ¤‰ÚÔ˘ ÙË˜ ÌË Î˘‚ÂÚÓËÙÈ-Î‹˜ ÔÚÁ¿ÓˆÛË˜ °˘Ó·ÈÎÒÓ “¶·-Ó·ıËÓ·˚Î‹ µ‡ÚˆÓ·”.

£· Î·Ù·‚¿ÏÏˆ Î¿ıÂ ÚÔÛ¿-ıÂÈ· ÂÚÁ·˙fiÌÂÓË ÛÎÏËÚ¿, ÒÛÙÂÓ· Û˘Ì‚¿ÏÏˆ ÛÙÔ Ì¤ÙÚÔ ÙÔ˘ ‰˘-Ó·ÙÔ‡ ÛÙÔ˘˜ ÙÔÌÂ›˜ ÙË˜ ·È‰Â›·˜Î·È ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ÁÈ· ÌÈ· ÔÈÔ-ÙÈÎ‹ ˙ˆ‹ ÛÙËÓ fiÏË Ì·˜».

ƒ¤Ó· ¶··ÁÂˆÚÁ›Ô˘

°˘Ó·›ÎÂ˜ ÛÙËÓ ∆ÔÈÎ‹ ∞˘ÙÔ‰ÈÔ›ÎËÛË°˘Ó·›ÎÂ˜ ÛÙËÓ ∆ÔÈÎ‹ ∞˘ÙÔ‰ÈÔ›ÎËÛË

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¶›ÛÙÂ„· ˆ˜ Ô ÎfiÛÌÔ˜ fiÏÔ˜ ‹ÛÔ˘Ó ÂÛ‡Î·È ˆ˜ Ë ˙ˆ‹ ‹Ù·Ó Ë Ô›ËÛË.ŒÊ˘ÁÂ˜...ÎÈ ¤ÂÛÂ ÙÔ ıÂÌ¤ÏÈÔ ·’ ÙÔÓ ‡ÚÁÔ ÙÔ˘ ·‡ÚÈÔ.ªÔ‡ÛÎÂ„· ÌÂ ‰¿ÎÚ˘· ÙÈ˜ ÂÏ›‰Â˜ ÌÔ˘.∆ÒÚ·,Ô ÎfiÛÌÔ˜ ı· ’Ì·È ÂÁÒ!

(∞fi ÙËÓ ÔÈËÙÈÎ‹ Û˘ÏÏÔÁ‹ÙË˜ ƒ¤Ó·˜ ª·ÚÙ˙Ô‡ÎÔ˘-¶··ÁÂˆÚÁ›Ô˘

«∆Ú·ÁÔ‡‰È· ÙÔ˘ ÊÂÁÁ·ÚÈÔ‡» - ‚’ ¤Î‰ÔÛË)

∏ Lingua FrancaÛ˘ÓÔÌÈÏÂ› ÌÂ ÙË

ƒ¤Ó· ª·ÚÙ˙Ô‡ÎÔ˘-¶··ÁÂˆÚÁ›Ô˘,

π‰ÈÔÎÙ‹ÙÚÈ· ∫¤ÓÙÚÔ˘•¤ÓˆÓ °ÏˆÛÛÒÓ Î·È

¢ËÌÔÙÈÎ‹ ™‡Ì‚Ô˘ÏÔ ÛÙÔ¢‹ÌÔ µ‡ÚˆÓ·

H ÔÈfiÙËÙ· Î·È ÔÈ ÙÈÌ¤˜ÙË˜ ™˘ÏÏÔÁ‹˜ §ÂÍÈÎÒÓ ºÏˆÚ¿˜...

‰ÂÓ ÌÂÙ·ÊÚ¿˙ÔÓÙ·È!¢È·‰ÒÛÙÂ ÙÔ Î·È ÛÙÔ˘˜ Ì·ıËÙ¤˜!

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FRANÇAIS - GREC& GREC - FRANÇAIS

∂∫¢O™∂π™T.ROSGOVAS

™À°Ãƒ√¡√

∂§§∏¡√°∞§§π∫√ &

°∞§§√∂§§∏¡π∫√

∂∫¢√™∂π™ √§Àª¶π∞

°∞§§√∂§§∏¡π∫√

∂∫¢√™∂π™

∫∞√Àºª∞¡

∂§§∏¡√°∞§§π∫√

∂∫¢√™∂π™

∫∞√Àºª∞¡

ª∂π∑O¡

∞°°§√∂§§∏¡π∫√ &

∂§§∏¡√∞°°§π∫√

§∂•π∫√

∂∫¢√™∂π™ ¶∂§∂∫∞¡√™

ª∂ CD ROM

∏§∂∫∆ƒ√¡π∫√ §∂•π∫√

∞°°§√∂§§∏¡π∫√-

∂§§∏¡√∞°°§π∫√

ÃƒÀ™∏ ∂∫¢√™∏

MAGENTA

∞°°§√∂§§∏¡π∫√ &

∂§§∏¡√∞°°§π∫√

§∂•π∫√

∂∫¢√™∂π™ ¶∂§∂∫∞¡√™

CONSISE HYPER

LEXICON

ENGLISH-GREEK

∂∫¢√™∂π™ ™∆∞ºÀ§π¢∏

+¢øƒ√ ∆√ CD ROM

HERMES

∂§§∏¡√´∆∞-

§π∫√ §∂•π∫√

GRANDE

∂∫¢√™∂π™

ª. ™π¢∂ƒ∏

π∆∞§√∂§§∏-

¡π∫√ §∂•π∫√

∂∫¢√™∂π™

MANDESON

™À°Ãƒ√¡√ π∆∞§√∂§§∏¡π∫√

& ∂§§∏¡√´∆∞§π∫√ §∂•π∫√

∂∫¢√™∂π™ √§Àª¶π∞

DIZIONARIO

ITALIANO - GRECO

& GRECO - ITALIANO

EDIZIONI PRIMUS

GRIECHISCH -

DEUTSCH & DEUTSCH -

GRIECHISCH

LANGENSCHEIDTS

∞ãÙfiÌÔ˜

∂§§∏¡√°∂ƒª∞¡π∫√

µãÙfiÌÔ˜

°∂ƒª∞¡√∂§§∏¡π∫√

∂∫¢√™∂π™ MANDESON

°∂ƒª∞¡√∂§§∏¡π∫√ &

∂§§∏¡√°∂ƒª∞¡π∫√

GROSS

∂∫¢√™∂π™ ™π¢∂ƒ∏

∞’ ÙfiÌÔ˜

π™¶∞¡√∂§§∏¡π∫√

µã ÙfiÌÔ˜

∂§§∏¡√´™¶∞¡π∫√

∂∫¢√™∂π™ ª∂¢√À™∞

™À°Ãƒ√¡√

∂§§∏¡√´™¶∞¡π∫√

& π™¶∞¡√∂§§∏¡π∫√

§∂•π∫√

∂∫¢√™∂π™ √§Àª¶π∞

COLLINS SPANISH

DICTIONARY BIG

°EPMANIKA §∂•π∫A I™¶ANIKA §∂•π∫A

ITA§IKA §∂•π∫A

10% ÛÙ· ‚È‚Ï›· Ô˘ ÂÌ›ÙÔ˘Ó ÛÙÔ ÓfiÌÔ ÙË˜ ÂÓÈ·›·˜ ÙÈÌ‹˜

20% 10%

20% 20%

20%

20% 20%

15%

20% 20%

20% 35%

20% 10%

20% 20%

10%

20%

20%

20%

20%

35%

°A§§IKA §∂•π∫A

∞°°§IKA §∂•π∫A

20% 10%

KTC 23%

KTC 23%

KTC 10%

KTC 15%

KTC 23%

KTC 20%

KTC 20%

KTC 10%

KTC 23%

KTC 20%

KTC 23%

KTC 23%KTC %

KTC 15%

KTC 23%

KTC 35%

KTC 23%

KTC 23%

KTC 23%

KTC 10%

KTC 23%

KTC 23%

KTC 23%

KTC 35%

KTC 23%

∂∫¶∆ø™∏ ª∞£∏∆∏ ∂∫¶∆ø™∏ KOSMOS TEACHER’S CLUB%

+¢øƒ√

+¢øƒ√

1122

MÂ ÌÂÁ¿ÏË ÂÈÙ˘¯›· ÔÏÔÎÏË-ÚÒıËÎÂ Ë 1Ë ŒÎıÂÛË ÍÂÓfi-ÁÏˆÛÛÔ˘ ‚È‚Ï›Ô˘ Î·È ÂÔÙÈÎÒÓÌ¤ÛˆÓ Ô˘ ‰ÈÔÚÁ¿ÓˆÛÂ Ô Û‡ÏÏÔ-ÁÔ˜ PALSO ¶Ú¤‚Â˙·˜ - §Â˘Î¿-‰·˜ ÛÙË ÁÚ·ÊÈÎ‹ ¶Ú¤‚Â˙· ÙËÓK˘ÚÈ·Î‹ 4 IÔ˘Ó›Ô˘ 2006.

™ÙËÓ ÂÈÙ˘¯›· ÙË˜ ¤ÎıÂÛË˜ Û˘-Ó¤‚·ÏÏÂ Ë ÌÂÁ¿ÏË Û˘ÌÌÂÙÔ¯‹ Â-ÈÛÎÂÙÒÓ – ÌÂÏÒÓ ÙÔ˘ ÙÔÈÎÔ‡Û˘ÏÏfiÁÔ˘ ÌÂÏÒÓ Û˘ÏÏfiÁˆÓ ÙˆÓÁÂÈÙÔÓÈÎÒÓ ÓÔÌÒÓ.

TÔ ‰È‹ÌÂÚÔ ÙˆÓ ÂÎ‰ËÏÒÛÂˆÓÏËÓ ÙË˜ ¤ÎıÂÛË˜, ÂÚÈÂÏ¿Ì‚·-ÓÂ (ÙÔ ™¿‚‚·ÙÔ 4 IÔ˘Ó›Ô˘ 2006)Î·È ÂÎ‰ÚÔÌ‹ ÛÙ· T˙Ô˘Ì¤ÚÎ· ÌÂrafting ÛÙÔÓ ÕÚ·¯ıÔ ÔÙ·Ìfi(·’ fiÔ˘ Î·È Ù·

ÛÙÈÁÌÈfiÙ˘·) Ô˘ ‰ÈÔÚÁ¿ÓˆÛÂÌÂ ÂÈÙ˘¯›· Ë ‰Ú·ÛÙ‹ÚÈ· ÚfiÂ-‰ÚÔ˜ ÙÔ˘ Û˘ÏÏfiÁÔ˘ M·Ú›· ¶·-·‚·ÛÈÏÂ›Ô˘.

OÈ Ù˘¯ÂÚÔ› ÙË˜ ÂÎ‰ÚÔÌ‹˜ ‰È·-Ó˘ÎÙ¤ÚÂ˘Û·Ó ÙËÓ ¶·Ú·ÛÎÂ˘‹ÛÙÔÓ ·Ú·‰ÔÛÈ·Îfi ÍÂÓÒÓ·«M·ÚÔ˘ÛÈÒ» ÛÙË PÔ‰·˘Á‹ÕÚÙ·˜ (800 Ì¤ÙÚ· ˘„fiÌÂÙÚÔ)·’ fiÔ˘ fiÏÔÈ Ì·˙› ÙÔ ™¿‚‚·ÙÔÙÔ Úˆ› ÍÂÎ›ÓËÛ·Ó ÁÈ· Ù· T˙Ô˘-Ì¤ÚÎ·.

H ˆÚ·›· ·˘Ù‹ ÂÎ‰ÚÔÌ‹ ¤ÎÏÂÈ-ÛÂ ÌÂ ‰Â›ÓÔ ÙÔ ™¿‚‚·ÙÔ ÙÔ ‚Ú¿-‰˘ ÛÂ ·Ú·ÏÈ·Îfi ÂÛÙÈ·ÙfiÚÈÔ ÙË˜¶Ú¤‚Â˙·˜ fiÔ˘ Ì¤ÏË ÙÔ˘ Û˘ÏÏfi-

ÁÔ˘-ÂÎı¤ÙÂ˜ Î·È Ê›-ÏÔÈ Â›¯·Ó ÙËÓ Â˘Î·È-Ú›· Ó· ÁÂ˘ÙÔ‡Ó ÊÚ¤-ÛÎÔ „¿ÚÈ Î·È ÙÔÈ-ÎÔ‡˜ ÌÂ˙¤‰Â˜.

RAFTING - ¶ƒ∂µ∂∑∞

CybercideThere is nothing particularly new about

the idea of a suicide pact, but some recentreports from Japan have put a modern spinon the subject by drawing attention to theway that Internet chatrooms have been usedto facilitate such arrangements. The reportstalk about computer-arranged suicides ascybercide, using a word formed bycombining the prefix cyber- (which denotescomputers) with the suffix -cide (whichdenotes killing).

Sticklers for consistency will immediatelyspot a problem with this coinage. If‘regicide’ means ‘killing a king’ and‘matricide’ means ‘killing one’s mother’,shouldn’t ‘cybercide’ mean ‘killing acomputer’? And indeed it is possible to findthe word ‘cybercide’ used in precisely thisway, often by frustrated computer usersthreatening to hurl their malfunctioningPCs out of upper-floor windows. It might bemore apposite to use the word cybersuicideto describe Internet-related suicides.However, language does not alwaysconform to logical patterns, and it may bethat the shorter, snappier word will findfavour if such behaviour ever becomes acommon subject of discussion.

TextonymWhen the sending of text

messages first becamepopular, commentatorsnoted with interest how thenew medium discardedvowels and inessentialconsonants and embracedthe use of numbers,abbreviations and acronyms.‘Great’ became ‘GR8’, ‘textmessage’ became ‘txt msg’and the traditional ‘RSVP’became ‘tmb’ (text me back).

Then came predictive text,a technology which enablesusers to hit a key on thephone’s keypad just once foreach letter, with the phonepredicting which word isintended. Hitting 228, forexample, brings up the word‘act’. Predictive text hasmeant the decline of hyper-abbreviated txt spk andbrought words back intovogue.

However, many key-combinations correspond toseveral different words. Thecombination 228, forexample, could also be usedto text ‘cat’ or ‘bat’, while86483 represents both‘vogue’ and ‘unite’. These‘text synonyms’ have beendubbed textonyms (or eventxtonyms) and texters mayhave to work through a menuof them before alighting onthe word they intended towrite.

Texters soon discoveredthat textonyms could be both

amusing and curiously apt. It has beenpointed out that the key-combination 5477leads to both ‘lips’ and ‘kiss’; 328 can be ‘eat’and ‘fat’; 686 can be ‘mum’ and ‘nun’; anddrinkers revel in the fact that ‘pint’, ‘shot’and ‘riot’ are textonyms (all 7468). Therehave even been reports of teenagers nowusing the word ‘book’ as a synonym for ‘cool’because phones suggest ‘book’ as the firstchoice for the combination 2665.

How book is that?

FratireBy now, most people will have heard of

‘chick lit’, the umbrella term for thoseubiquitous novels, dressed in showy jackets,whose themes of boyfriends and shopping

cater to the perceived obsessions of youngwomen.

However, the news from the front in theliterary battle of the sexes is that the blokeshave been fighting back. In the USA, guysare penning books that are just for guys,reflecting certain of their own interests intales dominated by drunkenness and casualrelationships, with liberal dashes of fightingadded for good measure. The New YorkTimes has recently put a name to the genre:fratire.

A blend of ‘fraternity’ and ‘satire’, theterm ‘fratire’ is unlikely to ring quite true inBritain, where images of drunkendebauchery in college fraternity houses arefamiliar only from American movies.Although Britain has produced someattempts at ‘lad lit’, neither the idea nor theterm have really caught the publicimagination, possibly because when NickHornby and Tony Parsons write about theproblems of being a man in modern Britain,their writing appeals just as readily to‘chicks’ as ‘lads’.

It is doubtful, however, whether womenwill find quite as much to interest them infratire, a genre that boasts books with suchtitles such as The Modern Drunkard and IHope They Serve Beer in Hell.

NEW WORD ON THE BLOCKIn this column we will be presenting you with new words, or new uses of old words so

that you will always be up to date !

Source: Chambers WordwatchColumn Editor: Lawrence Mamas(Betsis ELT) [email protected]

1133

K· K·¿ÙÔ˘, Â›Ó·È ÁÓˆÛÙfifiÙÈ ¤¯ÂÙÂ ÌÈ· Ì·ÎÚfi¯ÚÔÓË Î·ÈÂÈÙ˘¯ËÌ¤ÓË ·ÚÔ˘Û›· ÛÙÔ¯ÒÚÔ ÙË˜ ÂÎ·›‰Â˘ÛË˜, ˆ˜ ‰È-Â˘ı‡ÓÙÚÈ· ÙˆÓ Û¯ÔÏÒÓ IÙ·ÏÈ-ÎÒÓ-IÛ·ÓÈÎÒÓ K·¿ÙÔ˘. ¶Ò˜‚Ï¤ÂÙÂ ÙËÓ ÂÍ¤ÏÈÍË ÙˆÓ «¿Ï-ÏˆÓ» ÁÏˆÛÛÒÓ ÛÙËÓ ÂÏÏËÓÈÎ‹·ÁÔÚ¿, ÛÂ Û¯¤ÛË ÌÂ ÙËÓ ÂÈ-ÎÚ¿ÙËÛË ÙË˜ ·ÁÁÏÈÎ‹˜;

H ÚˆÙÔÎ·ıÂ‰Ú›· ÙË˜ ·Á-ÁÏÈÎ‹˜ Â›Ó·È ‰Â‰ÔÌ¤ÓË. ¶¿ÓÙ·ı· ¿Ú¯ÂÈ ÒÚÔ˜ fiÌˆ˜ Î·È ÁÈ·¿ÏÏÂ˜ ÁÏÒÛÛÂ˜ ÛÙËÓ ÂÏÏËÓÈÎ‹Î·È Â˘Úˆ·˚Î‹ Ú·ÁÌ·ÙÈÎfiÙËÙ·, fiˆ˜ ‰È·-ÌÔÚÊÒÓÂÙ·È Ù· ÙÂÏÂ˘Ù·›· ÚfiÓÈ·. H ÈÙ·ÏÈÎ‹ÁÏÒÛÛ· ÂÍ·ÎÔÏÔ˘ıÂ› Ó· ÎÚ·Ù¿ÂÈ, ·Ú¿ ÙËÓÎÚ›ÛË, ÙË ı¤ÛË ÙË˜ ˆ˜ ÁÏÒÛÛ· ÙÔ˘ ÂÌÔÚ›-Ô˘, ÙÔ˘ ÙÔ˘ÚÈÛÌÔ‡, ÙË˜ Ù¤¯ÓË˜ Î·È ÙÔ˘ Ô-ÏÈÙÈÛÌÔ‡. A’ ÙËÓ ¿ÏÏË ÏÂ˘Ú¿ Â›Ó·È ·Ó·Ì-ÊÈÛ‚‹ÙËÙË Ë ·ÓÔ‰ÈÎ‹ ÔÚÂ›·, ÙÔ Î‡ÚÔ˜ Î·È Ô‰˘Ó·ÌÈÛÌfi˜ ÙË˜ ÈÛ·ÓÈÎ‹˜ ÁÏÒÛÛ·˜ ÛÂ ‰ÈÂ-ıÓ¤˜ Â›Â‰Ô Î·È Ë ·ÓÙ·Ó¿ÎÏ·Û‹ ÙÔ˘˜ ÛÙË¯ÒÚ· Ì·˜. £ÂˆÚÒ, Ù¤ÏÔ˜, fiÙÈ ÛÙÔ ‚Ú·¯˘-ÚfiıÂÛÌÔ Ì¤ÏÏÔÓ Î·È ÌÈ· ÌË Â˘Úˆ·˚Î‹ÁÏÒÛÛ·, Ë ÎÈÓÂ˙ÈÎ‹, ÚfiÎÂÈÙ·È Ó· ‰ÈÂÎ‰ÈÎ‹-ÛÂÈ ‰˘Ó·ÌÈÎ¿ ¤Ó·Ó ÈÛfiÙÈÌÔ ÚfiÏÔ ÛÙËÓ EÏÏ¿-‰· Î·È ÙËÓ E˘ÚÒË.

ŸÛÔÓ ·ÊÔÚ¿ ÙÈ˜ ‰Ú·ÛÙËÚÈfiÙËÙ¤˜ Û·˜

ÛÙÔÓ ÂÎ‰ÔÙÈÎfi ÙÔÌ¤·, ÙÈ Û·˜ Ô‰‹ÁËÛÂ Ó· ·-Û¯ÔÏËıÂ›ÙÂ Î·È ÌÂ ÙÔ ·ÓÙÈÎÂ›ÌÂÓÔ ·˘Ùfi;

TÔ 1989 ‰ËÌÈÔ˘ÚÁ‹Û·ÌÂ ÙÔÓ ÂÎ‰ÔÙÈÎfi Ô›-ÎÔ Primus ÁÈ· Ó· Î·Ï‡„Ô˘ÌÂ ¤Ó· ÌÂÁ¿ÏÔÎÂÓfi Ô˘ ˘‹Ú¯Â ÛÙËÓ ÂÏÏËÓÈÎ‹ Ú·ÁÌ·ÙÈ-ÎfiÙËÙ·, fiÛÔÓ ·ÊÔÚ¿ ÙÔ ÈÙ·ÏÈÎfi ‰È‰·ÎÙÈÎfi‚È‚Ï›Ô, ÌÂ Ù·˘Ùfi¯ÚÔÓÔ ÛÙfi¯Ô Ó· Û˘Ì‚¿ÏÔ˘-ÌÂ ÛÙË ÌÂÁ·Ï‡ÙÂÚË ‰È¿‰ÔÛË ÙË˜ ÈÙ·ÏÈÎ‹˜ÁÏÒÛÛ·˜. MÂÙ¿ ·fi ÌÈÎÚfi ¯ÚÔÓÈÎfi ‰È¿ÛÙË-Ì· ÎÚ›Ó·ÌÂ ÛÎfiÈÌÔ Ó· ÍÂÎÈÓ‹ÛÔ˘ÌÂ ÙËÓ ·-Ú·ÁˆÁ‹ ‚È‚Ï›ˆÓ ÁÈ· ÙË ‰È‰·ÛÎ·Ï›· Î·È ÙË‰È¿‰ÔÛË Î·È ÙË˜ ÈÛ·ÓÈÎ‹˜ ÁÏÒÛÛ·˜ fiÔ˘ ˘-‹Ú¯Â Ú·ÁÌ·ÙÈÎ¿ ÙÂÚ¿ÛÙÈ· ·Ó¿ÁÎË ‰Â‰Ô-Ì¤ÓË˜, Ú·ÎÙÈÎ¿, ÙË˜ ·Ó˘·ÚÍ›·˜ Â·ÚÎÒÓÂÁ¯ÂÈÚÈ‰›ˆÓ.

™·˜ ¤¯Ô˘ÌÂ ·ÎÔ‡ÛÂÈ Â·ÓÂÈ-ÏËÌÌ¤Óˆ˜ Ó· ·Ó·Ê¤ÚÂÛÙÂÛÙËÓ ·Ú¯‹ ÙÔ˘ «Ì·ıËÙÔÎÂ-ÓÙÚÈÛÌÔ‡» ˆ˜ ‚¿ÛË ÙË˜ ÊÈÏÔ-ÛÔÊ›·˜ Û·˜. TÈ ·ÎÚÈ‚Ò˜ ÂÓÓÔ-Â›ÙÂ ÌÂ ·˘Ùfi;

K·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi Î·È ÙËÓ·Ú·ÁˆÁ‹ ÙˆÓ ‚È‚Ï›ˆÓ Ì·˜ ¤-¯Ô˘ÌÂ Ï¿‚ÂÈ Î˘Ú›ˆ˜ ˘fi„Ë ÙÔÚÔÊ›Ï ÙÔ˘ ¤ÏÏËÓ· Ì·ıËÙ‹ ÌÂÙÈ˜ È‰È·ÈÙÂÚfiÙËÙÂ˜ Î·È ÙÈ˜ ÂÈ-ÎÔÈÓˆÓÈ·Î¤˜ ·Ó¿ÁÎÂ˜ ÙÔ˘ ¤¯Ô-ÓÙ·˜ ˜ Î¤ÓÙÚÔ ÙÔ˘ ÂÓ‰È·Ê¤ÚÔ-ÓÙfi˜ Ì·˜ ÙÔÓ ›‰ÈÔ ÙÔ Ì·ıËÙ‹, ·-

ÎÔÏÔ˘ıÔ‡ÌÂ ‰ËÏ·‰‹ ÙËÓ ·Ú¯‹ ÙÔ˘ ‘Ì·ıËÙÔ-ÎÂÓÙÚÈÛÌÔ‡’.

T·˘Ùfi¯ÚÔÓ·, Ï·Ì‚¿ÓÔ˘ÌÂ ˘fi„Ë ÙÈ˜ ÚÔ-‰È·ÁÚ·Ê¤˜ ÁÈ· ÙÈ˜ ÁÏÒÛÛÂ˜ ÙÔ˘ Û˘Ì‚Ô˘Ï›Ô˘ÙË˜ E˘ÚÒË˜, fiˆ˜ Î·Ù·ÁÚ¿ÊÔÓÙ·È ÛÙÔ ‰Ë-ÌÔÛ›Â˘Ì¿ ÙÔ˘, ÁÓˆÛÙfi ‰ÈÂıÓÒ˜ ‰ÈÂıÓÒ˜ ÌÂÙË Û˘ÓÙÔÌÔÁÚ·Ê›· CEF (CommonEuropean Framework). £ÂˆÚÔ‡ÌÂ ˆ˜ Â›-Ó·È ÙÂÚ¿ÛÙÈÔ ÏÂÔÓ¤ÎÙËÌ· ÁÈ· ¤Ó· ‚È‚Ï›Ô Ó·¤¯ÂÈ ‰ÔÎÈÌ·ÛÙÂ› ÚÈÓ ÂÎ‰ÔıÂ› ÛÂ Ú·ÁÌ·ÙÈ-Î¤˜ Û˘Óı‹ÎÂ˜, ÌÂ Ú·ÁÌ·ÙÈÎÔ‡˜ Ì·ıËÙ¤˜(Piloting), Î¿ÙÈ ÙÔ ÔÔ›Ô ·ÔÙÂÏÂ› ··Ú·›-ÙËÙË ÚÔ˘fiıÂÛË ÙË˜ ‰Ô˘ÏÂÈ¿˜ Ì·˜. MÂ ¿Ï-Ï· ÏfiÁÈ· ‰ÂÓ ·Ú¿ÁÔ˘ÌÂ ÂÎ·È‰Â˘ÙÈÎfi ˘ÏÈ-Îfi ·ÔÎÔÌÌ¤ÓÔÈ ·fi ÙË ‰È‰·ÎÙÈÎ‹-Û¯ÔÏÈÎ‹

Ú·ÁÌ·ÙÈÎfiÙËÙ·.¶ÔÈÔÈ ·Ú¿ÁÔÓÙÂ˜ Û·˜ ˆıÔ‡Ó Î¿ıÂ ÊÔÚ¿

ÛÙË ¤Î‰ÔÛË ÂÓfi˜ Ó¤Ô˘ ‚È‚Ï›Ô˘;¶ÚÈÓ ·ÔÊ·Û›ÛÔ˘ÌÂ ÙËÓ ¤Î‰ÔÛË Î¿ÔÈÔ˘

Î·ÈÓÔ‡ÚÁÈÔ˘ ‚È‚Ï›Ô˘ Ì·˜ ÌÂÏÂÙ¿ÌÂ ÙÈ˜ ÌÂÙ·-‚·ÏÏfiÌÂÓÂ˜ ·Ó¿ÁÎÂ˜ Î·ıËÁËÙÒÓ Î·È ÛÔ˘-‰·ÛÙÒÓ. ¶ÚÔÛ·ıÔ‡ÌÂ, ¤ÙÛÈ, Ó· ·ÓÙ·ÔÎÚÈ-ıÔ‡ÌÂ ÛÂ ·˘Ù¤˜ ÌÂ Ó¤Â˜ ÂÎ‰fiÛÂÈ˜ ‹ Î·È ÚÈ˙È-Î¿ ·Ó·ÓÂˆÌ¤ÓÂ˜ Â·ÓÂÎ‰fiÛÂÈ˜ ÙˆÓ ÛÂÈÚÒÓÎ˘Ú›ˆÓ Î·È ‚ÔËıËÙÈÎÒÓ ‚È‚Ï›ˆÓ, ÏÂÍÈÎÒÓÎ·È ˘ÔÛÙËÚÈÎÙÈÎÔ‡ ˘ÏÈÎÔ‡ ÙÔ˘ ÂÎ‰ÔÙÈÎÔ‡Ì·˜ Ô›ÎÔ˘. N· ÙÔÓÈÛÙÂ› ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi fiÙÈ¤Ó·˜ ·fi ÙÔ˘˜ Î‡ÚÈÔ˘˜ ÛÙfi¯Ô˘˜ Ì·˜ Â›Ó·È ËÂÈÙ˘¯›· ÙˆÓ Ì·ıËÙÒÓ Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡ÓÙ· ‚È‚Ï›· Ì·˜ ÛÙÈ˜ ÂÍÂÙ¿ÛÂÈ˜ ÙˆÓ ‰È¿ÊÔÚˆÓ

‰ÈÏˆÌ¿ÙˆÓ ÁÏˆÛÛÔÌ¿ıÂÈ·˜ Î·È Ë ˘ÔÛÙ‹-ÚÈÍË ÙˆÓ Î·ıËÁËÙÒÓ ÁÈ· Ó· Ê¤ÚÔ˘Ó ÂÈ˜ ¤-Ú·˜ ÙÔ ¤ÚÁÔ ÙÔ˘˜. ø˜ ÂÎÙÔ‡ÙÔ˘, ·Ú·ÎÔÏÔ˘ıÔ‡ÌÂÛÙÂÓ¿ fiÏÂ˜ ÙÈ˜ ÂÍÂÏ›ÍÂÈ˜Î·È ÛÙÔ ¯ÒÚÔ ÙË˜ ÈÛÙÔ-Ô›ËÛË˜ ÙˆÓ ÈÙ·ÏÈÎÒÓ Î·ÈÙˆÓ ÈÛ·ÓÈÎÒÓ.

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¶Ò˜ ‚Ï¤ÂÙÂ ÙËÓ ÂÍ¤ÏÈ-Í‹ Û·˜ ÛÙËÓ ‰‡ÛÎÔÏË ·ÁÔ-Ú¿ ÙÔ˘ Û‹ÌÂÚ· Î·È ÙÔ˘ ·‡-ÚÈÔ;

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O ÛÙfi¯Ô˜ Ì·˜ ·˘Ùfi˜ ·-ÔÎÙ¿ Û¿ÚÎ· Î·È ÔÛÙ¿ ˆ˜·ÔÙ¤ÏÂÛÌ· ÛÎÏËÚ‹˜ Î·ÈÌÂıÔ‰ÈÎ‹˜ ÂÚÁ·Û›·˜ ÂÓfi˜¿ÚÙÈ· ÂÈÛÙËÌÔÓÈÎ¿ Î·-Ù·ÚÙÈÛÌ¤ÓÔ˘ ÂÈÙÂÏÂ›Ô˘Î·ıËÁËÙÒÓ-Û˘ÁÁÚ·Ê¤ˆÓÙÔ˘ ÂÎ‰ÔÙÈÎÔ‡ Ô›ÎÔ˘Primus, Ô˘ ‚·Û›˙ÂÙ·È ÛÙËÛ˘ÓÂ¯‹ ÂÓËÌ¤ÚˆÛË Î·È Â-ÈÌfiÚÊˆÛË, ÛÙË ¯Ú‹ÛË

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H°ÈÒÙ· K·¿ÙÔ˘, ÂÎ‰fiÙÚÈ· Î·È ‰ÈÂ˘ı‡ÓÙÚÈ· ÙÔ˘ ÂÎ‰ÔÙÈÎÔ‡Ô›ÎÔ˘ Primus Ô˘ ‰Ú·ÛÙËÚÈÔÔÈÂ›Ù·È ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÙ·ÏÈ-ÎÔ‡ Î·È ÈÛ·ÓÈÎÔ‡ ‰È‰·ÎÙÈÎÔ‡ ‚È‚Ï›Ô˘, ÌÈÏ¿ÂÈ ÛÙËÓ Lingua

Franca ÁÈ· ÙËÓ ÔÚÂ›· ÙË˜ ÛÙÔÓ ¯ÒÚÔ ÙˆÓ Í¤ÓˆÓ ÁÏˆÛÛÒÓ.

1166

Good teachers are said to havean elusive quality called‘presence’. But where to

begin to develop this quality? Thisarticle suggests some ideas forbuilding the kind of teacher skillsthat come across in the classroom as‘presence’..

First of all, we can learn todevelop our presence by reflectingon our own experience as teachersand, by becoming aware of ourstrengths and weaknesses, perhapslearn to build on the former.

We can also learn from thoseteachers who seem to have relativelygreater success with classes thanother teachers. Here is what ateacher with a reputation for'presence' said about discipline inher class:

"I had to get their attention in theway I spoke, what I said, the way Imoved and so on. The last thing Iwanted was to be seen as just anotherboring old teacher. The thing was tocreate an atmosphere which saidwe’re having a good time together ... Ididn’t claim to be perfect. If I didn’tknow the answer to any of theirquestions, I’d admit it." (Teacher in aprivate language school)

Research into teacher morale hasshown that teachers working insupportive environments are far less

likely to burn out. If you are findingit difficult to cope with yourstudents, it might be time to startlooking outside the classroom forhelp. Remember: you are not alone!

You are not aloneWe make some suggestions on

how you can deal with difficultiescollaboratively: from the simplest tothe more elaborate, from theimmediate solution of a particularproblem to the longer terminvestment in your owndevelopment.

Read on!It is a pity to miss out on what

others have thought about theproblems you may be experiencing.Reading lessens our feeling of beingalone and also begins to build theknowledge on which new skills canbe built. So don't try and reinventthe wheel and, of course, don'tbelieve that reading alone will solve

all the problems. But taking aninterest in the subject, its theory,practice and development, is itself aform of teacher development. Bookson ELT and language learning mayjust help you to see things from adifferent angle and make a freshstart. In the end, this interest in yourwork shines through andcommunicates itself to students asenthusiasm, which research hasshown is a prime factor in successfulteaching.

Finally, reading about ourteaching problems and theinteresting research that has beendone into these problems may eveninspire us to engage in our own

classroom-based research. This is anexcellent way of growing moreconfident, more professional andmore enthusiastic – which in thelong run are the best remedies formany of the difficulties we face inclass.

* * * The long-term solution – if there

is one – to the difficulties faced bymany teachers lies in your hands, inyour mind and in your ownexperience. This article is aboutbuilding up your confidence andskills in collaboration with others ina similar situation and takingresponsibility for your owndevelopment.

When he was in his 80s, the greatSpanish painter Goya said ‘I am stilllearning’. Perhaps we teachers canlearn from great artists and bymaking learning and development alife-long process we can perhapsmake our teaching just a little bitlike a work of art.

Discuss the problem in the staffroom

One of the best places to startdealing with difficulties outside theclassroom is the staffroom. Betweenclasses or at the beginning of the dayis a good time.

ñ Ask other teachers informallyhow they deal with differentproblems.

ñ Share techniques that haveworked with your colleagues.

ñ Listen to and be supportive ofyour colleagues, too.

It is crucial to avoid thedownward spiral into endlesslycomplaining about students – sadlyall too common in staffrooms.

Arrange a teacher meetingIf you do find you are not alone in

having trouble with a class or anaspect of teaching (large classes,homework never getting done, etc),a less informal exchange may becalled for.

ñ Organise a teacher meeting todiscuss it more formally.

ñ Draw up a new code ofbehaviour to be established in theschool, or a set of suggestions onhow to manage the problem. It isalways best if you have support ofmanagement, and their participa-tion, for this kind of initiative.

Professional DevelopmentProfessional Development“I rush from one lesson to the next and I hardly ever get the chance

to talk to other teachers. It’s a lonely job”

Luke Prodromou and Lindsay Cladfield

1177

Set up a workshopApart from encouraging teachers

to get together for discussion, youcan also:

ñ Organise a workshop to addressa particular difficulty.

ñ Invite an outside teachertrainer or speaker to deliver theworkshop.

ñ Lead the workshop yourself.The outcome of a workshop

should be a practical activity (oractivities) that teachers can go andtry out in their classes ‘tomorrow’ or‘on Monday morning’.

Set up a swapshopAn alternative idea is a swapshop,

where everybody brings ideasrelating to a certain theme (e.g."more speaking in English" or"judicious use of L1") and presentsthem to the group.

ñ Bring up some ideas yourself tobegin with to get things started.

ñ Have the group appointsomeone to take notes and to writeup the main points of the meeting.This role, of course, should berotated.

The very fact of sharing makes theprocess of developing as a teacherless judgemental and threatening.The more teachers can be involvedin this exchange the more

democratic it is and the less‘competitive’. "Star teachers" arereplaced by good members of ateam, who note that outstandingteaching practice depends on thework done by others.

Organise a teacher developmentgroup

All of the ideas mentioned so farcan be brought together andsynthesised over a longer period oftime by the formation of a TeacherDevelopment Group. The aim ofsuch a group is decidedly not to‘train’ teachers and assess theirabilities but to create a sharing,supportive context in which teacherscan grow together. Here are someideas to get you started:

ñ Set up a teacher developmentgroup with the established aim ofdiscussing and sharing teachingtechniques.

ñ Try to find a regular time andplace to hold a get-together.

ñ Focus on a different area eachtime.

ñ Set the first theme yourself anddo some background reading to getthings started.

ñ Find an article from aprofessional magazine or journaland distribute it a few days beforethe meeting.

ñ Discuss articles and issuesbrought up by the group in the lightof what you have read and/or yourown experience.

The atmosphere and ethos of sucha group is, by definition, non-judgmental and exploratory.

Ask a colleague to watch you teachIf you have been having trouble

with a particular class, try asking acolleague you trust and respect tocome and watch you teach (assumingof course this is possible, time-wise).

ñ Tell your colleague what youwould like them to look out for (e.g.opportunities to have studentsspeak, transitions between activities,moments when ‘disruption’ or lackof attention occur).

ñ Ask your colleague to makenotes but not interrupt the class.

ñ Find some time to share viewsand ideas about the class when it isover.

For most teachers, being observedis one of the most nerve-wrackingexperiences we have to go through.This is a great pity as it is also one ofthe best ways of discovering whatkind of teacher we are: it helps getaway from the ‘lone ranger’ view ofteaching – knowing ourselves isdifficult without the fresh view anoutside observer brings – and it is an

excellent way of ‘not feeling alone’.

Watch a colleague teachDo you have a colleague who is

renowned for excellent classroommanagement or discipline? Haveyou always wondered how they do it?You’ll learn a lot from seeinganother teacher in action – and it issomething that teachers don’t get todo that often.

ñ Ask to sit in on their class once.ñ Conduct an informal interview,

before and after, and listen to howthat teacher explains his or hersuccess.

But we don't have to limitourselves to "good" teachers. It isoften said that observing a badlesson can teach us as much asobserving a good lesson. This is a bitlike saying ‘I didn’t like the film but itmade me appreciate the films I dolike’.

ñ Get away from the idea that wewatch other people at work, whetherteachers or not, in order to judgethem.

ñ Change the framework andmind-set of observation tosomething like ‘I am observing inorder to understand the mechanicsof teaching, in all its rich and subtlevariety; how one thing we do in classhas an impact on another’.

In observing other teachers we arelearning to see more clearly whatteaching is all about.

Exchange classesAssuming always that this is

possible, why not exchange classesone day with a colleague who isteaching at the same time as you?This tactic may also be useful inmoments of stress with a particularclass – it gives both sides a chance tocalm down and reflect – and evenappreciate the strong points of theother side.

ñ Get together after the class andcompare notes. How did the classgo?

ñ Make suggestions for eachother.

Suddenly having to face anothergroup of students is anotherpotentially refreshing process and away of improving the way we seeboth teachers and learners.

–––––––––––––––Luke Prodromou has a PhD from

the University of Nottingham. He is theauthor of Smash (A-D), published byMacmillan.

Lindsay Clandfield is a teacher andteacher trainer in Spain. He is theauthor of Straightforward, publishedby Macmillan

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1188

This years EALTAconference, May 19-21,(European Association for

Language Testing andAssessment) was held in Krakow,Poland and again, like last year,it was the perfect opportunity tocombine learning with pleasure.Taking a week off was just whatany doctor would haverecommended for an overworkedbody and soul, and I did just that.The theme of the Conferenceand the presentations was“Bridging the Gap betweentheory and Practice”. In myopinion, a very practical and realproblem. The Keynote speaker,Professor Charles Alderson, of

Lancaster University very aptlyposed questions concerning thegap between teaching andlanguage testing. He questionedwhether or not theory couldlearn from practice and if it werenecessary for everything to beapplicable to the realities oftomorrow and why couldn’ttheory just help us to understandrather than be applicable?

Maybe the answer here is thattheorists and practitioners areremote from everyday practice.This would mean that there is anenormous gap between languageteaching and testing, but where?It is between theory and practiceor the ideal and the real?My conclusion was that there isreality which means gapsbetween what we teach versuswhat is learned or tested.He also addressed the problemof how the element of a testtakers culture, age, worldknowledge and experience, hisneed for taking the specific test,and his experience in takingvarious types of tests all play arole in the final outcomemeaning the test taker’s grade.Of equal importance are thelevel of education of the testtaker and his social standingsince all this adds to hisexperience and world knowledge.On the other side of the scale we

have the element of how welltrained testing teachers reallyare. How many times have yourstudents/candidates come out ofan examination and told you thatthe examiner told us we couldn’ttake notes in the listening sectionwhen we all know for a fact thatthis is allowed. Or, the examinergave us 5 minutes less than theallotted time?

No less important is therelevance of available books tothe level and needs of thestudents sitting any examination.Also of interest and veryimportant to Greek reality wasthe presentation by ConstanceTsangari of Lancaster University.Ms. Tsangari talked about“Linking Textbook Materials toExam Specifications.”I could go on and give a shortresume of all the presentationsbut I won’t. If you are interestedit’s all on the net on the EALTAsite.From a tourist’s point of view

Both an Academic and Tourist view of the EALTAConference in Krakow Poland May 19-21, 2006

Sylvia Kar reports from Krakow

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1199

Graded Readers: a Great Way to Get Students Reading MoreBill Bowler reminds us of thebenefits of extensive reading andtakes a fresh look at how to usegraded readers both in and out ofthe classroom.

Why Don’t We Do it?

Extensive reading is a wonderfulway for students to build up theirconfidence in English. It’s lessstressful than listening, whereoften the words seem to whizz byon the cassette or CD. Withreading, students can go at theirown pace and they can go back tothe start of a sentence orparagraph and read it again if theydidn’t understand it the first time.Unlike the listener, the reader is infull control of the readingexperience.Extensive reading is also aneffective way for students toexpand their vocabulary. Everystory has its own core words whichget recycled throughout. Thismeans extensive reading is idealfor acquiring new lexis-wordsalways appear in context, and thereis a constant remeeting of coreitems as the story progresses,which helps consolidate vocabularyin the long-tern memory store.The third great advantage ofextensive reading is to introducean alernative reality into theclassroom. This can be extremelyuseful with English classes whosemembers already know each othervery well, for example secondaryschool classes. Getting students totake on a character from a storythey’ve just read and ask andanswer questions in role, iscertainly more interesting thanstudents asking and answeringpersonalised questions to whichthey already know the answers.So, if extensive reading is such agood thing, why don’t we get ourstudents to do more of it? Thereare two main reasons, in myexperience:ñ We find it hard to chooseauthentic texts that areappropriate for our students toread. (Just because a book is rightfor native speakers of a certain ageto read, it doesn’t follow that it willbe right for EFL classes of thesame age).ñ We find it hard to fit lots ofextensive reading time into aweek’s timetable. (After all,students must learn grammar,vocabulary and other skills duringEnglish classes too).

Graded ReadersThe newest generation of full-colour graded readers can certainly

help make reading a moreappealing proposition. Thesebooks have been specially written,or specially adapted from existingstories, with the EFL, student inmind. This means:ñ You can easily choose gradedtexts which are appropriate to yourstudent’s level and age.ñ Students can read gradedreaders without needing a lot ofexternal support from the teacheror a dictionary in order to copewhith difficult new language. It’stherefore easier to get students toread independently outside classtime.Some graded readers aresimplified versions of existingstories, manyof which arecurrent filmor TV titles.For example,the ScholasticELT readersseriesincludes titlessuch as BillyElliot,BatmanBegins,Catwomanand Buffy theVampireSlayer. Theadvantage ofusing afamiliarcharacter orstory is clear-studentsknowsomethingabout themalready in themothertongue, and so reading a wholebook in English will not be such adaunting experience. Also, if youhave a DVD of the film or TVshow in question, you can show ascene from it to get students topool class knowledge about themain character and to build upinterest in the story before theyread. It can also be an interestingtask to get students to compare thefilmed version and the bookversion of a selection of scenes.Other graded readers are original,specially written stories, such asThe In-Crowd an DJ Ambition inthe Scholastic ELT series. Theadvantage of an original gradedreader is that the plot is comlpetelyunknown. The students are not justrereading a familiar story inEnglish.

Motivating StudentsHere are four top techniques to

build motivation before studentsread:ñ A cover-based preview of thebook, particulary useful with anoriginal reader, such as The In-Crown. Get students to look at thepicture on the front cover, togetherwith the back blurb (the teasingtext on the back cover whichdescribes the start of the story).Then ask students to predict —inpairs or small groups— what theythink is going to happen in the restof the story.ñ Introduce students —usingartwork and brief descriptions— tothe main characters who willappear in the story, and perhapssome story events and information

about the setting of the story too.This way the students have somebasic orientation to the story fromthe very start. Ask students topredict what happens between thecharacters. (The “People andPlaces” pages at the start of theScholastic ELT readers offeruseful “before reading” material.Classroom exploitation tips andbackground information areprovided in the downloadableteacher’s notes for each title, too).ñ Ask students to talk in apersonalised way about the themeof the book. For example, beforestudents read the story DJAmbition, you could ask membersof the class to talk about their ownambitions.ñ Ask students to talk about otherstories in the same genre. Forexample, before reading a Buttythe Vampire Slayer book, youcould ask students if they have

read other vampire stories such asDracula or seen any films or TVprogrammes about vampires. Inthis way you can encouragestudents to pool class knowledgeabout the rules of vampire fiction(how people become vampires,how to recognise a vampire, whatvampires like or dislike and how tokill one).

Good Reading Habits

Apart from building upmotivation, there are a number ofother things the teacher can do topromote good reading habits.Naturally good readers usually:ñ make predictions about story

content fromthe word go.ñ modifytheirpredictions asthey go onreading thestory.ñ skim overnew wordsthey meetand arecontent tounderstandtheir generalmeaning incontext, inorder to geton with thestory.We can usedifferentclassroomtechniques toencourage allstudents, notjust the mostapt, to do

these things.

Breaking Things Down

These days, for young learners,exposed to DVDs, CD-ROMs andcolourful computer environmentsfrom an early age, reading a black-and-white book can seemunattractive. Many youngerstudents are losing the ability toconcentrate on a book for a longtime.A good way to solve attention spanproblems is to give all students inthe class the same book to readchapter by chapter. This breaks adaunting task into moremanagealbe “chunks”.Once students have finishedreading the first chapter, bringthem together in class to compareimpressions. Get them to lookback at their earlier predictions,since their ideas may have changed

as the plot has developed.Weak students will find chapterthree of a story very difficult tofollow if they haven’t understoodthe general point of chapters oneand two. They are likely to goprogressively ”off track” as theywork their way through a book,unless they are brought back “ontrack” in some way. It is thereforeextremely useful for weakerstudents to pool theirunderstanding of the story so farwith stronger students in a classdiscussion at the end of everychapter.These kind of between-chapterdiscussions can be solely teacher-led oral work, but they are in myview much more effective whenbased on written promptquestions. (The downloadablechapter-by-chapter resource sheetactivities and the self-study activityquestions which come at the backof the Scholastic ELT gradedreaders are ideal for this purpose).

Vocabulary

You can pre-teach some beforestudents start a graded reader, oractivate it at regular intervalsbetween chapters. Vocabulary gap-fill exercises (where you askstudents to complete gappedsentences wiht the correct lexicalitems) are a good way to checkstudents have grasped the meaningof new vocabulaty items. Ifnecessary, allow them to usedictionaries for support as they dothese exercises.However, it’s important also toencourage students to understandas much as possible without using adictionary. Looking up everysecond word breaks the readingflow and can end up turningreading into a bore and a chore.Students should get used to acertain amount of fuzzyunderstanding when they readextensively in English. Encouragestudents to make a note of newwords as they come up, but not tolook up those words in thedictionary at that point. Insteadask them to try to work outpossible meanings or translationsof the new vocabulary items fromcontext and to note these downbefore getting on with reading.When a student finishes a chapter,allow them to lool up in adictionary one or two of the wordsthey noted down to check if theirguesses were correct. In this way,students soon realise they canoften satisfactorily deduce


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La prepararación de exámenes de español como lengua extranjeraIñaki Tarrés, Sergio Prymak I.C. de Varsovia

Part B’

En resumen, los dos factoresmás determinantes de todo elexamen son el factor tiempo, y elfactor soledad. Téngase en cuentaque una completa y actualizadainformación sobre el examenpuede contribuir, entre otrascosas, a paliar las dificultades detipo emocional,fundamentalmente el estrésgenerado por este tipo desituaciones, que se presentan a lahora de enfrentarse al examen.

A continuación haremos unresumen de las pruebas y de susdificultades más importantes.

La primera prueba: Comprensiónde lectura

Esta prueba consiste en que elcandidato demuestre queentiende textos de distinto tipo.Para ello se le presentan cuatrotextos. Las característicassintácticas de los textos, según losanálisis realizados sobre cincomodelos, no supone una excesivacomplejidad: hay pocas

apariciones del presente desubjuntivo, las oraciones derelativo se circunscriben a lasadjetivas y sustantivas, lospárrafos no son especialmentelargos, el número de palabras nosuele superar las 450. Ladificultad léxica consiste sobretodo en términos específicos y enun nivel más o menosformal/escrito, pero no abundanlos sustantivos abstractos ni laterminología técnicas del temaque trate el texto. Normalmentese trata de textos adaptados. Latipología de textos está definidapor el Instituto Cervantes en supágina Web.

Para demostrar la comprensiónde dichos textos el candidatotiene que responder a 12preguntas que se refieren aaspectos más o menos generalesdel texto, 3 preguntas por texto,de dos tipos: de verdadero/falso, ode tres opciones para elegir larespuesta correcta según el texto.Considerando teóricamente unreparto equitativo de los 60minutos disponibles, se puede

establecer que tiene 15 minutospara cada texto.

Aunque la habilidad evaluadaes la lectora, y para realizarlatendrá que leer los textos, en lapráctica la tarea consiste enresponder a unas preguntasconcretas, y es ésa quizá laprincipal dificultad de la prueba,encontrar en el texto lainformación necesaria para sabersi la pregunta es verdadera ofalsa, o a cuál de las opcionescorresponde lo que dice el texto.La transformación del texto en lapregunta puede pasar por uncambio de enfoque, unaestructura sintáctica diferente o eluso de sinónimos. Estatransformación supone una seriede relecturas atentas tanto deltexto como de las preguntas. Sepuede dar el caso del candidatoque, aunque entiende el texto, noconsigue dar con la respuestapues no est· acostumbrado a estetipo de transformaciones. Labúsqueda de la frase o frases o elpárrafo que contienen lainformación necesaria para

responder a las preguntassuponen una serie de lecturas yrelecturas y tipos distintos delectura que es importantepracticar pues pueden llevar alcandidato m·s tiempo del que elcandidato dispone para estaprueba.

La segunda prueba:Expresión escrita

En esta prueba el candidatodeberá escribir dos textos deentre 150 y 200 palabras cadauno: una carta personal y unacomposición de tono narrativo,descriptivo, o de opinión. Paraello, el candidato dispone de 60minutos. Se le ofrecen dossituaciones para cada tipo detexto, de las que tiene que elegiruna. Dispone de una hoja deborrador. Téngase en cuenta, eneste sentido, que el uso de la hojade borrador para escribir unprimer texto que luego se pasa alimpio supone estar escribiendocuatro textos. Un usoinapropiado de dicha hoja enrelación con el tiempo disponible

puede llevar a no poder entregarlos textos definitivos.

La dificultad principal de estaprueba pasa por dos factores. Porun lado, el candidato deberáseguir al pie de la letra todas ycada una de las instrucciones, esdecir, que el tipo de texto encuanto a registro, situación,relación con el remitente,funciones comunicativas quedebe expresar (invitar,disculparse, describir un lugar,expresar opiniones, etcétera), est·muy definido previamente, y nodebe salirse de esos límites. Porotro lado, no es una situaciónreal, tiene que interiorizar lasinstrucciones pero crear un textopropio. Es decir, tiene que oscilarentre una situación muyreglamentada y una necesidad decreatividad para satisfacer unasituación que se presenta comoreal (por ejemplo, escribir unacarta de invitación).

Existe un tercer factor asociadoa los dos anteriores que puedecontribuir a la dificultad de latarea, o cuanto menos a realizarla

de formainsatisfactoria, y quetiene mucho que vercon algo que afecta alexamen en sutotalidad: ya lo hemost r a t a d oanteriormente, lascreencias de loscandidatos. Muchoscandidatos tienen latendencia aextralimitarse en estaprueba y a intentarhacer cosas que no sele piden, o a hacerlasdesmesuradamente, oa intentar dar unaimagen deo r i g i n a l i d a d ,c r e a t i v i d a d ,inteligencia, que no esnecesario dar. Es unatendencia que puedeobservarse tambiénen la prueba deexpresión oral,aunque menos, y quequiz· tienen que vercon la necesidad degarantizar unresultado exitoso,cuando en la prácticalo que puede sucederes lo contrario, puesescribir m·s de loe s t r i c t a m e n t enecesario puedeprovocar situacionesarriesgadas en las que∂È‰ÈÎ‹ ¶ÚÔÛÊÔÚ¿: -20% ÛÙÈ˜ ÂÎ‰fiÛÂÈ˜ EDELSA

OÈ ¶ÂÏ¿ÙÂ˜ Ì·˜ ‰ËÌÈÔ˘ÚÁÔ‡Ó ¶·È‰Â›·EÌÂ›˜ ‰ËÌÈÔ˘ÚÁÔ‡ÌÂ Û˘Óı‹ÎÂ˜ ¶·È‰Â›·˜

www.marantoni.grAlways First, always Best

se cometan más errores de los que sehubieran cometido manteniéndose enlos límites de lo solicitado en lainstrucción. Por ello, es importanteleer bien las instrucciones y seguirlastal cual aparecen.

Es necesario hacer una aclaraciónen relación con los tiempo: aunque eltiempo disponible es de 60 minutospara cada una de las dos primeraspruebas, en la pr·ctica se administranjuntas, con lo que el candidato puedeorganizarse en función de sus propiashabilidades. Si es m·s diestrobuscando información en un texto,puede reservar más tiempo a laescritura, y viceversa.

La tercera prueba:Comprensión Auditiva

En esta prueba la tarea essemejante a la de Comprensión delectura en cuanto a número y tipo detextos –que suelen ser m·s cortos–, yen cuanto a las preguntas. Ladiferencia está en que los textos, deuna tipología algo distinta, seescuchan, en concreto dos veces, y nose leen. Los procesos detransformación del texto en preguntason semejantes. Se dispone de dosminutos para contestar.

Es probablemente la prueba m·sestresante, en especial paracandidatos de idiomas alejados delespañol fonéticamente. La audiciónno se puede detener en ningúnmomento ni se puede oír más de dosveces. En ese tiempo, y mientrassuena el texto, el candidato tiene queir leyendo las preguntas delcuadernillo de preguntas yseleccionando la respuesta correcta,comparando información, frasesligeramente diferente o sinónimos. Elestrés de la prueba es la principaldificultad, la exigencia deconcentración absoluta, la capacidadpara representarse informacióntransmitida por canal auditivo que nose puede retener, apresar, detener.Esta sensación se agudiza cuandoencontrar la respuesta correctadepende de la capacidad parareconocer y aislar determinadosfragmentos del texto, o más aún,determinadas palabras.

La cuarta prueba:Gramática y vocabulario

En esta prueba, el candidato tendráque realizar dos ejercicios. En elprimero encontrará un textoincompleto. Hay 20 huecos con tresopciones por cada hueco. Tiene queelegir la opción que completacorrectamente el texto. El contenidoes de vocabulario o gramatical. En elsegundo ejercicio encontrar· una seriede diálogos breves que pueden tenertres tipos de mecánica: a) 10 diálogoscon una palabra o expresióndestacada para la que hay que elegiruna opción entre tres (ejercicio devocabulario); b) 10 diálogos

incompletos con 2 opciones, dondesólo una es la correcta (ejercicio degramática); c) 20 diálogosincompletos con 4 opciones, dondesólo una es la correcta (ejercicio degramática).

Respecto al primer ejercicio, ladificultad es doble. El candidato nosólo deberá ser capaz de reconocer laopción correcta, sino de hacerlo enrelación con el texto. Es decir,indirectamente es también unaprueba de lectura. En el segundoejercicio la dificultad se refiere alconocimiento lingfióstico del idioma.

La quinta prueba:Expresión oral

Esta prueba consiste en unaconversación entre el candidato y unapersona del tribunal (compuesto pordos personas). Tiene tres tareas: a)describir y contar una historia que sepresenta en forma de dibujos, al finalse representa (hay que improvisarlo)la última viñeta de esa historia; b)presentar un tema previamentepreparado; c) una conversación con elentrevistador a propósito del temapresentado.

La dificultad de esta prueba tieneque ver con la creatividad, en elmismo sentido de la prueba deExpresión escrita, pero también conun factor que hasta cierto punto esmás de tipo personal que lingüístico:la improvisación. La creatividad lanecesitará para desarrollar un temaimpuesto del que a priori no tiene porqué tener alguna opinión formada niexperiencia previa. Téngase en cuentaque los temas se redactan dentro deuna cultura y sociedad concretas, yque los temas de interés de esasociedad no tienen por qué coincidircon los de otras sociedades, por lo quebien puede pasar que se trate detemas que social, e inclusopersonalmente, no supongan unestímulo para la conversación, cuyoobjetivo es, sino al contrario unobstáculo. El candidato necesitaráimprovisar especialmente a la hora derepresentar una de las escenas queaparecen en el dibujo quepreviamente, y sin preparación, habrátenido que describir.

ConclusionesLa pregunta clave puede

formularse de esta manera: ¿quétiene que hacer realmente elcandidato en cada prueba paraaprobar el examen? Esta preguntadeberá guiar toda la preparación,pues ésta no puede consistir enaumentar el nivel de lengua delcandidato. Como decíamos másarriba, un examen de estascaracterísticas pretende establecer siuna persona dispone de un nivelconcreto de lengua. Es decir, ya sabeleer ese tipo de textos, ya sabe escribirese tipo de cartas y conoce lasdiferencias entre iniciar y empezar o

el uso de ser o de estar endeterminados contextos, y se le va apedir que haga una serie concreta decosas, delimitadas en función de lamanera de evaluar los resultados. Portanto, la preparación deberácentrarse en todas aquellas tareas quetendrá que realizar durante elexamen, o en las que puedan ayudarlea realizarlas mejor o másrápidamente. Este criterio parecefundamental a la hora de diseñarmateriales o cursos de preparación.No es cuestión, probablemente, deleer muchos textos, sino deacostumbrarse a buscar informaciónespecífica en textos, a trabajar consinónimos, a interpretar o a definirideas centrales en un texto, a travéspor ejemplo de resúmenes, y comprartodo eso con tres opcionespropuestas.

Otro criterio importante es el deintentar reproducir lo más fielmenteposible las condiciones del examen,en cuanto a individualidad ytemporización se refiere. A serposible, las actividades durante loscursos de preparación deberánrealizarse individualmente, exceptolos que corresponden a la prueba oral,en los que se necesita a otra personapara realizar simulaciones deentrevistas, aunque se puedacompartir el análisis de cómo se harealizado la actividad. Y por otrolado, será necesario tener muy encuenta el tiempo necesario pararealizarlas. Acostumbrarse a medir eltiempo, a establecer planes de acción,a calcular dificultades diferentes yproyectar un orden de realización delas tareas, son todas ellas estrategiasde organización que puedencontribuir, al disminuir la tensión y elestrés, a realizar con éxito una tareaconcreta, un examen.

Y finalmente, el tercer criteriofundamental de la preparación tieneque ver con la información, condisponer de una información real,fiable y actualizada. Los ejercicios quese hagan durante las preparacióntienen que reproducir fielmente losdel examen, tanto en característicasmorfosintácticas y léxicas como ennivel de dificultad, y para ello esnecesario hacer un análisis objetivo ycomplejo del examen. Además, elcandidato tiene que tener una visiónreal de sus propias posibilidades, parapoder gestionar sus propios recursoslingüísticos, cognitivos y emocionales,con el fin de que el examen no seconvierta en una tortura que al finalpueda m·s que el propio candidato.

El manual firmado por este autorjunto con cuatro profesores delInstituto Cervantes, El Cronómetro,manual de preparación del DELE(Nivel Intermedio) sigue básicamenteesos criterios, proponiendo unmaterial útil tanto para el usoindividual del candidato, como para elde cursos de preparación.

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“How does the geographical place and culture intervene“How does the geographical place and culture intervenein the way children acquire the foreign language?”in the way children acquire the foreign language?”

Dr.Theodora [email protected]

We all know whatlanguage is since weacquired it early in

life. There are societies whichdo not have a written language,but there is no society whichdoes not have a spokenlanguage.A general definitioncharacterizes language as asystem of arbitrary vocalsymbols by means of whichmembers of a society interactwith one another.‘Language’ cannot beconsidered to exist alone, ‘in avacuum’, [H.H + E.V. Clark(1977)]. It is influenced byother systems in the humanmind; its structure and functionmust reflect ideas that areconveyed.According to H.H + E.V.Clark, every human languagemust be susceptible of:1. Being learned by children.2. Being spoken andunderstood by adults easily andefficiently.3. Embodying the ideas peoplenormally want to convey.4. Functioning as acommunication system in asocial and cultural setting.Once language has beenlearned, it holds a power all itsown. It would be true to say that itinfluences and shapes manyaspects of our daily lives.There are two fields of study,linguistic universals andlinguistic relativity . Theprincipals of the terms can beexplained as follows:If languages are moulded partlyby the ideas, processingcapacities and social factorseveryone has in common, thenthe languages should haveparticulars features in common- i.e. linguistic universals, forexample, as people in allcultures need to refer to objects,every language has nouns.However, languages are alsomoulded by features of thought,technology and culture.Therefore, there will bedifferences between languages.Considering that languagemoulds people’s ideas andculture, these language specific

features ought to lead peoplewho speak different languagesto think differently. This iswhat is known as linguisticrelativity. It is proved that languageinfluences people’s veryperception and organisation ofthe world.To understand how languagemay be connected with othercognitive abilities, it is necessaryto examine language universals,which are specific not just tolanguage, but are derived fromthe human capacity to perceive,categorise and socialise. As A.Wierzbickastates, whatpeople‘perceive’ iswhat theirbodies tellthem about theworld. In otherwords, thelanguage wespeak possiblysuggests orevendetermines theway weperceive theworld. Knowing alanguageA languageconsists ofsounds andwords.Knowing alanguagemeans knowingthat certainsoundsequencessignify certainmeanings.While speaking in our firstlanguage comes to us in anatural manner, speaking inanother language past ourchildhood often requires someconscious effort in recognizing,identifying, producing,combining, and using thesounds of that language.In order to learn the sounds ofanother language, the followingthree steps are highly useful:imitation, repetition,comparison and contrast of thesound or their combinations

being learned with the sound orsounds of your first language.How children learn thelanguageIt is interesting to consider howchildren build up semanticfields of words for various

conceptual domains. Semanticfields begin to be built from achild’s first words. They startover-extending their words atthe age of 2-6 .The learning of words by a childis a natural process which is'seeded' by the form of theelementary words that it firsthears. The child is naturallyprogrammed to develop aconsistent language of somekind but the environmentdetermines which language thisshould be. Every word in any language is a

product of history and culture.Words carry features of cultureand a careful analysis andunderstanding of these featuresreveal how a society has built itsown world view. Language learning strategiesLanguage learning strategiesare specific actions, behaviours,steps, or techniques that thestudents employ-oftenconsciously-to improve theirown progress in internalizing,storing, retrieving, and using thesecond language.The learning strategies areeither direct strategies-memory,

cognitive, andcompensation– or indirectstrategies-metacognitive,affective, andsocial strategies-. The use oflanguagelearningstrategies bystudents,however, isinfluenced bymany factorssuch asmotivation,gender,culturalbackground,type of task,age andlearning style. Researchproved thatstudents ofdifferentculture havedifferent

learning behaviour. Body differencesThere are significant differencesbetween races regarding theorgans involved in speech.These organs are the tongue,the lips, the teeth, the palate orroof of the mouth, the nose, theglottis, the vocal cords, thelungs and chest muscles.Differences of these kinds leadto different range of sounds bydifferent races. ConclusionThe importance of social andcultural influences upon

learning cannot beunderestimated. It is hard to separate thelearning outcomes of anindividual from his/her learningenvironment.Culture is represented,transmitted and perpetuated bylanguage. Therefore the waychildren acquire their mothertongue in a specific learningenvironment determines theway they acquire new languages.All human brains areprogrammed to learn languages.People are born with millions ofbrain cells, including millions ofthem that control language.During the first years of life, thebrain cells connect with othercells to form complex pathways. Most of the brain’s languageconnections are well-establishedby the age of ten. This is exactlythe reason that makes itimperative for children to beexposed to foreign languages ata very early age. Learning a foreign language is aunique and exciting experience.Students should NOT learn onlygrammar and memorisevocabulary but also learn aboutthe culture of the language theylearn. After all language ishighly connected to culture.To conclude, I would like topoint out that there is no magicrecipe for effective teaching. Asmentioned before, teachersshould bear in mind thatlearning is influenced by manyfactors including culturalbackground and environment.Therefore they should not riskimposing a methodology onstudents that is opposed to theirculture.Despite the differences in theway children all over the worldacquire languages one thing isfor sure.All students, wherever they are,need teachers who are ready toprovide them with uniqueexperiences and introduce themto the culture of the newlanguage. What students need isauthenticity, motivation andsupport.

2233

Los usos culturales en el aprendizaje de lenguasF. Ernesto Puertas, Asesor did·ctico (EDELSA)

Un acercamientodidáctico altratamiento de la

cultura en el aula de lenguasextranjeras nos hace ver cadavez con mayor claridad que lanecesidad de transmitirconocimientos culturales a lahora de enseñar una lenguafacilita el proceso deaprendizaje y el interés delalumno, que de este modo seimplica (no sólo desde el puntode vista cognitivo sino tambiéndesde su socio-afectividad) enla adquisición de contenidosgramaticales, sintácticos,léxicos, etc.La opción de un alumno alelegir una lengua determinadasuele venir determinada engran medida no sólo por lautilidad que espera dar en eluso a esas habilidadescomunicativas que va adesarrollar, sino también alatractivo que siente por lacultura que representan lascomunidades lingüísticas que lahablan; por este motivo, resultaimprescindible plantearse(como un incentivo útil paraafrontar aspectos más áridos ydifíciles) la utilizaciónsistemática de temas culturales,mediante los que el alumno vafamiliarizándose con losaspectos más llamativos einteresantes de esa cultura en laque, tarde o temprano, va atener que interactuar.Qué duda cabe de que hay unosconocimientos culturales que elalumno adquirirá a lo largo desu aprendizaje, pero no está tanclaro que para los programaseducativos los contenidosculturales sean objeto deatención preferente ysistemática, por los problemasque a veces se tienen paraacceder a dichos contenidos através de unidades didácticasen las que no se incluyenapartados específicos así comola carencia de materiales parael tratamiento de estos temascon textos adaptados para laexposición e introducción detemas culturales en las clases desegundas lenguas. Por estemotivo, conviene recordar queen los manuales más recientes,pongamos por caso Nuevo Ven,el conocimiento socioculturalconstituye un apartadoconcreto que se trata de formacontinua y sistemática, en todosy cada uno de los temas,adaptándose el tema tanto al

nivel en el que se encuentra elalumno como a la temática quesirve de referencia para launidad didáctica. De estemodo, se abordan aspectoscomo los hábitos alimenticios,la pintura española,celebraciones como el día deReyes o el matrimonio, laincorporación femenina almundo del trabajo, los hábitosde consumo, los programas detelevisión, el sistema educativoespañol, las supersticiones, etc.,hasta el punto de que, enalgunos casos, se toma comopunto de partida para hablar delos sentimientos y paradescribir estados de ánimo,usando oraciones exclamativas,comparativas condicionalesademás de repasar los usos yfunciones del “se”.Cuando pensamos en cultura,inmediatamente nos inclinamosa referirnos a la literatura y alarte como manifestacionesclaramente culturales quepertenecen a una comunidadidiomática, de ahí que a partirde las lecturas graduadas sepueda acceder en un primermomento y desde los nivelesiniciales de aprendizaje a lasproducciones literarias de unalengua1. Del mismo modo, ygracias a su universalidad portratarse de elementosiconográficos, la pintura y laarquitectura sirven tambiénpara facilitar un conocimientogradual de la cultura o lasculturas que representan al paíso países en que se comparte lalengua meta que el alumnodesea adquirir y en la quepaulatinamente va a irintroduciéndose.Por su carácter mixto, icónico ylingüístico, el cine, así como lamúsica, tienen la virtud de serherramientas útiles para ayudaral estudiante a acelerar suproceso de adquisición de lalengua mediante lafamiliarización con una serie deelementos que trascienden lomeramente lingüístico paraconvertirse en elementoscomunicativos gracias a lafacilidad que a los procesoscognitivos suele propiciar lautilización de aspectos afectivosy sentimentales, habitualmentemovilizados por las historias devida y los entornossignificativos en que sedesarrollan los productosculturales, es decir, junto conotros conocimientos, históricos

por ejemplo, o gramaticales,léxicos, etc., el alumno va a irconociendo usos y costumbresasí como objetos cotidianos,que se encuentran en la vida delos hablantes diarios, lo queexplica en gran medida elmundo mental en que sedesenvuelven y viven. A travésde la Cultura (con mayúscula)en que se pueden centrar loscursos de cultura y civilización,implícitamente se van a trataraspectos aledaños que atiendena menudo a la psicología y aluniverso mental en que se vaconformando el hablante comoagente social.De ahí que sea recomendablepara el profesor atender a esoselementos culturales queaparecen en la clase y que,representativos de lo quepodríamos denominar culturacotidiana (o con minúscula),acercan e introducen alaprendiente de lenguas en eluniverso cultural que cadalengua representa, sinolvidar que la propialengua es un elementocultural facilitador de latransmisión de la cultura.Por este motivo, la mismaclase de lengua extranjerano es sino una clase decultura y de civilización,en la que se atiende aaspectos múltiples ydiversos y en la que ladinámica de aprendizajeno consiste en una meraadquisición cognitiva,intelectual o mental, sinoque comporta la puesta enpráctica de los elementosaprendidos. Una nueva osegunda lengua seaprende para ponerla enpráctica, puesto que encaso contrario seconvierte en unconocimiento inútil,propenso a ser olvidado ya perderse con enormefacilidad; si a ellosumamos la existencia demotivaciones2 paraaprender una lenguafrente a otro tipo deconocimientos yhabilidades, nosencontramos con que engran medida elaprendiente desea entraren contacto con otrasformas de entender lavida, con lo que ellosupone para el profesorde plantearse la necesidad

de solventar mediante latransmisión de contenidosculturales sistematizados elafán de aprender que subyace ala elección realizada por elalumno.La lengua se aprende y sepractica también con un finlúdico, de diversión en unamplio sentido de la palabra,por lo que este componente dejuego y entretenimiento nodebe descuidarse al abordaruna enseñanza integral ycompleta de la lengua. Paraadquirir la competenciacultural en función de la cual elestudiante de una segundalengua se sentirá plenamenteintegrado en el ámbitointercultural que le ofrece lanueva forma de expresarse,nada mejor que elconocimiento de los usos ycostumbres sobre los que seestructura la vida cotidiana enaquel o aquellos países en que

va a integrarse para practicar lanueva habilidad comunicativaque ha adquirido mediante elaprendizaje. Habitualmente, elmaterial al que se recurre pararealizar una aproximacióncultural a los hábitos ycostumbres de un país adolecedel defecto de haber sidoredactado para turistas, viajerosde paso, personas interesadasen lo típico, en lo banal, en losuperficial, en lo falsa yllamativamente denominadofolclórico para afianzar unaimagen prototípica, tópica,prejuiciado y deformada delpaís que se visita, en función deintereses que en nadafavorecen la comunicación y lacomprensión intercultural, porlo que es preciso utilizarmateriales didácticos adaptadosque no caigan en estosdefectos.


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What it feels l ike to be dyslexic“On a visit to China I felt outside society. I couldn't understand the written codes around me.

Then I understood what it felt like to be severely dyslexic”

Liz Brooks, formerly Executive Director, DI

Dyslexia ChecklistIf the answer to most of thefollowing questions is 'Yes' itwould be wise to seek advice:

All agesñ Is s/he bright in some ways witha 'block' in others? ñ Is there anyone else in thefamily with similar difficulties? ñ Does s/he have difficultycarrying out three instructions insequence? ñ Was s/he late in learning to talk,or with speaking clearly?

Ages 7-11ñ Does s/he have particulardifficulty with reading or spelling? ñ Does s/he put figures or letters

the wrong way e.g. 15 for 51, 6 for9, b for d, was for saw? ñ Does s/he read a word then failto recognise it further down thepage? ñ Does s/he spell a word severaldifferent ways without recognisingthe correct version? Does s/he have a poorconcentration span forñ reading and writing? ñ Does s/he have difficultyunderstanding time and tense? ñ Does s/he confuse left and right? ñ Does s/he answer questionsorally but have difficulty writingthe answer?ñ Is s/he unusually clumsy? ñ Does s/he have trouble withsounds in words, e.g. poor sense of

rhyme?

Ages 12 - adultñ Is s/he sometimes inaccurate inreading? ñ Is spelling poor? ñ Does s/he have difficulty takingnotes or copying? ñ Does s/he have difficulty withplanning and writing essays, lettersor reports?

Some common problemsYou may think:S/he's not listeningñ S/he may have difficulty inremembering a list of instructions. ñ S/he may have problems gettingthoughts together coherently forstory or essay writing. ñ S/he may have sequencingproblems and may need to betaught strategies tocope/alternative ways ofremembering.

S/he's lazy ñ S/he may have difficulty inorganising work and need specificteaching to help her/him. ñ S/he may be able to answer thequestions orally but can't writethem down. ñ The child may have found thatthe less s/he writes, the less troubles/he gets into for making mistakes

S/he's not concentratingS/he may have difficulty in copyingaccurately. This is often becauses/he cannot remember chunks butneeds to look at each letter, writeit, then look at the board again,find the place, and so on...

S/he's careless ñ S/he may have very poorhandwriting as s/he hasn'tsufficient hand skills to control thepencil.

S/he's not checking work ñ S/he may spell the same wordseveral different ways if s/hedoesn't have the visual memory toknow what is right or thekinaesthetic memory for it to feelright as s/he is writing.S/he doesn't look carefully ñ S/he may have a visual memorydeficiency and thereforeexperience difficulty wheninterpreting symbols.

S/he's being awkward / impossible

on purpose ñ S/he may be able to producevery good work one day and thenext "trip up over every word".“Off days” are quite common andrequire extra encouragement andunderstanding.

Some common strengthsYou may be surprised that:S/he has a good visual eye

ñ S/he may be able to arrange thefurniture in the classroom veryeffectively.

S/he's very imaginative and skilfulwith her/his hands ñ S/he may be able to make thebest models. S/he's practical

O ∂∫¢O∆π∫O™ Ô›ÎÔ˜ «SuperCourse» ˙ËÙ¿ Ó· ÚÔÛÏ¿‚ÂÈˆÏËÙ¤˜ ÁÈ· ÙÔ ÓÔÌfi ∞ÙÙÈÎ‹˜.∂Èı˘ÌËÙ¿ ÚÔÛfiÓÙ· Â˘¯¤-ÚÂÈ· ÏfiÁÔ˘, ÂÈÎÔÈÓˆÓ›·˜ Î·ÈÁÓÒÛÂÈ˜ ÙË˜ ·ÁÁÏÈÎ‹˜ ÁÏÒÛ-Û·˜. ¶·Ú¤¯ÔÓÙ·È ‚·ÛÈÎfi˜ ÌÈ-Ûıfi˜, ·ÛÊ¿ÏÈÛË Î·È ÔÛÔÛÙ¿.∆ËÏ.: 23310-73777.

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...AÁÁÂÏ›Â˜

“It is a lonely existence to be a child with adisability which no-one can see or understand,you exasperate your teachers, you disappointyour parents, and worst of all you know that youare not just stupid.”

Susan HampshirePast President

The Dyslexia Institute. ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 30

2255

You want loyalty? Get a dog!!OÈ «¿ÈÛÙÔÈ» ÂÏ¿ÙÂ˜ ÎÈ ÂÌÂ›˜T

ÔÓ ÂÚ·ÛÌ¤ÓÔ IÔ‡ÓÈÔ ‰ÈÂÍ‹¯ıÂÈ ¤ÚÂ˘Ó· ·fi ÙÔ SASInstitute ÛÙËÓ BÚÂÙ·Ó›· ÁÈ· Ó· ‰ÈÂÚÂ˘Ó‹ÛÂÈ ÙÔ ‚¿-ıÔ˜ ÙË˜ ÈÛÙfiÙËÙ·˜ ÙÔ˘ ÂÏ¿ÙË. ŒÓ· ÂÓÙ˘ˆÛÈ·Îfi

·ÔÙ¤ÏÂÛÌ· ÙË˜ ¤ÚÂ˘Ó·˜ ‹Ù·Ó ˆ˜ ÏÈÁfiÙÂÚÔÈ ·fi ÙÔ ÂÈÎÔ-ÛÈ¤ÓÙÂ ÙÔÈ˜ ÂÎ·Ùfi ÙˆÓ ÂÚˆÙËı¤ÓÙˆÓ Î·Ù·Ó·ÏˆÙÒÓ ‰‹Ïˆ-Û·Ó ··Ú¤ÁÎÏÈÙ· ÈÛÙÔ› ÛÂ Ì›· ÂÈ¯Â›ÚËÛË ÔÔÈÔ˘‰‹ÔÙÂÂ›‰Ô˘˜. OÈ Î‡ÚÈÔÈ ·Ú¿ÁÔÓÙÂ˜ Ô˘ ¤‰ÂÈÍ·Ó Ó· ÂËÚÚÂ¿-˙Ô˘Ó ÙËÓ ÚÔÛÎfiÏËÛË ÛÂ Ì›· Û˘ÁÎÂÎÚÈÌ¤ÓË ÂÈ¯Â›ÚËÛË,‚¿ÛÂÈ ÙË˜ ¤ÚÂ˘Ó·˜, ‹Ù·Ó ÔÈ ÂÍ‹˜ : Ë ÙÈÌ‹, Ë ÂÍ˘ËÚ¤ÙËÛË Â-Ï¿ÙË Î· Ë ÙÔÔıÂÛ›·.

EÓ· ¿ÏÏÔ ·ÓËÛ˘¯ËÙÈÎfi Û˘Ì¤Ú·ÛÌ· Ô˘ ÚÔ¤Î˘„Â ·ÔÙËÓ ›‰È· ¤ÚÂ˘Ó· Â›Ó·È ˆ˜ Ô˘‰fiÏˆ˜ Û˘Ó‰¤ÔÓÙ·È Ë ÈÎ·ÓÔ-Ô›ËÛË ÙÔ˘ ÂÏ¿ÙË ÌÂ ÙËÓ ÈÛÙfiÙËÙ¿ ÙÔ˘. EÓ· 80 ÂÚ›Ô˘ÙÔÈ˜ ÂÎ·Ùfi ‰‹ÏˆÛÂ ˆ˜ ¿ÏÏ·ÍÂ ·Ó Î·È ‹Ù·Ó ÈÎ·ÓÔÔÈËÌ¤-ÓÔÈ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË ÂÈ¯Â›ÚËÛË.

There are three more fingers

°È· Ó· ‚ÂÏÙÈÒÛÔ˘ÌÂ ÙË ÈÛÙfiÙËÙ· ÙˆÓ ÂÏ·ÙÒÓ Ì·˜ ÚÂÈ-¿˙ÂÙ·È Ó· ı¤ÛÔ˘ÌÂ ÔÏÏ¿ ÂÚˆÙ‹Ì·Ù·, Î˘Ú›ˆ˜ ÁÈ· ÙÔÓ ÙÚfi-Ô ÌÂ ÙÔÓ ÔÔ›Ô Ô ÂÏ¿ÙË˜ ‚Ï¤ÂÈ ÂÌ¿˜, ‰ÈfiÙÈ ÙÈ˜ ÂÚÈÛÛfi-

ÙÂÚÂ˜ - ‰˘ÛÙ˘¯Ò˜- ÊÔÚ¤˜ ÔÈ ÔÙÈÎ¤˜ ÁˆÓ›Â˜ ÂÈ¯ÂÈÚËÌ·Ù›·-ÂÏ¿ÙË ‰È·Ê¤ÚÔ˘Ó.

º˘ÛÈÎ¿ Î·È fiÏÔÈ ÂÛÙÈ¿˙Ô˘ÌÂ ÛÙËÓ ÈÎ·ÓÔÔ›ËÛË ÙÔ˘ Â-Ï¿ÙË. E‰Ò Ë Ï¤ÍË-ÎÏÂÈ‰› Â›Ó·È ÙÔ «fiÏÔÈ». ™ÙÔ ·ÓÙ·ÁˆÓÈÛÙÈ-Îfi ÂÚÈ‚¿ÏÏÔÓ ÙË˜ ·ÁÔÚ¿˜, Û‹ÌÂÚ· ,Ë Î¿ıÂ ÂÈ¯Â›ÚËÛËÚÔÛ·ıÂ› Ó· ÈÎ·ÓÔÔÈ‹ÛÂÈ ÙÔÓ ÂÏ¿ÙËÙË˜, . MfiÓÔ ¤Ó·˜ fiÌˆ˜ ·›ÚÓÂÈ ÙÔ «¯Ú˘-Ûfi», ÎÔÈÓÒ˜ ÎÂÚ‰›˙ÂÈ ÙÔÓ ÂÏ¿ÙË.

ŸÙ·Ó ¯¿ÓÂÙ·È ¤Ó·˜ ÂÏ¿ÙË˜ ( ‹ ÂÚÈÛ-ÛfiÙÂÚÔÈ), ÔÏÏ¤˜ ÊÔÚ¤˜ Ë ÚÒÙË ·ÓÙ›-‰Ú·ÛË Â›Ó·È Ó· ·Ó·˙ËÙËıÂ› Ô ˘·›ÙÈÔ˜ ÛÂ‰È¿ÊÔÚÂ˜ Î·ÙÂ˘ı‡ÓÛÂÈ˜. ºÙ·›ÂÈ Ô ·ÓÙ·-ÁˆÓÈÛÙ‹˜, Ô ÂÏ¿ÙË˜, Ô Î·ÈÚfi˜, Ë ÎÚ›ÛËÛÙËÓ ·ÁÔÚ¿, Ô ·Ó¿‰ÚÔÌÔ˜ EÚÌ‹˜ Î.·. .¢ÂÓ ı· Ú¤ÂÈ fiÌˆ˜ Ó· ÍÂ¯Ó¿ÌÂ fiÙÈ“Every time you point a finger atsomeone, there are three more fingerspointing back at you” E›Ó·È ÚÔÙÈÌfiÙÂÚÔ, ÏÔÈfiÓ, Ó· ÎÔÈ-Ù¿ÍÔ˘ÌÂ ÚÒÙ· Î·È Î‡ÚÈ· Ì¤Û· ÛÙË ÂÈ¯Â›ÚËÛ‹ Ì·˜ ÚÔ-Û·ıÒÓÙ·˜ Ó· ÂÓÙÔ›ÛÔ˘ÌÂ Ù· ·‰‡Ó·Ù· ÂÎÂ›Ó· ÛËÌÂ›· Ù·ÔÔ›· ÌÔÚÂ› Ó· Î·Ù¤ÛÙËÛ·Ó ÙÔÓ ÂÏ¿ÙË Ì·˜ Â˘¿ÏˆÙÔ ÛÙÈ˜™ÂÈÚ‹ÓÂ˜ ÙÔ˘ ·ÓÙ·ÁˆÓÈÛÌÔ‡.

EÌÂ›˜ Î·È ÔÈ ÂÏ¿ÙÂ˜ Ì·˜

O ¯Ú˘Ûfi˜ Î·ÓfiÓ·˜ ÙË˜‰È·ÌfiÚÊˆÛË˜ ÙË˜ ·fiÏ˘ÙË˜Û¯¤ÛË˜ ÌÂ ÙÔÓ ÂÏ¿ÙË Ì·˜ Â›-Ó·È Ô ·Ú·Î¿Ùˆ

1. M¿ıÂ ÂÚÈÛÛfiÙÂÚ· ÁÈ·ÙÔÓ ÂÏ¿ÙË ÛÔ˘ ·fi ÔÔÈÔÓ-‰‹ÔÙÂ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈÛÙ‹)

2. N· Â›Û·È ÈÔ ÎÔÓÙ¿ ÛÙÔÓÂÏ¿ÙË ÛÔ˘ ·Ô ÔÔÈÔÓ‰‹-ÔÙÂ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈÛÙ‹)

3. N· Û˘Ó‰ÂıÂ›˜ Û˘Ó·È-ÛıËÌ·ÙÈÎ¿ ÌÂ ÙÔÓ ÂÏ¿ÙËÛÔ˘ ÂÚÈÛÛfiÙÂÚÔ ·Ô ÔÔÈ-ÔÓ‰‹ÔÙÂ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈ-ÛÙ‹)

Joe Calloway Becoming aCategory of One

¢ÈÂÚÂ‡ÓËÛËAÓ·ÁÎÒÓÂÈ˜ B¿ıÔ˜

"Prescriptionbefore diagnosisis malpractice."Ï¤ÓÂ ÔÈ ÁÎÔ˘ÚÔ‡ÙÔ˘ marketing(Î·È ÔÚÈÛÌ¤ÓÔÈÁÈ·ÙÚÔ› ÂÏ›˙ˆ)Î·È Û˘ÓÈÛÙÔ‡Ó ÌÈ·ÛÂ ‚¿ıÔ˜ ‰ÈÂÚÂ‡-ÓËÛË ÙˆÓ ·Ó·ÁÎÒÓ

ÙÔ˘ Î¿ıÂ ÂÏ¿ÙË ÍÂ¯ˆÚÈÛÙ¿ ¤ÙÛÈ ÒÛÙÂ Ó· Â›Ì·ÛÙÂ ÛÂ ı¤ÛËÓ· ÙÔ˘ ÚÔÛÊ¤ÚÔ˘ÌÂ Â·ÎÚÈ‚Ò˜ ·˘Ùfi Ô˘ ¯ÚÂÈ¿˙ÂÙ·È.OÛÔ Î·Ï‡ÙÂÚ· ÚÔÛ·ÚÌÔÛÌ¤ÓË Â›Ó·È Ë ˘ËÚÂÛ›· Ì·˜ ÛÙÈ˜·ÙÔÌÈÎ¤˜ ·Ó¿ÁÎÂ˜ ÙÔ˘ ÂÏ¿ÙË Ì·˜ ÙfiÛÔ Èfi ‰‡ÛÎÔÏÔ Â›Ó·È·) Ó· ÛÙÚ·ÊÂ› ÛÂ ·ÓÙ·ÁˆÓÈÛÙ‹ Î·È ‚) ÁÈ· ÙÔÓ ·ÓÙ·ÁˆÓÈÛÙ‹

Ó· ÙÔÓ ÚÔÛÂÏÎ‡ÛÂÈ.

MÂÙ·ÙÚ¤ÔÓÙ·˜ ÙÔÓ ÂÏ¿ÙËÛÂ AfiÛÙÔÏÔ

EÓ·˜ ÂÏ¿ÙË˜ È‰È·›ÙÂÚ· ÛÙÂÓ¿ Û˘Ó‰Â-‰ÂÌ¤ÓÔ˜ ÌÂ ÙËÓ ÂÈ¯Â›ÚËÛ‹ Ì·˜, ÙÔ˘ ÔÔ›-Ô˘ ÙÈ˜ ÚÔÛ‰ÔÎ›Â˜ ··ÓÙ¿ÌÂ Î·È ÂÓ›ÔÙÂÍÂÂÚÓ¿ÌÂ Á›ÓÂÙ·È ·˘Ùfi Ô˘ ·ÔÎ·ÏÔ‡-ÌÂ «AfiÛÙÔÏÔ˜» ( Apostle). H ‰ËÌÈÔ˘Ú-Á›· «AÔÛÙfiÏˆÓ» ı· Ú¤ÂÈ Ó· Â›Ó·È Ë

‚·ÛÈÎ‹ Ì·˜ ·ÔÛÙÔÏ‹ ˆ˜ ÂÈ¯ÂÈÚËÌ·Ù›Â˜. OÈ «AfiÛÙÔÏÔÈ»ı· Î¿ÓÔ˘Ó ÂÚÈÛÛfiÙÂÚ· ÁÈ· ÙËÓ ÂÈ¯Â›ÚËÛ‹ Û·˜, ÌÂ ÙËÓ Î·-Ï‹ ÙÔ˘˜ ı¤ÏËÛË Î·È ÙËÓ ÚÔÊÔÚÈÎ‹ ‰È·Ê‹ÌÈÛË ( word ofmouth) ·fi ÔÔÈ·‰‹ÔÙÂ ¿ÏÏË ÂÓ¤ÚÁÂÈ· marketing ™.º.

For each fingerpointed at others,there are three morefingers pointingback at you

“

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If you watt loyalty - get a dogIf you want loyalty and attention - get a smart dog

Grand Fairely

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¢IMHNIAIA EºHMEPI¢A°IA TON K§A¢O TH™

•ENO°§ø™™H™ EK¶AI¢EY™H™

I‰ÈÔÎÙËÛ›·: °. ¶·¯¿ÎË˜ - Œ„ÈÏÔÓ °Ú·ÊÈÎ¤˜ T¤¯ÓÂ˜EÎ‰fiÙË˜: °. ¶·¯¿ÎË˜¢ÈÂ˘ı˘ÓÙ‹˜: °. ¶·¯¿ÎË˜AÙÂÏÈ¤: MEMºI™ AE, ™ˆÎÚ¿ÙÔ˘˜ 23, Aı‹Ó·, TËÏ.: 210-5240728EÎÙ‡ˆÛË: MÔ˘ÎÔ˘‚¿Ï·˜ AE

∂ÈÙÚ¤ÂÙ·È Ë ÌÂÚÈÎ‹ ‹ ÔÏÈÎ‹ ·Ó·‰ËÌÔÛ›Â˘ÛË ‹ ÁÈ· ÔÔÈÔÓ‰‹ÔÙÂ ÏfiÁÔ ¯Ú‹ÛË Ì¤ÚÔ˘˜ ‹ fiÏË˜ ÙË˜ ‡ÏË˜ ÙË˜ ÂÊËÌÂÚ›‰·˜ ÌÂ ··Ú·›ÙËÙË ÚÔ¸fiıÂÛË

ÙËÓ ¤ÁÁÚ·ÊË ¿‰ÂÈ· ÙÔ˘ ÂÎ‰fiÙË.

2266

European Day of Languages 2006Celebrating linguistic diversity, plurilingualism, lifelong language learning

26 September 2006

The European Day ofLanguages was createdduring the European Year

of Languages in 2001, a Councilof Europe initiative with theEuropean Union. ThroughoutEurope, hundreds of activitiescelebrating language diversityand promoting language learningwill be held on 26 September. In2004 nearly 600 events wereregistered in our online calendar. Celebrating languages meanscelebrating diversity; speaking toother people in their languagemeans opening yourself to themand breaking down linguistic andcultural barriers. Learning alanguage is something we can alldo regardless of age or education- enthusiasm to communicate isthe key to success and even alittle knowledge can open doorsto new cultures andopportunities. In the family, with friends andcolleagues, let 26 September bean occasion for peoplethroughout Europe to practisethe hundreds of languages anddialects used on our continentboth by Europeans and those ofour citizens from othercontinents.Let us celebrate our diversity andmay this special day be the firststep towards learning a newlanguage!

The languagesof EuropeEstimates vary but there areabout 225 spoken indigenouslanguages. The five languagesspoken by most people inEurope are, by number ofmother tongue speakers,Russian, German, English,French and Italian. But mostEuropean countries operateroutinely with several languages.The exceptions are small statessuch as Liechtenstein and theHoly See (Vatican), and even inthese places we find significantuse of second languages.The 48 states parties to theEuropean Cultural Conventionhave around 40 "state" languagesand many accord special status toother languages.Most countries have a number oftraditionally spoken minority orregional languages. The RussianFederation has by far the highestnumber of languages spoken onits territory; the number variesfrom 130 to 200 depending onthe criteria.Some regional and minoritylanguages have obtained officialstatus, for example, Basque,Catalan and Galician in theregions of Spain in which theyare spoken. Welsh has protectivelanguage rights in the United

Kingdom, as does Frisian in theNetherlands and the S·milanguages in Norway, Swedenand Finland.Due to the influx of migrants andrefugees from all over the world,Europe has become increasinglymultilingual. London, forexample, has more than 300languages spoken as a homelanguage. Most other larger cities,particularly in western Europe,easily have 100-200 languagesspoken as mother tongues bytheir school populations. The

most common languagesinclude Arabic, BerberTurkish, Kurdish, Hindi,Punjabi, and Chinese.However, many of theselanguages are spoken by smallminorities, and their future isunder threat.language. Experts haveestimated that over this

century at least half of theworld's languages, and perhapsmore, will die out. Within twogenerations all traces of alanguage can disappear whenchildren are no longer raised init.The reasons for giving up alanguage are manifold, andinclude the physical destruction(through environmental crisisand disease) of a community orits habitat, active antagonism bypolitical groups, and - thecommonest cause - economicand cultural domination by morepowerful and prestigiouslanguages. But whatever thereason, the result is the same: theloss to humanity of a uniqueresource.There is a need to increasepopular knowledge andunderstanding of the diversity ofthe languages of Europe, and ofthe factors affecting theirmaintenance and growth. Thereis a need to generate a greater

interest in and curiosity aboutlanguages. There is a need toenhance linguistic tolerancewithin and between nations.These are just some of the aimsof the European Year ofLanguages 2001 which isorganised by the Council ofEurope and the EuropeanUnion.Internet linksLanguage policy division,Council of Europe:

www.coe.int/langEuropean Centre for ModernLanguages of the Council ofEurope, Graz: www.ecml.atEuropean Bureau for LesserUsed Languages: www.eblul.orgEuropean Language Council:userpage.fu-berlin.de/~elcEthnologue database (6,700languages of the world):www.sil.org/ethnologueEurolang: www.eurolang.netTongue twisters, with 1842entries in 75 languages:www.uebersetzung.at/twisterDictionaries (1500 in 230languages):www.yourdictionary.comHow to say "I love you" in variouslanguages:www.worldpath.net/~hiker/iloveyou.html

meanings of new words withoutneeding to turn to a dictionaryevery time to check them. Bysetting a competition betweenstudents to see who can use thedictionary the fewest number oftimes per chapter you can keepdictionary use to a minimum.

Reading Out of ClassWhen students are familiar withgood reading skills like reading tocomfirm predictions and deducingthe meaning of new words, theyshould be able to read more easilyoutside class time. A good structured way to set upreading out of class effectively is asfollows:1. Self-study: set students to read achapter at home for homework.2. Class check: ask students todiscuss the story so far in class.

3. Class check/preparation: dosome work on new vocabulary.4. Class preparation: ask studentsto predict what they think willhappen in the next chapter.5. Self-study: set students to readthe next chapter at home forhomework.Once your students have got thereading habit, you can abandon theidea of one graded reader for thewhole class. Instead, set up alibrary of different graded readertitles, and allow students to pick aroute through it in their own time,according to personal tastes. (Theycan tick titles off on a gradedreader checklist as they finish themso that you can keep track ofindividual reading speed andprogress).

Follow-ypDon’t forget to provide some kind

of follow-up tasks for students todo after finishing a graded reader.Here are four follow-up ideas,based on the Scholastic ELTreaders series. (They can beadapted for use with other readersseries too).ñ Get students to read the “FactFile” pages at the end of thereaders. They offer extra thematically-linked, factually-based reading ofdifferent teen-friendly text types,for example: problem pages, letterpages, quizzes, magazine articlesgiving cultural background to thestory. These allow students torelate personally to story themes.ñ Get students working indifferent groups to write tencomprehension questions aboutdifferent “Fact File” texts whichthey can then swap with othergroups in order to test their

classmates.ñ Ask students to usethe “Fact File” text types as amodel for furher written workinspired by the story, for example aproblem page with letters writtenby story characters.ñ Get students to make a recordof the new words they have learntfrom reading that particulary story.At lower levels this can be abilingual dictionary - listing thenew English words in aplhabeticalorder, together with parts ofspeech (n=noun, v=verb,adj=adjective, adv=adverb etc.)and giving the mother-tonguetranslation of each word. At higher levels, ask students tocreate their own monolingualEnglish dictionary of the wordsfrom the story, giving a simpleEnglish definition of each newword, together with an examplesentence in English to show the

word works in context.

Useful WeblinkGo to www.link2english.com forinformation about the ScholasticELT readers series, together withdownloadable sample chapters,resource sheet activities forstudents and resource sheet notesfor teachers.The article first appeared in NewStandpoints, by Mary GlasgowMagazines.

Bill Bowler is the author ofPronunciation Activities an co-author, with Lesley Thompson, ofBritish History Highlights in theMGM/Scholastic Timesaverphotocopiable series. He has beeninterested in graded readers formany years, and is coseries editor ofDominoes readers (OxfordUniversity Press).

™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 19

Graded Readers: a Great Way to Get Students Reading More

Languages makesense, it is onlypeople whosometimes don'tAnonymus

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27

European Language LabelEuropean Language Label∞ÔÙÂÏ¤ÛÌ·Ù· ¢È·ÁˆÓÈÛÌÔ‡ 2005

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ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚÈÂ¯ÔÌ¤-ÓÔ˘

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6. EuropeanUnion and theConstitution

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ñ ÂÎ·È‰Â˘Ù¤˜ ÛÂ Î¤ÓÙÚ· ÂÈÌfiÚ-ÊˆÛË˜ ÂÎ·È‰Â˘ÙÈÎÒÓ ‹ È‰Ú‡Ì·Ù·TÚÈÙÔ‚¿ıÌÈ·˜ EÎ·›‰Â˘ÛË˜

ñ ÂÈÌÔÚÊˆÙ¤˜ ÛÙËÓ Â·ÁÁÂÏÌ·-ÙÈÎ‹ Î·È Û˘ÓÂ¯È˙fiÌÂÓË ÂÎ·›‰Â˘ÛË‹ ÛÂ ÊÔÚÂ›˜ ÂÎ·›‰Â˘ÛË˜ ÂÓËÏ›ÎˆÓÎ.Ï.

OÈ ÂÓ‰È·ÊÂÚfiÌÂÓÔÈ ÌÔÚÔ‡Ó Ó·‚ÚÔ˘Ó ÙËÓ A›ÙËÛË ™˘ÌÌÂÙÔ¯‹˜ ·fiÙÔ ¢È·‰›ÎÙ˘Ô (‚Ï.AÚ¯ÂÈÔı‹ÎË ÛÙË‰ÂÍÈ¿ ÛÙ‹ÏË) ‹ Ó· ÙËÓ ÚÔÌËıÂ˘-ÙÔ‡Ó ·fi ÙÔÓ O.E.E.K.. H Ï‹ÍË ÙË˜ÚÔıÂÛÌ›·˜ ÁÈ· ÙËÓ Ô‚ÔÏ‹ ÙˆÓ ·È-Ù‹ÛÂˆÓ ‹Ù·Ó ÙËÓ ¶¤ÌÙË 20 IÔ˘Ï›Ô˘2006.

Los usos culturales en el aprendizaje de lenguasF. Ernesto Puertas, Asesor did·ctico (EDELSA)

Las iniciativas de redactar materiales decultura deben ser siempre bienvenidaspuesto que se trata de elementos deapoyo en los que el profesor puedeestructurar sus clases y ofrecer unavisión actual, objetiva y útil de la culturadel país y la lengua meta. Desde estaperspectiva, materiales como Guía deusos y costumbres de España o Españasiglo XXI (ambos publicados porEdelsa) suponen un avance cualitativopara que el alumno conozca la realidadsociocultural de la Españacontemporánea y se pertreche deconocimientos que le permitaninteractuar con la cultura españolapeninsular, propiciándose así un espaciopara la reflexión y el debate en clase queayuden a obtener una visiónintercultural dinámica, abierta y

comprensiva, tolerante, reflejo de eseafán por conectar cultural que propiciatoda enseñanza de segundas lenguaspara facilitar el acercamiento y lacomprensión entre las personas.Dejar de considerar los elementos yaspectos culturales como herramientas einstrumentos subsidiarios en laenseñanza lingfiüstica y devolverle unpapel central en la fascinante tarea deaprender español se plantea como unapieza clave para facilitar el interés de losalumnos motivados en clase paraagilizar su aprendizaje y asegurarnos suéxito. Un elenco de datos estructuradosy sistematizados para su tratamiento enclase resulta de suma utilidad a la horade incorporar la perspectiva cultural enla enseñanza-aprendizaje del español,por lo que para los alumnos interesadosen conocer la realidad cultural españolaes conveniente y necesario abordar

aspectos como la vida cotidiana, perotambién las tradiciones de la Españamoderna, incluyendo en este repasoasuntos tales como la gastronomía, lasfiestas populares y los bailes regionales,sin olvidar los hábitos y costumbres, loshorarios habituales, las normas decortesía y las reglas en la mesa, lascelebraciones, los saludos, las visitasprotocolarias, el ocio y tiempo libre, porejemplo, hasta llegar a cuestiones comolos medios de comunicación y detransportes en el país, la organización desu sistema sanitario, político, educativo,los horarios de trabajo, los deportes quese practican o los juegos de azarexistentes en España, sin dejar de ladolas creencias que la comunidad españolatiene sobre la pareja, la familia, lareligión o cómo se comportan y piensanrespecto del turismo, el problema de lavivienda y/o la ecología.

–––––––––––––– 1. En este sentido, son recomendables lascolecciones Un paseo por la historia,Para que leas y Lecturas clásicasgraduadas que ha publicado la editorialEdelsa en las que cada texto vienecomplementado con el vocabulariocorrespondiente, una serie de actividadespara el alumno así como una adaptacióna un nivel inicial, intermedio o avanzadoque las hace aconsejables, en función desu temática, a diferentes grupos dealumnos.

2. Las motivaciones, al fin y al cabo,responden a una necesidad del alumnopor conocer nuevas facetas del mundo yampliar así sus experiencias yconocimientos del mundo, encontrándoseen la base de una opción y elección comola del aprendizaje.


2288

“PORTFOLIOS:Can The European Language Portfolio Principle

Enhance the Teaching of Young Learners?”

In the past six years, theELT "world" has beendiscussing, analyzing,

"experimenting" with theEuropean LanguagePortfolio (ELP) principle inan effort to becomeacquainted with the ELPguidelines, and to furtherdevelop teachers' andlearners' competence as wellas awareness of aninternational mobility, a"passport," among the"citizens" of the foreign-language-learning world. As continuing foreign language learnersourselves, and as teacher trainers, we havebeen studying the ELP guidelines, while,at the same time, experimenting with theidea of the Portfolio in the teaching ofEFL learners, especially young learners. A brief overview of the ELP guidelinesis needed before any partial application oradaptation of these guidelines isdiscussed: The European Language Portfolio wasdeveloped by the Language PolicyDivision of the Council of Europe, andresearch and piloting took place between1998 and 2000. Since 2001, when it wasfirst presented, the ELP is being used as atool to support the development ofplurilingualism and pluriculturalism,which are, in many ways, the aims of theCOMMON EUROPEANFRAMEWORK of REFERENCE forLANGUAGES (CEF): Learning,Teaching, Assessment.1

The ELP was developed and approved bythe Council of Europe. The majorprinciple is that the ELP is the propertyof the learner and represents his/her work.It reflects and assesses the full range ofthe learner's language and interculturalexperience regardless of whether thesehave been acquired within or outside theclassroom, etc., etc. Also, the ELP isbased on the CEF with direct reference tothe latter's common levels of competence. The ELP consists of:

1. The Language Passport: certifications,self-assessments, etc. An overview of thelearner's experience in language learningand his/her ability with differentlanguages. 2. The Language Biography: a record ofthe learner's language learning history,objectives, etc.3. The Dossier: a collection ofrepresentative pieces of work, as well ascertificates, chosen by the learner

himself/herself in order to documenthis/her language skills and achievements.

Portfolios are validated by the ValidationCommittee of the Council of Europe. TheCommittee ascertains that the ELPmodels conform with the commonEuropean principles and Guidelines. Touse the ELP one needs to understand theCEF as well as the CEF's six Levels oflanguage proficiency below:

A1: Breakthrough A2: Waystage B1: Threshold B2: Vantage C1: Competent C2: Good

Thus, the ELP becomes a passport and, atthe same time, a useful record of alearner's development, experience andwork in foreign language (FL) learning.

How can the ELP idea be applied to theteaching of FL young learners?

As an introduction to the ELP, we haveused the learner's Individual Portfolioidea, which is a selection of a number ofclassroom writing activities used forfurther revision, consolidation, and/orhomework. The long-range purpose ofthese activities, as well as of the Portfolio,is to encourage learner creativity andindependence, and to provide childrenwith a sense of achievement. And, as thelearners are guided by their teacher onhow to select the work they will include intheir Individual Portfolio, it becomes anexcellent learning-to-learn tool, trainingyoung learners to practise self-assessment,and often peer assessment.2

The Individual Portfolio becomes alearner's record of work, and especially,of progress. In many ways, it resemblesthe Year Book idea, which a number ofteachers of young learners have been

using for many years. In the Year Book,children were asked to select from amongtheir best and/or favourite written work atthe end of the year, and to then "bind"these activities together in a book whichthey presented to their parents on the lastday of class. In the case of the Individual Portfolio, theteacher must first decide which specificclassroom activity and/or languagestructure or function s/he wants to furtherrevise, consolidate and, then, assign ascreative homework. The classroom activitycan be a song, a game, a chant, a listeningtask or a short reading text, which will beconducted in class. The teacher designsan original task, adapts a coursebookactivity or chooses from Resource Booksthe writing task which may become partof the learner's Portfolio, if chosen by thelearner. All Portfolio tasks are to be started inclass, under the supervision of the teacher,after the classroom activities, describedabove, have been conducted. Then, thetasks are assigned as homework to becompleted at home. In all cases, theyemphasize the skill of writing in order toreinforce oral practice in class.As with all homework activities, theteacher should provide some "sharingtime" during the following class meeting,either as a whole class activity or as pairwork, where the children have theopportunity to report back, read,exchange and compare their completedwork, and conduct peer assessmentand/or self-assessment. Emphasis is given on peer assessment andself-assessment as they are two of the wayswhich help learners become aware of theirprogress and develop an awareness oftheir strengths and talents. In addition,they develop the learner's ability to detectand correct errors, as well as, becomeincreasingly aware of elements such astidiness, aesthetics, following instructionsand overall effect, e.g. "Is it beautiful?

clever? complete?" And inthe case of self-assessment, a learner istrained to reach anobjective appreciation ofone's own work andperformance of task.In either case, it is theteacher who guides thelearners, by asking specificquestions as to thedetection of errors, thecompletion of work, thetidiness, etc., so thelearners can be able toassess their partner's work

or their own. Peer assessment shouldprecede self-assessment, and the childrencan be trained to use assessment phrases,such as, Great, Excellent, Bravo, O.K., orthey can draw symbols, such as a "star,"for very good work, a "flower" or a "tree"for beautiful, etc. Throughout the school year, the teacherasks the learners to look through theircreative homework pages and select theones they consider as their best work sothey can include them in their IndividualPortfolio, which can be a special folder orring binder. The children can review thepages they have selected near the end ofthe year so they can make their finaldecision. And they can be encouraged togive their Individual Portfolio their owntitle.The use of an Individual Portfolio enablesyoung learners to build self-esteem andself-confidence, as they develop anawareness of their own progress, skills andtalents. At the same time, it gives teachersthe opportunity to turn homework tasksinto imaginative and creative assignments,as well as provide parents with tangible andcontinuous feedback on how theirchildren are progressing in English. This isone more way for teachers tocommunicate with parents, and to bringthe world of the classroom into theoutside world.

––––––––––1. For more information, see, CommonEuropean Framework of Reference forLanguages. Council of Europe, CambridgeUniversity Press, 2003, and Keith Morrow,ed., Insights from the Common EuropeanFramework. Oxford University Press, 2004. 2. For more discussion, guidelines andactivities, see, S. Antonaros and L. Couri,Teaching Young Learners: Action Songs,Chants and Games, Teachers' ResourceBook. Express Publishing, 2003.

Suzanne Antonaros -Lilika Couri,

Teacher Trainers,EFL School

ManagementConsultants,

EDUCATIONAL & TRAININGCONSULTANTS

29

Approches pédagogiques de la chansonApprendre une langue, c'est aborder uneautre maniıre de voir le monde, découvrirun univers culturel et linguistique différentde sa culture d'origine. La perception desautres, la compréhension, les repèrespersonnels sont remis en question par ceprojet. Réduire l'apprentissage de la langueà l'assimilation de vocabulaire, de structuresde phrases, de règles grammaticales et d'uncontenu de civilisation préétabli, équivaut àenseigner... une langue morte.Il n'y a pas d' évidence. Pourquoi apprendreune langue, d'autres langues? Pourquoiapprendre le français? Pour crÈer le désird'apprendre, pour révéler la pertinence del'apprentissage, il faut mettre en place unestratÈgie d'enseignement: elle consiste àcrÈer un affect positif entre l'apprenant et lalangue cible. L'apprentissage d'une languedevrait se dÈfinir au sens large, comme uneapproche faisant appel à tous les sens:l'ouÔe, le toucher, le goût, l'odorat, la vue.Apprendre une langue étrangère, c'estd'abord revenir à la dÈfinition de base d'unelangue vivante. La langue sert àcommuniquer. Elle permet à des personnesd'échanger des informations, de rÈagir,d'exprimer des dÈsirs, des sentiments, desopinions, elle permet d' interagir... Lesévolutions pÈdagogiques liÈes auxdéveloppements technologiques desdernières années placent les apprenants - etles enseignants - en relation directe avec leprésent, l'actualitÈ. Elles facilitent l'accèsdiversifié à l'information. et mènentlogiquement à l'action et l'interactionimmédiate en langue cible.Dans le futur, on apprendra et on utiliserade plus en plus la langue cible en temps réel.La chanson et la musique sont dessollicitations affectives et esthétiques nonverbales. Bien prÈsentées, elles peuventgénérer des accès fructueux à la langue.La chanson est un lien avec la culture del'autre dans sa diversité. Elle est un lieu dedécouverte de la réalité multiculturellefrançaise et francophone. Elle a aussi unemission de plaisir, de divertissement... Lefrançais n'est pas uniquement fait pourtravailler, pour faire des exercices. On peutrire, danser, s'amuser avec des chansons... enfrançais.Apprendre le français, c'est s'ouvrir sur lemonde, c'est dÈcouvrir de nouvellespossibilités d'expression, d'action etd'interactions, c'est aussi faire la fête, c'estdécouvrir le plaisir d'apprendre... Le choixdes chansons.Les chansons le plus souvent utilisées enclasse appartiennent à ce que l'on pourraitappeler le patrimoine collectif commun desFrançais.Sans éliminer ces chansons, nous voudrionsouvrir la classe à d'autres types d'œuvres quimettent en évidence la richesse et ladiversité de la création contemporaine enFrance et dans le monde francophone.Le choix de chansons très récentes renforcel'actualité de la langue apprise, son insertion

dans le monded'aujourd'hui. Ellespeuvent contribuer àconsolider la complicitéentre enseignants etapprenants dans leprojet d'apprentissage.Quelques critères positifs pour choisir unechanson:ñ elle est proposÈe par un/des élève/s;ñ elle passe à la radio, elle a du succès;ñ elle plaît au professeur ;ñ elle correspond aux habitudes d'écoutedes élèves, à la mode;ñ elle surprend, elle est atypique;ñ le thème de la chanson correspond authème abordé en cours;ñ il est possible de la chanter, de s'en servirpour danser, de l'utiliser pour un spectacle;ñ etc.La chanson introduit fondamentalement ununivers non linguistique dans la classe: lamusique. La compréhension du texte n'intervient queplus tard. Elle ne joue souvent, horscontexte d'apprentissage linguistique, qu'unrôle secondaire.

Une démarche dynamique centrée sur desactivités interactives

Comme professeurs de langue, la tentationest forte de se concentrer uniquement surles paroles et leur analyse en termesd'acquisition linguistique.Sans oublier ces aspects, nous allons intégrerla chanson à notre enseignement commelieu de fréquentation de la langue cible et dedécouverte de la culture de l'autre dans sadiversité. Elle sera support d'expressionécrite et orale, déclencheur d'activités etpoint de départ d'une ouverture sur lemonde... Enfin, elle sera utilisée commeélément de fête.Dès lés premières secondes du cours,l'apprenant est impliqué dans un processusde découverte.Il est sollicité en tant qu'individu. Nousfaisons appel à son expérience du monde, àses goûts. Il prend position, donne sonopinion, résout des énigmes, exécute destâches, aide les autres apprenants enfonction de ses compétences... Le plaisir del'écoute reste une priorité.

Mise en route

Au dÈpart, l'intérêt du document estseulement connu du professeur. L'objectifde cette étape est d'éveiller l'intérêt, lacuriosité des apprenants.Pour créer une motivation à dÈcouvrir, àécouter la chanson, nous allons créer un lienentre les apprenants et le document.

Exemples: ñ Ecrire le mot "chanson" au tableau. Pourvous, c'est quoi une chanson? (de lamusique, des instruments, une mélodie, etc.)

Quels sont lesinstruments demusique que vousconnaissez en français?(la guitare, lesaxophone, etc.)ñ Etablir en commun

un champ sémantique sur le tèıme de lachanson proposée. Exemple: A deux, endeux minutes, cherchez tous les mots quevous connaissez sur le thème "week-end".Ecrivez un texte en utilisant le plus grandnombre de mots cités.ñ Ecrire une phrase qui commence par lespremiers mots de la chanson choisie.ñ ComplÈter un texte qui utilise des extraitsdes paroles.ñ Ecouter l'introduction musicale de lachanson et faire des hypothèses sur la suite.- Débattre sur des aspects thématiques de lachanson avant de l'écouter.

Découverte de la chanson

La première découverte est associée à unetâche. L'objectif est de rendre l'écouteconsciente.Par rapport à l'étape précédente, la chansonapparaît comme déjà connue, familière.

Exemples:ñ Faites la liste des instruments de musiqueque vous reconnaissez dans la chanson?ñ Quel est le type de musique de cettechanson? Que savez-vous sur lescaractéristiques de ce type de musique?ñ Voici une liste de mots, entourez les motsqui sont citÈs dans la chanson.ñ Ecoutez la chanson, combien de foisentend-on le mot "XXX"?

Avec les paroles

Les chansons actuelles prÈsentent souventun moment isolé, des sentiments, uneimpression, un cri, des motifs. Elles fontparfois référence à des faits ou despersonnes qui ne sont connues que desauteurs.Il est donc recommandé d'être extrêmementprudent pour l'interprétation des textes. Que comprend l'élève? Comment etpourquoi comprend-il cela? Nous demanderons aux apprenants deformuler des hypothèses ou de proposer desinterprétations et d'indiquer les indices oules signes dans le texte ou la musique quileur permettent de les énoncer.

Michel BoironCAVILAM, Vichy

[email protected]


3300

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EÂÈ‰‹ fiÔÈÔ ÙÌ‹Ì· ÙË˜ ·ÓÔ-ÌÔÈÔÁÂÓÔ‡˜ Ù¿ÍË˜ Î·È Ó· ‰È·Ï¤-ÍÔ˘ÌÂ, ÛÙÔ Ù¤ÏÔ˜ ı· ¤ÚıÔ˘ÌÂ ÛÂ¤Ó· ÂÎ·È‰Â˘ÙÈÎfi ·‰È¤ÍÔ‰Ô: ·Ó·Ú·ÌÂÚ›ÛÔ˘ÌÂ Ì·ıËÙ¤˜ ÌÂ Î›ÓË-ÙÚÔ Î·È „ËÏ¤˜ ÂÈ‰fiÛÂÈ˜, ÌÔÚÂ›Ó· ¤¯Ô˘ÌÂ ÚÔ‚Ï‹Ì·Ù· ÂÈı·Ú-¯›·˜, ·ÌÊÈÛ‚‹ÙËÛË˜ Î·È ·ÓÙÈ‰Ú·-ÛÙÈÎfiÙËÙ·˜ ·¤Ó·ÓÙÈ ÛÙÔÓ ÂÎ·È-‰Â˘ÙÈÎfi. AÓÙÈ·ÏfiÙËÙ·˜, ÂÈıÂÙÈ-ÎfiÙËÙ·˜, Î·È ·ÔÌfiÓˆÛË˜ ·Ó¿ÌÂ-Û· ÛÙ· ·È‰È¿ ÙËÓ ÒÚ· ÙÔ˘ ‰È·-ÏÂ›ÌÌ·ÙÔ˜. E›ÛË˜ ÛÔ‚·Ú¤˜ ÂÈ-ÙÒÛÂÈ˜ ı· ¤¯ÂÈ Ë Û˘ÌÂÚÈÊÔÚ¿·˘Ù‹ ÛÙÔ Î›ÓËÙÚÔ Î·È ÛÙËÓ ÂÈ-‰ÈˆÎfiÌÂÓË Â›‰ÔÛË ÙÔ˘˜. AÓ ·-Ú·ÌÂÚ›ÛÔ˘ÌÂ Ì·ıËÙ¤˜ ÌÂ ¯·ÌËÏfiÎ›ÓËÙÚÔ Î·È Â›‰ÔÛË, fi¯È ÌfiÓÔ ı·¤¯Ô˘ÌÂ Î·È ¿ÏÈ Ù· fiÏË ÙËÓ ÁÎ¿Ì·ÙˆÓ ÚÔ·Ó·ÊÂÚı¤ÓÙˆÓ ÚÔ‚ÏË-Ì¿ÙˆÓ, ·ÏÏ¿ ı· Û˘ÓÙÂÏ¤ÛÔ˘ÌÂÛÙËÓ ·Á›ˆÛË ÙË˜ ËÙÙÔ¿ıÂÈ·˜Î·È ÙË˜ ÌÔÈÚÔÏ·ÙÚÈÎ‹˜ ·ÓÙÈÌÂÙÒ-ÈÛË˜ ÙÔ˘ Û˘ÁÎÂÎÚÈÌ¤ÓÔ˘ ÂÎ·È-‰Â˘ÙÈÎÔ‡ ·ÓÙÈÎÂÈÌ¤ÓÔ˘ (.¯. «ÂÁÒ

‰ÂÓ Ù· ‘·›ÚÓˆ’ Ù· ·ÁÁÏÈÎ¿ Î·È‰ÂÓ ÌÂ ÂÓ‰È·Ê¤ÚÔ˘Ó») Î·È ÔÏÔ-ÎÏËÚˆÙÈÎ‹ ·ÒÏÂÈ· Î¿ıÂ ÎÈÓ‹-ÙÚÔ˘, ÚÔÛ¿ıÂÈ·˜ ‹ ÂÓ·Û¯fiÏË-ÛË˜ ÌÂ ·˘Ùfi. TÈ Î¿ÓÔ˘ÌÂ, ÏÔÈfiÓ;

TÔ ÈÔ ÛËÌ·ÓÙÈÎfi Ú¿ÁÌ· Â›-Ó·È Ó·:

AÔı·ÚÚ‡ÓÔ˘ÌÂ Ï‹Úˆ˜ Î¿ıÂ¤ÓÓÔÈ· ·ÓÙ·ÁˆÓÈÛÌÔ‡, ·Ó·Ì¤-ÙÚËÛË˜ Î·È Û‡ÁÎÚÈÛË˜ ·Ó¿ÌÂÛ·ÛÂ fiÏ· ·ÓÂÍ·ÈÚ¤Ùˆ˜ Ù· ·È‰È¿ÙË˜ Ù¿ÍË˜.

EÍËÁÔ‡ÌÂ ÛÙ· ·È‰È¿ fiÙÈ Ë Ù¿-ÍË ·˘Ù‹ ·ÔÙÂÏÂ› ÌÈ· ÔÌ¿‰·, Î·Èfiˆ˜ Î¿ıÂ ÔÌ¿‰·, Ú¤ÂÈ fiÏ· Ù·Ì¤ÏË ÙË˜ Ó· ¤¯Ô˘Ó ÈÎ·ÓÔÔÈËÌ¤-ÓÂ˜ ÙÈ˜ Ì·ıËÛÈ·Î¤˜ Î·È ÏÔÈ¤˜ ·-Ó¿ÁÎÂ˜ ÙÔ˘˜ ÒÛÙÂ Ó· ÚÔ¯ˆÚ‹ÛÂÈ.

MÂÙÚÈ¿˙Ô˘ÌÂ ÙÔ Ú˘ıÌfi ·Ú¿-‰ÔÛË˜ ÒÛÙÂ Ó· ÌËÓ Ê·ÓÙ¿˙ÂÈ ·-ÂÈÏËÙÈÎfi˜ ÛÙËÓ ÌÈÛ‹ Ù¿ÍË ·ÏÏ¿Ô‡ÙÂ Î·È Ó· Â›Ó·È ‚·ÚÂÙfi˜ ÛÙËÓ¿ÏÏË ÌÈÛ‹ (·Ó·‰ÚÔÌ‹ ÛÙËÓ ıÂˆ-Ú›· ÙˆÓ Zones of ProximalDevelopment ÙÔ˘ Vygotsky ı·‰ÒÛÂÈ Ù· Û˘ÁÎÂÎÚÈÌ¤Ó· Ï·›ÛÈ·Î·È fiÚÈ· Û‡ÛÙ·ÛË˜ ÙË˜ ÔÌ¿‰·˜Î·È ·ÚÔ˘Û›·ÛË˜ ‰È‰·ÎÙÈÎ‹˜ ‡-ÏË˜ ÛÙÔÓ ÂÓ‰È·ÊÂÚfiÌÂÓÔ ÂÎ·È-‰Â˘ÙÈÎfi) .

™¯Â‰È¿˙Ô˘ÌÂ ÙÔ lesson plan

Ì·˜ ¤ÙÛÈ ÒÛÙÂ ¤Ó· ÈÎ·Ófi Ì¤ÚÔ˜ÙË˜ ‰È‰·ÎÙÈÎ‹˜ ÒÚ·˜ Ó· ·ÔÙÂ-ÏÂ›Ù·È ·fi ‰Ú·ÛÙËÚÈfiÙËÙÂ˜ Ì¤Û·ÛÙËÓ Ù¿ÍË ÛÙÈ˜ ÔÔ›Â˜ fiÏ· Ù··È‰È¿ ı· Û˘ÓÂÚÁ¿˙ÔÓÙ·È Î·È ı·¯ÚËÛÈÌÔÔÈÔ‡ÓÙ·È Ù· ÚÔÛˆÈÎ¿ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÙÈÎ¿ Î·È ‰˘Ó·Ùfi-ÙËÙÂ˜ ÒÛÙÂ ÙÔ ¤Ó· Ó· ˘ÔÛÙËÚ›˙ÂÈÙÔ ¿ÏÏÔ Î·È ÂÎ·È‰Â˘ÙÈÎ¿ Î·È „˘-¯ÔÏÔÁÈÎ¿.

K·Ù·Ï·‚·›ÓÔ˘ÌÂ fiÙÈ Ô Û¯Â‰È·-ÛÌfi˜ ‰È‰·¯‹˜ Î¿ıÂ Û˘ÁÎÂÎÚÈÌ¤-ÓË˜ Ù¿ÍË˜ Â›Ó·È Î·Ù’ Â¤ÎÙ·ÛËÛ˘ÁÎÂÎÚÈÌ¤ÓÔ˜ Î·È ÌÔÓ·‰ÈÎfi˜Î·È ··ÈÙÂ› ÙËÓ ÚÔÛˆÈÎ‹ ÂÓ·-Û¯fiÏËÛË ÙÔ˘ ˘Â‡ı˘ÓÔ˘ ÂÎ·È-‰Â˘ÙÈÎÔ‡ ÒÛÙÂ Ó· ÂÈÙÂ˘¯ıÂ›.

BA™IKH ¶POΩ¶O£E™HE¶ITYXIA™: ø˜ ÂÎ·È‰Â˘ÙÈÎÔ›¢EN ¶I™TEYOYME Î·È ‰ÂÓ‰Â›¯ÓÔ˘ÌÂ ÔÙ¤ ÌÂ ÙËÓ Û˘ÌÂÚÈ-ÊÔÚ¿ Ì·˜ fiÙÈ ıÂˆÚÔ‡ÌÂ Î¿ÔÈ-Ô˘˜ Ì·ıËÙ¤˜ ÏÈÁfiÙÂÚÔ ÈÎ·ÓÔ‡˜Ó· Ì¿ıÔ˘Ó ·ÏÏ¿ fiÙÈ fiÏÔÈ Â›Ó·È ÙÔ›‰ÈÔ ÈÎ·ÓÔ›.

AÔı·ÚÚ‡ÓÔ˘ÌÂ ÏÔÈfiÓ ÔÔÈ-ÂÛ‰‹ÔÙÂ Ù¿ÛÂÈ˜ ÚÔ˜ ·˘Ù‹ ÙËÓÎ·ÙÂ‡ı˘ÓÛË ÂÎ‰ËÏˆıÔ‡Ó ÛÙÔ˘˜Ì·ıËÙ¤˜ Ì·˜, ÛÙÔ˘˜ ÁÔÓÂ›˜ ÙÔ˘˜Î·È ÛÂ fiÏÔ˘˜ ÙÔ˘˜ Û˘Ì‚·ÏÏÔÌ¤-ÓÔ˘˜.

Both an Academic and Tourist view of the EALTAConference in Krakow Poland May 19-21, 2006

and at the risk of sounding like atravel brochure I would recommendPoland as a vacation spot. One thingthat anyone would appreciate is thevery low cost of eating out, thequality of food and the large size oftheir food portions, and let’s notforget, Polish beer.Though I just visited Warsaw andKrakow and the surrounding areas, Iwas greatly impressed by the people,the grandeur of the architecture, theenormous parks, trees, gardens, thecleanliness and the overall layout ofthese two cities.Although Warsaw had beencompletely leveled by NAZI bombsduring the invasion of Poland inWWII the old sector has been rebuiltas it was originally thanks toUNESCO funding. The city is full ofoutdoor cafes and restaurants andspring and summer is the time toenjoy them.There is one major drawback.Trying to communicate in English

was like looking for a needle in ahaystack. If you speak German orRussian you’ll be fine though. All the street names, signs on famouslandmarks, anything written youcome across are inPolish.What was reallysurprising was thateven the museumshad signs on thedisplays writtenonly in Polish.Krakow wassomewhat betterdue to a universitystudent populationof 120,000. Hereyou could find someone to give youdirections and some of the famouslandmarks did have a small notationin English. Luckily I had bought anEnglish guidebook from Greecebefore I left.All in all, it was a very educationalweek and I think a real eye openedinto human nature and what peopleare really capable of, meaning both

the good and the bad, and I’mreferring to the trip I took toAuschwitz.It’s funny we talk about thehumanistic approach to classroom

teaching. Maybeit’s because that’sall we can do“approach”humanity!It’s not what oneman can do butthat the rest of theworld will sit backand let him do it! That’s where theshock sets in. Butthen why are we

surprised? Isn’t history repeatingitself today? Aren’t we just spectators to what isgoing on around us?At the risk of sounding morbid Ithink that visits to places likeAuschwitz, might make us moresensitive to the suffering of othersand little more humanistic.

Sylvia Kar


What it feels liketo be dyslexic

ñ S/he may be able to workthe computer before theothers - even perhaps repairit. S/he may be able to startthe car when others havefailed.

S/he's mad on sport ñ S/he may excel atindividual sports.

S/he's got a fantasticimagination ñ S/he may be able to tellwonderful stories if her/hislong term memory is good.

General comments"If a child cannot learn theway we teach we must teachher/him the way s/he canlearn."The teacher needs torecognise that the dyslexicchild in the classroom has adifferent way of learning and

therefore needs a differentway of teaching.

The main problems are:ñ poor sequencing skills; ñ poor auditorydiscrimination and memory; ñ poor visual discriminationand memory; ñ poor short term memory;ñ poor self confidence.

SummaryThere are many types of

learning disability of whichdyslexia is only one. In somecases of disability, diagnosiscan be difficult. Only a fullpsychological assessment willdetermine if any child oradult is dyslexic - but thereare pointers.

From the Dyslexia institut


It’s funny we talk aboutthe humanistic approachto classroom teaching.Maybe it’s because that’sall we can do...“approach” humanity!

“

”

Approches pédagogiques de la chansonLe professeur se tient en retrait. Ilanime le travail de réflexion. Le travail sur les paroles comprendplusieurs types d'activités:a) des repérages, desclassifications, des recherchesd'informations précises.

Exemples:ñ Cherchez tous les personnages;ñ Cherchez dans le texte tous lesmots et expressions qui exprimentdes sentiments;ñ Trouvez tous les mots avec leson [ma].b) des questions génériques pourapprofondir la compréhensionsans faire la paraphrase du texte.Exemples:ñ A deux, dites tout ce que l'onapprend sur le personnage X ou Y; ñ Quelles sont les actions de tel outel personnage et pourquoi agit-ilainsi?ñ Comment comprenez-vous lesexpressions suivantes? etc?Les apprenants doivent retrouverdes informations dans le texte. Ilssont conduits à le relire plusieursfois:

Expression orale et écrite,créativité

Au cours de cette étape, nousproposons aux apprenants deuxtypes d'activités: des prises deposition personnelles par rapport àla chanson ou au thème abordéet/ou des exercices de créativité.

Exemples: ñ D'après vous, une chanson doit-elle donner un message? ñ Vous venez d'écouter unechanson sur l'utilisation desdrogues, pensez-vous qu'écrire unechanson sur ce thème peut êtreutile pour lutter contre la drogue?ñ La chanson parle des jeunes enFrance, est-ce que les jeunes ontles mêmes préoccupations dansvotre pays?ñ Inspirez-vous de la chanson etécrivez une carte postale à un ami.

Pour aller plus loin

La chanson n'est pas un documentisolé. Elle peut s'insérer dansl'étude d'autres supports: lectures,jeux, textes de leçons de manuels,

autres chansons, recherches surInternet, etc.L'étape pour aller plus loin crée unlien avec la suite du cours, elleélargit le champ de réflexion desapprenants. On compare la chanson avecd'autres chansons, on associe à lachanson un texte littéraire, unarticle de manuel d'histoire, untexte de presse, etc.

Autres activités

Hit paradeDès le niveau dÈbutant, il estpossible d'apprécier une chanson.Le professeur proposera d'écouterplusieurs chansons par tranches de3 titres. Il distribuera les textescorrespondants avecéventuellement la traduction enlangue maternelle. La mission desélèves sera de noterpersonnellement les chansons (de0 à 5). On comptera ensuite lespoints pour chaque chanson etaprès quelques semaines, nousaurons le champion du hit parade.Cette activitÈ permet d'écoutertous les titres. Les apprenants

auront entendu de la musiquefrançaise. Ils auront également étéexposés à un matériau linguistiqueauthentique beaucoup plusimportant que leurs connaissancesdu moment. Ils seront doncvalorisés dans leur parcoursd'apprentissage.

Clips vidéoAujourd'hui, la promotion deschansons est largement assurée pardes clips. Ils apportent un universsupplémentaire à la chanson, celuide l'image.Les clips français ont mis du tempsà échapper à la simple prÈsentationde l'artiste en train de chanter.Aujourd'hui, ce sont parfois devraies Suvres artistiquesindissociables de la chanson.Quelques propositions d'activitÈs:- A partir d'une chanson, à deux,imaginer le scénario d'un clip puisle présenter à la classe.Puis visionner le clip original.ñ A partir d'une chanson,imaginer un clip qui met en scènetous les participants de la classe etle jouer.Dessiner même sommairement la

succession des scènes.Si on dispose d'une caméra, filmerle clip. Chaque participant auraune cassette. ñ Proposer aux apprenantsd'identifier un certain nombred'éléments dans le clip: les lieux,les personnages, les actions, etc.ñ Visionner une série de clips eten petits groupes, choisir un clip etreconstituer le scÈnario.ñ Comparer les images du clip, lecontenu des paroles et la musique.

Motivation et respect des artistesA l'origine la chanson n'est pasfaite pour être utilisée en classe. Safonction première est d'amuser, dedistraire, de dénoncer, de raconterune histoire, de faire danser, etc.Les pistes pÈdagogiques proposéesont été conçues avec la volontéd'enrichir la classe de pratiquesinteractives, de donner pleinementà la langue enseignée son statut delangue vivante. avec le souci durespect du travail accompli par lesartistes. L'objectif pÈdagogiquepourrait se résumer en une seulephrase: donner envie d'apprendre.De www.tv5.org


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¢ÈÔÚÁ¿ÓˆÛË µÈ‚ÏÈÔˆÏÂ›· ºÏˆÚ¿˜ KOSMOS TËÏ. 210 5232621 [email protected]

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