Lingua Franca 11 May-jun 2007

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Angela Murphy in Greece Pro Vice-Chancellor University of Central Lancashire Angela Murphy, the Pro Vice-Chancellor University of Central Lancashire (International, Student Affairs and Quality and Standards) visited Athens as a guest of the Panhellenic Association of Language School Owners. Mrs Murphy spoke to the general assembly of the Europalso members as well as to Ant1 channel about the University’s cooperation with Europalso for the administration of the UCLan Language Examination and the Quality Assurance Systems in England.

Mrs Murhpy said: My name is Angela Murphy, I’m Pro Vice – Chancellor for the UCLan and I’m delighted to be here today, this Europalso conference, Europalso is one of our key – partners in Greece. First of all, I would like to say a few words about my University. We are located in the North – west of England in Preston, we are a very large University, and we have 36.000 students and many of our students are studying in China, ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 24

KÚ·ÙÈÎfi ¶ÈÛÙÔÔÈËÙÈÎfi °ÏˆÛÛÔÌ¿ıÂÈ·˜ N¤· Â›‰· Î·È ÁÏÒÛÛ˜- AÏÏ·Á¤˜ ÛÙ· B1, B2 Î·È °1 ™‡Ìʈӷ Ì ÙËÓ ·fiÊ·ÛË Ù˘ KÂÓÙÚÈ΋˜ EÍÂÙ·ÛÙÈ΋˜ EÈÙÚÔ‹˜, ÙÔÓ M¿˚Ô 2008 ı· ÂÍÂÙ·ÛıÔ‡Ó Ù· Â›‰· A1 Î·È A2 Û ÂÓÈ·›Ô ‰È·‚·ıÌÈṲ̂ÓÔ test ÁÈ· ¿ÙÔÌ· Û¯ÔÏÈ΋˜ ËÏÈΛ·˜ Î·È ÙÔ NԤ̂ÚÈÔ ÙÔ˘ 2008 ı· ÚÔÛÙÂı› Ë IÛ·ÓÈ΋ ÁÏÒÛÛ· Î·È ı· ÂÍÂÙ·Ûı› ÙÔ Â›Â‰Ô B2. Œ¯ÂÈ, ‹‰Ë, ÂÁÎÚÈı› Ë ¯ÚËÌ·ÙÔ‰fiÙËÛË ·fi ÙÔ E¶EAEK ¤ÚÁˆÓ Ô˘ ·ÊÔÚÔ‡Ó, ÌÂٷ͇ ¿ÏψÓ,ÛÂ: ·Ó¿Ù˘ÍË ÙÔ˘ ÈÛÙfiÙÔÔ˘ Ì Ï·ÙÊfiÚÌ· ÂÍ ·ÔÛÙ¿Ûˆ˜ ÂÓË̤ڈÛ˘-ÂÈÌfiÚʈÛ˘ ÂÍÂÙ·ÛÙÒÓ Î·È ‚·ıÌÔÏÔÁËÙÒÓ, ‰È·ÁÓˆÛÙÈÎfi test ˘Ô„ËÊ›ˆÓ,ÂÎfiÓËÛË ˘ÔÛÙËÚÈÎÙÈÎÒÓÂΉfiÛÂˆÓ (Ô‰ËÁ›Â˜) ÁÈ· ˘Ô„ËÊ›Ô˘˜, ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Î·È ÂÍÂÙ·ÛÙ¤˜ ÙÔ˘ K¶Á, ÚÔˆıËÙÈΤ˜ ÂÓ¤ÚÁÂȘ ÛÙ· MME, ÈÏÔÙÈ΋ ÂÊ·ÚÌÔÁ‹ ÁÈ· ·˘ÙÔÌ·ÙÔÔÈË̤ÓË ÂΉԯ‹ ÙÔ˘ K¶Á,ÔÚÁ¿ÓˆÛËËÌÂÚ›‰·˜Ì ÛÙfi¯Ô ÙËÓ ÂÛˆÙÂÚÈ΋ ·ÏÏ¿ ΢ڛˆ˜ ÙËÓ Â͈ÙÂÚÈ΋ ·ÍÈÔÏfiÁËÛË ÙÔ˘ Û˘ÛÙ‹Ì·ÙÔ˜. TȘ Ë̤Ú˜ ·˘Ù¤˜ ‰ËÌÔÛȇıËΠۯÂÙÈÎfi ‰ÂÏÙ›Ô T‡Ô˘ ÛÙËÓ ÈÛÙÔÛÂÏ›‰· ÙÔ˘ YÔ˘ÚÁ›Ԣ ¶·È‰Â›·˜ fiÔ˘ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È ÔÈ ·ÏÏ·Á¤˜ ÛÙ· Â›‰· B1, B2 Î·È °1. http://www.ypepth.gr/docs/allagi_prodiagrafwn_b1_b2_c1. doc ™ÙË ‰È¿ÚÎÂÈ· Ù˘ ÙÂÙÚ·ÂÙÔ‡˜ ÏÂÈÙÔ˘ÚÁ›·˜ ÙÔ˘ K¶° Î·È ÌÂÙ¿ ·fi Û˘ÏÏÔÁ‹ ÂÌÂÈÚÈÎÒÓ ‰Â‰Ô̤ӈÓ, ‰È·ÈÛÙÒıËÎÂ

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What remains of the teacher By Cliff Parry The British Council, Athens ome seventy years ago, Keynes warned us that nothing less than democracy was endangered by globalisation. Governments face a dilemma which pits the interests of their citizens against those of the “virtual government” – investors, lenders and foreign currency traders who are able to shape and coerce the economic and financial policies of developing and developed countries alike.

question the right of these “invisible hands” to shape our children. In truth we do not seem to care very much. In education, like all issues, we cannot identify the problems – as intended. Issues on which the informed public may differ from prescribed opinion are generally off the agenda – they are

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As rising rates of unemployment, disillusionment and hopelessness among all but the most favoured minorities indicate, the competition is highly unbalanced. The fears extend to education yet few

non-issues. We are entering a period of human history which seems to refute the claim that it is better to be smart than stupid, educated rather than ignorant – a period of biological as opposed to intellectual values. And just as in the world around us, intellect may not be favoured by natural selection (bacteria for example are far more successful than humans in terms of survival), so

our society seems to promote ignorance over intellect. What remains of education is heavily skewed towards vocation and with our elected representatives seemingly powerless to rise to the challenge of providing (dignified) employment, it is hardly surprising that education seems to lack purpose and be regarded as an exercise in futility by all those it involves. And what remains for me as a teacher? – the right to choose among the deluge of similar commodities offered. Am I to forget the ridiculous idea that I should manage my own affairs? Am I to abandon the fate of those entrusted to me to the self-described leaders of my field who serve and administer power?

If the answer is “yes” then it is fair to hail the triumph of “virtualeducation” in preparing people for “virtual jobs” even though it fails to make any discernible effort to instill in people the ideals required to change our avarice-driven society.

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Michael Robbs Meet the new Tesol Greece chairperson Lingua Franca caught up with Michael Robbs, who succeeded Lilika Couri as chaiperson of Tesol Greece in the recent elections. Michael, who has been living in Greece for quite some time now, spoke to us about himself, his views on some “hot” issues regarding English Language teaching in Greece and of course about his immediate plans for Tesol Greece. So, Michael, could you tell us a few things about yourself? I’m from a small village on the border between England and Wales, I hold a BA in psychology and literature, an MA in TESL/TEFL, and I have lived in Greece for thirteen years. I originally came when I was 18, while hitchhiking around Europe, and I loved it so much that I vowed to return after completing my studies. I stayed for all the usual reasons (love, good friends, the weather, Greek food, the opportunities I have been afforded here, and so on) and have never regretted leaving the U.K. What are your views on the teaching of English as a foreign language in Greece? There are three factors which dominate the EFL field in Greece;

pressure on teachers, pressure on students, and the importance attached to examinations. Firstly, there seems to be a great deal of pressure on teachers (and students) to finish as much material as possible. Teachers must be seen to be covering the entire course book so that the parents of students feel they have got their value for money. There is also pressure on students to pass examinations as early as possible so that they can focus on their university entrance examinations. Thus, the average age of students taking formal international examinations is falling annually. Unfortunately, this doesn’t come with a corresponding rise in the number of students passing these examinations.

Michael Robbs Tesol Greece chairperson

Finally, it’s an undeniable fact that tests drive teaching. The emphasis in education (both private and public) here is on tests and grades. Thus, students rarely see the value of learning and activities if they are not tested. Can anything be done about these factors? I think we need to start focusing more on the quality of material we use, rather than the quantity. There are many excellent resources available nowadays but we should be selective about what we use in class, depending on the students’ needs. We can do

anything in class, but we can’t do everything. In response to the problem of students getting younger and younger, I have tried repeatedly to have frank dialogues with parents about how examinations are geared towards certain age groups and that it might not be in their child’s best interests to sit for proficiency examinations at the age of 11 (seriously!). Sometimes they listen, sometimes they don’t, but I think that if we keep parents informed, they’ll start to take our professional advice more seriously. As for the question of tests, if we have good tests then we’ll have good teaching. I think the CEFR (Common European Framework of Reference) is having an important influence on test developers, and so tests are getting better. Why did you join TESOL Greece? There are many reasons why anyone involved in the EFL field in Greece would want to join TESOL Greece: professional development through seminars and workshops; the annual two-

day convention with well-known national and international speakers; improved career prospects; the latest information on resources available; the Special Interest Groups (Young Learners, English for Special purposes and English for Academic Purposes, Multimedia and Computer Assisted Language Learning, Drama and Literature); a forum; a rapidly growing resource room; a quarterly newsletter; regular email bulletins; and TESOL Greece scholarships and awards. However, the thing that drew me more than anything else to TESOL Greece was the chance to socialize and network with like minded teachers and ELT professionals who really care about the quality of EFL in Greece. I love being able to share lessons, ideas and approaches, and hear about the trials and tribulations of fellow teachers. Belonging to TESOL Greece reminds me that I’m not alone in the classroom. What are your views on the ‘eparkia’ issue? ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 19

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¶ÈÛÙÔÔ›ËÛË ÁψÛÛÔÌ¿ıÂÈ·˜ ·Ô‰ÂÎÙ‹ ·fi ÙÔ A™E¶ Î·È ·fi Ù· BÚÂÙ·ÓÈο ·ÓÂÈÛÙ‹ÌÈ· ™‡Ìʈӷ Ì ÙÔ UCAS, ÙÔÓ ÎÂÓÙÚÈÎfi ÔÚÁ·ÓÈÛÌfi ÂÂÍÂÚÁ·Û›·˜ ·ÈÙ‹ÛÂˆÓ ÁÈ· ÛÔ˘‰¤˜ ÛÙ· BÚÂÙ·ÓÈο ·ÓÂÈÛÙ‹ÌÈ· Î·È ÎÔÏϤÁÈ·, Ù· ·Ú·Î¿Ùˆ ÈÛÙÔÔÈËÙÈο ÁψÛÛÔÌ¿ıÂÈ·˜ ÌÔÚ› Ó· Á›ÓÔ˘Ó ·Ô‰ÂÎÙ¿ ÁÈ· ÙËÓ ÂÁÁÚ·Ê‹ EÏÏ‹ÓˆÓ ÛÔ˘‰·ÛÙÒÓ. T· ·Ú·Î¿Ùˆ ÈÛÙÔÔÈËÙÈο Á›ÓÔÓÙ·È Ù·˘Ùfi¯ÚÔÓ· ·Ô‰ÂÎÙ¿ Î·È ·Ô ÙÔ EÏÏËÓÈÎfi A™E¶ Î·È ÙȘ ÂÏÏËÓÈΤ˜ ÂȯÂÈÚ‹ÛÂȘ. AÏÏ· ÈÛÙÔÔÈËÙÈο, Ù· ÔÔ›· Á›ÓÔÓÙ·È ·Ô‰ÂÎÙ¿ ·Ô ÙÔ A™E¶, Â›Ó·È Èı·ÓfiÓ Ó· ÌËÓ ÈÛ¯‡Ô˘Ó ÁÈ· ÙËÓ ÂÁÁÚ·Ê‹ ÛÙ· BÚÂÙ·ÓÈο ·ÓÒٷٷ ȉڇ̷ٷ Cambridge English for Speakers of Other Languages (ESOL) ñ First Certificate in English ñ Certificate in Advanced English ñ Certificate of Proficiency in English University of Central Lancashire English Language Examinations Examinations have Reading, Writing, Listening, Speaking and Use of English components graded separately from the overall grade on the transcript. Each examination has pass, merit or distinction. ñ Certificate in English (Council of Europe Level C2) Level 3 - Proficient User - pass or above sufficient for

most postgraduate programmes. ñ Certificate in English (Council of Europe Level C1) Level 3 - Proficient User - pass or above sufficient for entry to most undergraduate programmes; merit or distinction may be sufficient for some postgraduate programmes. ñ Certificate in English (Council of Europe Level B2) Level 2 - Independent User- pass or above sufficient for some undergraduate programmes. ñ Certificate in English (Council of Europe Level B1) Level 2 - Independent User International English Language Testing System (IELTS) T· ÂÚÈÛÛfiÙÂÚ· ȉڇ̷ٷ ··ÈÙÔ‡Ó ÛÎÔÚ ·Ô 5,0-7,5 Trinity ñ Integrated Skills Test in English (ISE) - Level II and above. Test of English as a Foreign Language (TOEFL) TÔ ··ÈÙÔ‡ÌÂÓÔ ÛÎÔÚ ÔÈΛÏÏÂÈ ·Ó¿ÏÔÁ· Ì ÙËÓ Û¯ÔÏ‹, ÙÔ ·ÓÙÈΤÈÌÂÓÔ ·ÏÏ¿ Î·È ÙÔÓ ÙÚfiÔ ÂͤٷÛ˘ ÙÔ˘ ˘Ô„‹ÊÈÔ˘ ÛÔ˘‰·ÛÙ‹ ¶ÂÚÈÛÛfiÙÂÚ˜ ÏËÚÔÊÔڛ˜ ÁÈ· Ù· ÈÛÙÔÔÈËÙÈο ÛÙÔÓ ÈÛÙfiÙÔÔ ÙÔ˘ ucas ÛÙËÓ ÂÍ‹˜ ‰È¤˘ı˘ÓÛË http://www.ucas.co.uk/studyuk/englang.html

ºÔÚÔÏÔÁÈΤ˜-EÚÁ·ÙÈΤ˜ ˘Ô¯ÚÂÒÛÂȘ KÂÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ ™E¶TEMBPIO™ ñ Afi 20/9 ˘Ô‚ÔÏ‹ ÛÙË ¢.O.Y. ¶ÚÔÛˆÚÈÓ‹˜ ¢‹ÏˆÛ˘ ÁÈ· ÙÔ º.M.Y. Ô˘ ·Ú·ÎÚ·Ù‹ıËΠÛÙÔ ‰›ÌËÓÔ 1/731/8 ñ M¤¯ÚÈ 30/9 ˘Ô‚ÔÏ‹ ÛÙË ¢.O.Y. Û˘ÁÎÂÓÙÚˆÙÈÎÒÓ Î·Ù·ÛÙ¿ÛÂˆÓ ÚÔÌËı¢ÙÒÓ Î·È ÂÏ·ÙÒÓ (YÔ‚ÔÏ‹ ̤ۈ Internet) ñ M¤¯ÚÈ 30/9 ÏËڈ̋ ÂÈÛÊÔÚÒÓ IKA A˘ÁÔ‡ÛÙÔ˘ ñ EÓÙfi˜ 8 ËÌÂÚÔÏÔÁÈ·ÎÒÓ ËÌÂÚÒÓ, ·fi ÙËÓ ËÌÂÚÔÌËÓ›· ÚÔÛÏ‹„ˆ˜, ηٿıÂÛË ÛÙÔÓ O.A.E.¢ ÙˆÓ AÓ·ÁÁÂÏÈÒÓ ¶ÚfiÛÏ˄˘ , ÙˆÓ ÚÔÛÏ‹„ÂˆÓ ÚÔÛˆÈÎÔ‡ Ô˘ ı· Á›ÓÂÈ ÙÔÓ ™Â٤̂ÚÈÔ (TÔ ›‰ÈÔ ÈÛ¯‡ÂÈ Î·È ÁÈ· ÙȘ ÚÔÛÏ‹„ÂȘ Ô˘ ı· Á›ÓÔ˘Ó ÙÔ˘˜ ÂfiÌÂÓÔ˘˜ Ì‹Ó˜) ñ EÓÙfi˜ 15 ËÌÂÚÔÏÔÁÈ·ÎÒÓ ËÌÂÚÒÓ Î·Ù¿ıÂÛË ÛÙËÓ EÈıÂÒÚËÛË EÚÁ·Û›·˜ ·. K·Ù¿ÛÙ·ÛË ¶ÚÔÛˆÈÎÔ‡ (ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È fiÏÔÈ ÔÈ ÂÚÁ·˙fiÌÂÓÔÈ Ô˘ ÚÔÛÏ‹ÊıËÎ·Ó ·fi 1/9 ηıÒ˜ Î·È Ù˘¯fiÓ ·Ï·ÈÔ›) ‚. °ÓˆÛÙÔÔ›ËÛË ÙˆÓ fiÚˆÓ ÌÂÚÈ΋˜ ··Û¯fiÏËÛ˘ (fiÏˆÓ ÙˆÓ ÓÂÔÚÔÛÏËÊı¤ÓÙˆÓ Ô˘ ı· ··Û¯ÔÏËıÔ‡Ó Ì ÌÂÚÈ΋ ··Û¯fiÏËÛË) (TÔ ›‰ÈÔ ÈÛ¯‡ÂÈ Î·È ÁÈ· ÙȘ ÚÔÛÏ‹„ÂȘ Ô˘ ı· Á›ÓÔ˘Ó ÛÙÔ˘˜ ÂfiÌÂÓÔ˘˜ Ì‹Ó˜. ™ÙËÓ ÂÚ›ÙˆÛË ·˘Ù‹ ÁÚ¿ÊÔ˘Ì ÛÙËÓ Î·Ù¿ÛÙ·ÛË ÚÔÛˆÈÎÔ‡ ÌfiÓÔ ÙÔ˘˜ Ó¤Ô˘˜) MÈ· ¢ÁÂÓÈ΋ ÚÔÛÊÔÚ¿ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ™˘Ó‰¤ÛÌÔ˘ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ Î·È ÙÔ˘ Aı·Ó¿ÛÈÔ˘ ¶··Ï˘Ì¤ÚË §ÔÁÈÛÙ‹, ºÔÚÔÙ¯ÓÈÎÔ‡ ™˘Ì‚Ô‡ÏÔ˘ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘.

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New Word on the Block In 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! n 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 !

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Starchitect Britain is in the grip of celebrity mania: witness the rows of lurid gossip magazines in your local newsagent's, or the number of TV programmes with the word ‘celebrity’ in the title. But in a world where many of those in the public eye are simply ‘famous for being famous’, it's reassuring to know that talent and skill are still celebrated. The cult of celebrity means it's no longer enough to be quietly good at something — you need to be recognized by the public, preferably rising above your contemporaries into a class of your own. Thus the most successful models are referred to as ‘supermodels’, while top international footballers have been dubbed ‘galacticos’. Now, even traditionally behind-thescenes jobs have their famous

faces: just look at the ‘celebrity chefs’ taking over our screens and shelves. The latest professionals to emerge blinking into the spotlight are architects: the highest-profile figures are now being labelled starchitects (a blend of ‘star’ and ‘architect’) and fast becoming household names. The likes of Norman Foster, Richard Rogers, Frank Gehry and Santiago Calatrava have become almost as well known as their creations, and their landmark designs can really boost a city’s cool quotient. (In a different context, the word ‘starchitect’ has also been applied to Hollywood actor and design enthusiast Brad Pitt, with the slightly pejorative meaning of ‘star turned architect’.) Of course, this coinage works particularly well because of the shared sound in ‘star’ and ‘architect’. It opens up some other interesting possibilities: will Damien Hirst and Tracey Emin become known as ‘startists’, or the Time Team crew as ‘starchaeologists’? Perhaps limelight–loving minor

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

royals could become ‘staristocrats’?

Ecosexual There once was a time when people could be classed – at least in terms of their sexuality – as either 'heterosexual', 'homosexual' or 'bisexual'. You might think that this arrangement would not give much scope for further refinement, but in recent years a number of words have emerged that play on these terms in an attempt to define newly emerging classes of people. It all started with the idea of the

'metrosexual', the straight urban male who affects an interest in traditionally non-male matters such as fashion and personal grooming. This cheeky blend of 'metropolitan' and 'heterosexual' seemed unlikely to make much of an impact on the English language when it was coined in the mid-1990s, but the term hung around, and by 2003 its time had definitely come. It seemed to embody a concept that had reached the height of fashion, and as a result it became widely used and widely understood. Moreover, it served as a handy model for other words that were coined to describe categories of trendsetting individuals. So now we also have the 'pomosexual', the post-modernist who rejects traditional labels concerning sexuality, and the 'jetrosexual', the jet-setter who travels the world in pursuit of fashionable living. One of the latest variations on this theme is the ecosexual, the environmentally aware person for whom potential life-partners are assessed not in terms of their

looks, nor in terms of their wealth, but in terms of their commitment to the wellbeing of the planet. Devotees of conspicuous consumption such as the metrosexual and the jetrosexual presumably need not bother to apply.

Washlet Japan has a long-standing reputation as being a country of innovators, and many cuttingedge technologies have sprung from the Land of the Rising Sun. Now it seems that even the way we perform our most basic bodily functions is likely to be transformed, owing to the rise of the washlet — a device that has revolutionized the humble loo in Japan since its introduction in 1980, and which is now beginning to gain international recognition. The washlet is effectively a combined toilet and bidet: strategically placed jets of water emerge from within the bowl to ensure maximum intergluteal hygiene. However, many versions ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 27

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TESOL Greece Summer Event Chania 22 – 24 June 2007 mong the many things TESOL Greece is famous for is the Summer event which its members look forward to all year. This year it was Chania, Crete where the event was hosted.

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The event had been carefully planned, with arrangements starting as early as last January. The hotel for our stay (Porto Veniziano) and the venue for the talks (Hotel Kydon) had been carefully chosen. Both were very centrally located and our accommodation gave us access to a wonderful view of the old port. PALSO Chania had been very supportive of our event, including a flyer advertising the event in the conference bag they gave to all attendees of the Chania PALSO and offering us free exhibition space there. Unfortunately the local PALSO board could not attend as they

Eftichis Kantarakis TESOL Greece Newsletter Editor had to be in Athens for the PALSO elections. We thank them for their support which is greatly appreciated. The week before the event, one of our board members (the Newsletter Editor), visited schools and gave the flyer to about 25 teachers, spreading the word that TESOL Greece is there for all teachers and ELT professionals. About 25 local ELT professionals along with about 25 others visiting from Athens attended the seminars. The talks “line-up” was a real mixture of academic, practical and fun genres. Anna Petala started the “show” with her talk on “Dealing with

students with Dyslexia”. Her talk included some theoretical background, but focused on practical ways of helping students in the classroom with both reading and writing. Michael Anetopoulos presented ways of using the European Language Portfolio to implement the Common European Framework. His animated talk grabbed the interest of all attendees. Fun time started when Fiona Scott-Barrett presented three writing games. Always a pleasure to watch, Fiona took real life contexts and turned them into activities that were enjoyable for all teachers present, and we all felt sure they would be fun for our learners as well. Nick Micheloudakis wrapped up the show with a most intriguing talk on “Sex and the classroom”.

The context may have been familiar to all, but the way Nick presented it was no less than a revelation. As he made clear, it is probably one of the most familiar topics of discussion among our students and can be exploited for listening, speaking and other activities.

Of course, the Summer event was not just about teaching. When TESOL Greece members meet, we like to socialise and give something for everyone to look forward to until next year. Fish taverns with plenty of raki drinking were on the menu, as ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 13

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Réflexions sur la «médiation à l'école» Par Constantin TEGOS es études et les recherches actuelles en éducation nous amènent à faire le constat qu'il est maintenant impossible de parler d'enseignement sans traiter d'apprentissage. L'enseignement ne peut donc plus être considéré comme une simple transmission de connaissances même si les enseignants se définissent encore comme des émetteurs ou/et des transmetteurs de connaissances. Or, l'apprentissage, loin d'être purement cognitif, est d'abord et avant tout un acte social et affectif qui assimile désormais la discipline de la médiationÅ. En effet, le mot médiation a fait récemment son apparition en éducation. Il jouit actuellement d'une très bonne portée même si son sens reste assez fluctuant. En fait, il sert le plus souvent de substitut au mot enseigner, dévalorisé dans la perspective constructiviste actuelle. Le professeur cherche à se démarquer du rôle classique de dispensateur des connaissances et, du coup, il tente de trouver son créneau dans la relation d'aide, d'encouragement et d'accompagnement. Donc, mieux vaut être aujourd'hui, semble-t-il, médiateur que transmetteur de connaissances ! La médiation relève ainsi de tous les modes d'intervention didactique qui n'hésitent pas à peser de diverses façons, au profit d'un apprentissage espéré, tout en ne dessaisissant pas l'apprenant de son engagement en première ligne dans le processus, puisque personne n'apprend par procuration. C'est donc tout à la fois une induction pour s'élancer et un défi à réussir. La médiation a permis progressivement d'améliorer l'ambiance de la classe. En voici quelques réponses enregistrées auprès de professeurs :

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ñ Les élèves semblent apprécier l'évaluation continue sur plusieurs semaines. ñ Ils se sentent soutenus et s'aperçoivent que la communication facilite les relations. ñ Au fur et à mesure de la médiation, les élèves et le professeur changent d'attitude. ñ Un certain équilibre s'installe entre eux et une meilleure relation entre les élèves et le professeur se crée. ñ Les rôles sont redéfinis. ñ Les élèves se sentent plus sereins. ñ Il faut se rendre compte que privilégier l'écouteÇ et l'interaction en classe les relations entre les élèves et les professeurs se sont sensiblement améliorées et ce de manière durable. Mais, la médiation est un moyen pour apprendre aux élèves à ne plus réagir dans une situation de conflit par la violence mais par le dialogue et la négociation. L'idée n'est pas de faire disparaître les conflits qui peuvent être nécessaires dans un processus éducatif mais d'apprendre à gérer ces conflits pour qu'ils deviennent constructifs. Un enseignant-médiateur, c'est un facilitateur par définition, celui qui introduit l'esprit méthodique et la systématisation de l'étudeÑ, celui qui réduit les conflits, celui qui favorise le dialogue, celui qui demeure l'intermédiaire, enfin c'est un catalyseur qui met en action et favorise sa nouvelle fonction. En verbalisant leurs problèmes, les élèves acquièrent des notions de communication qui permettent la prise de conscience des difficultés rencontrées dans une relation qui dérape vers la violence. La médiation permet de développer le concept de

citoyenneté car les élèves intègrent des règles qu'ils auront eux-mêmes élaborées et qui garantissent leur liberté voire leur vraie sécurité. Ils deviennent plus responsables et acquièrent un état d'esprit qui devrait se généraliser dans leur vie quotidienne à l'école et au sein de la société. Somme toute, la médiation scolaire combat le décrochage et l'absentéisme à l'école. Elle réunit tous les acteurs présents dans l'environnement social des élèves (les parents, les éducateurs, les enseignants, l'entourage) dans un souci de cohérence et de respect mutuel et elle vise à donner aux élèves des outils leur permettant de découvrir et d'affirmer leur personnalité mais aussi l'envie de réussir mieux leur scolarité.

(Å) La médiation, en tant que discipline, propose un processus, constitué d'étapes adaptables au contexte, et de règles de fonctionnement et de communication dont le médiateur est le garant. Elle a pour objectif d'aboutir, sans obligation pour le médiateur, au résultat le plus satisfaisant possible pour les deux parties. Il s'agit d'un mode d'accompagnement des personnes en vue de prendre une décision commune. cf. http://fr.wikipedia.org/ (Ç) L'enseignement du français au primaire en Grèce : Pourquoi et comment faire ? cf. : www.editionstegos.com (Ñ) «Réussir la production écrite des niveaux B1,B2,C1,C2» - La méthodologie de la production écrite - EDITIONS TEGOS 2007

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GOING TO UNIVERSITY IN ENGLAND

Clearing: Given a second chance he Higher Education sector in England has its very distinct characteristics. One of them, is achieving entry into a university. There is no central system that decides who enters which university, and no system imposes on any university who to admit. This may sound strange to us, as we have the very centralised “esagogiges” which decide where each candidate will go, and leaves no room for a university to choose who to accept.

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In order to achieve some degree of order, the tertiary education sector has created an organisation, Universities and Colleges Admissions Service, UCAS, through which candidates apply specifying a list of six universities. The application goes electronically to the universities selected by the candidate. Universities decide to: (a) accept

Foulla Hadjicharou University of Central Lancashire Regional Manager, Eastern Mediterranean a candidate unconditionally, (b) accept a candidate after he/she fulfils a condition, or (c) reject the candidate. All that is fine, especially if the answer is an unconditional offer of place, which secures a place, or a rejection, in which case you do not have a place. The complications start where the university offers a place conditionally. In this case you will have a place if you meet certain conditions. There are two university places reserved for you on pending results. As soon as the results come out a place is reserved at the university you indicated as first choice. The second place becomes available at clearing. At the same time some candidates may not satisfy

any of the conditions of any university. The result is that thousands of university places remain unfilled while thousands of candidates remain without a university offer of place. The system has foreseen that this can be corrected by having a period of time, called “clearing” during which the universities change slightly their entry requirements so that many of the candidates who may otherwise not have a university place can be offered one. At the same time many of the candidates modify their expectations and apply to less competitive universities. This two-sided compromise helps to

e 1,500 Y¶OTPOºIA °È· fiÛÔ˘˜ ÊÔÈÙËÙ¤˜ ÂÁÁÚ·ÊÔ‡Ó ÙÔÓ ™Â٤̂ÚË 2007

THE UNIVERSITY OF CENTRAL LANCASHIRE PRESTON, UK Announces that The regional Representative will interview students and offer “on-the-spot” admissions The University is one of the largest in the UK, and in many Areas of study, it is rated “excellent”

Also welcome candidates for Master’s Programmes

Main areas of study:

EDUCATION, ACCOUNTING, BIOLOGY, BUILDING, CHEMISTRY, PHOTOGRAPHY, DRAMA, , FINE ART, HOTEL MANAGEMENT, COMPUTING, LINGUISTICS, MARKETING, MATHS, MODERN LANGUAGES, PHYSICS, SOCIOLOGY, SPORTS SCIENCE, TOURISM, TV PRODUCTION. For further information: email: [email protected] Telephone: 00357 22449030

fill university places and also leave a smaller number of candidates without a university place. This period of clearing officially starts at the end of June, and it gets to the peak after the middle of August, ending to the very date when universities start delivering their courses. Most universities will fill 25-30% of the available places at about this time. Those candidates that have not been able to secure a place in the early days of selection do not need to panic or worry. If one is patient and looks at the possibilities of clearing, then one will be offered a place to fit one’s abilities and qualifications.

For any further information Mrs Hadjicharou can be contacted at 0035 799 639 570

TESOL Greece Summer Event ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 10

was an impromptu “shots” session for the benefit of younger members. Visiting the city and the nearby beaches was also included. Falasarna and Elafonisi were two of the most beautiful beaches we could ever hope to visit and a contest was organised for the best writing on the sand. The design by Costas Pitychoutis won unanimously, and it will be featured as the cover of our next Newsletter. The design by our Newsletter editor, Eftichis Kantarakis, was rejected as he had merely managed to get through one letter by the time Costas had finished it all. This summer event left us that much richer for the experience, more dedicated to be active members and with a bit of tan to remind us that TESOL Greece is the most fun teacher association to be a member of. We hope to see you all at our next event.

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¶Èı·Ó¤˜ Û˘Ó¤ÂȘ Ù˘ ¿ÁÓÔÈ·˜ ÙˆÓ ÁÔÓ¤ˆÓ TÔ ¿ÚıÚÔ ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ Special Education http://www.specialeducation.gr/ ™YNEXEIA A¶O TO ¶POH°OYMENO

EÊfiÛÔÓ ÔÈ ÊÔÚ›˜ Ù˘ ·ÁˆÁ‹˜ ·ÁÓÔÔ‡Ó ÙË Ê‡ÛË Ù˘ ‰˘ÛÏÂÍ›·˜, ÙËÓ ÂȉÈ΋ ÛÙÚ·ÙËÁÈ΋ Î·È ÙËÓ „˘¯Ô·È‰·ÁˆÁÈ΋ Ú·ÎÙÈ΋ Ô˘ Ú¤ÂÈ Ó· ·ÎÔÏÔ˘ı‹ÛÔ˘Ó ÛÙËÓ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ·È‰ÈÔ‡ Ì ‰˘ÛÏÂÍ›·, ÔÈ Û˘Ó¤ÂȘ ÛÙËÓ ÚÔÛˆÈÎfiÙËÙ¿ ÙÔ˘ ‰ÂÓ ÂÚÈÔÚ›˙ÔÓÙ·È ˆ˜ ‰Ò. TÔ ·È‰› οو ·fi ÙËÓ ›ÂÛË Û ·ÚÎÂÙ¤˜ ÂÚÈÙÒÛÂȘ ÙˆÓ ·ÓÂÈÙ˘¯ÒÓ ÚÔÛ·ıÂÈÒÓ ÙÔ˘ Î·È ÙˆÓ ·Î·Ù¿ÏÏËÏˆÓ ¯ÂÈÚÈÛÌÒÓ ‰È¿ÊÔÚˆÓ ÌÔÚÊÒÓ Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ÙÔ˘, ‰ÂÓ Â›Ó·È ‰˘Ó·ÙfiÓ ·Ú¿ Ó· ηٷϷ̂¿ÓÂÙ·È Ì ÙËÓ ¿ÚÔ‰Ô ÙÔ˘ ¯ÚfiÓÔ˘ ·fi ··ÈÛÈÔ‰ÔÍ›·. A·ÈÛÈÔ‰ÔÍ›· Ë ÔÔ›· fi¯È ÌfiÓÔ, fiˆ˜ Â›Ó·È ÂfiÌÂÓÔ, Ô͇ÓÂÈ ÙȘ ‰˘ÛÎÔϛ˜ Ù˘ Ì¿ıËÛ˘ Î·È ÌÂÈÒÓÂÈ ÙËÓ ·È‰È΋ ¯·Ú¿, ·ÏÏ¿ ÂËÚ¿˙ÂÈ ·ÚÓËÙÈο Î·È ÙÔ˘˜ ÌÂÏÏÔÓÙÈÎÔ‡˜ ÙÔ˘ ۯ‰ȷÛÌÔ‡˜, ÙȘ ÂȉÈÒÍÂȘ ÙÔ˘, ÙȘ ÂÈÏÔÁ¤˜ ÙÔ˘. EÊfiÛÔÓ ÙÒÚ· Î·È ÔÈ ÂÌÂÈڛ˜ ÙÔ˘ ÔÈ Û¯ÂÙÈ˙fiÌÂÓ˜ Ì ÙÔ Û¯ÔÏÂ›Ô Î·È Ë ÚÔÔÙÈ΋ ÙÔ˘ ̤ÏÏÔÓÙÔ˜, ÂËÚ·Ṳ̂ÓË ·fi ·˘Ù¤˜, ‰ÂÓ ÙÔ˘ ÚÔÛʤÚÔ˘Ó fi,ÙÈ Î·Ï‡ÙÂÚÔ ı· ÂÈı˘ÌÔ‡ÛÂ, Ô‰ËÁÂ›Ù·È ‚·ıÌÈ·›·, fiˆ˜ ı· ÌÔÚÔ‡Û ӷ ÂÈοÛÂÈ Î·Ó›˜, Û ÌÈ· fi¯È ȉȷ›ÙÂÚ· ·ÈÛÈfi‰ÔÍË ıÂÒÚËÛË Ù˘ ˙ˆ‹˜. K·ıÒ˜ ÂÈÛÚ¿ÙÙÂÈ Û˘¯Ó¿ ·‚·Û¿ÓÈÛÙË Î·È ÂÈfiÏ·ÈË ÎÚÈÙÈ΋ ·fi ÙÔ˘˜ ÁÔÓ›˜, ÙÔ ‰¿ÛηÏÔ, ·ÏÏ¿ Î·È ·fi ÙÔ˘˜ Û˘ÌÌ·ıËÙ¤˜, ‰Â ̤ÓÂÈ ·Ú¿ Ó· ·Ó·Ù‡ÍÂÈ ¤Ó· Ó‡̷ ‰˘ÛÈÛÙ›·˜ ÚÔ˜ ÙÔ˘˜ ·ÓıÚÒÔ˘˜ ÁÂÓÈο, ÙÔ ÔÔ›Ô ÛÙË Û˘Ó¤¯ÂÈ· ÔÚıÒÓÂÈ ÂÌfi‰È· ÛÙËÓ ÔÌ·Ï‹ ÎÔÈÓˆÓÈÎÔÔ›ËÛË ÙÔ˘. H ·ÚÂÌfi‰ÈÛË Ù˘ ÎÔÈÓˆÓÈÎÔÔ›ËÛ˘ ÙÔ˘ ÙÔÓ ·ÔÛÙÂÚ› ·fi ÙËÓ ÈηÓÔÔ›ËÛË Ù˘ ıÂÌÂÏÈÒ‰Ô˘˜ „˘¯È΋˜ ·Ó¿Á΢ ÁÈ· ·Ô‰Ô¯‹ Î·È ·Ó·ÁÓÒÚÈÛË ·fi ÙÔ˘˜ ¿ÏÏÔ˘˜. AÔÙ¤ÏÂÛÌ· ·˘ÙÔ‡ Â›Ó·È Ó· ‚ÈÒÓÂÈ ¤Ó· Û˘Ó·›ÛıËÌ· ÈÎÚ›·˜, ÙÔ ÔÔ›Ô ÙÔÓ Â͈ı› ·ÓÂͤÏÂÁÎÙ· Û ·ÓÙÈ·Ú¿ıÂÛË ÚÔ˜ Ù· ÚfiÛˆ· Ô˘ ¢ı‡ÓÔÓÙ·È

XÚ›ÛÙÔ˜ °. T·Ófi˜ ™‡Ì‚Ô˘ÏÔ˜ æ˘¯ÔÏÔÁ›·˜ ÙÔ˘ ¶·È‰·ÁˆÁÈÎÔ‡ IÓÛÙÈÙÔ‡ÙÔ˘ ÁÈ· ÙËÓ Î·Ù¿ÏËÍË ·˘Ù‹, ·ÏÏ¿ Î·È ‰È·‰Ú·Ì·Ù›˙Ô˘Ó Î·ıÔÚÈÛÙÈÎfi ÚfiÏÔ ÛÙË ˙ˆ‹ ÙÔ˘. TfiÙÂ Â›Ó·È Ôχ Èı·ÓfiÓ Ó· ·Ô‰˘Ó·ÌÒÓÂÙ·È ‹ Ó· Ì·Ù·ÈÒÓÂÙ·È Ë ÚÔÛ‰ÔÎÒÌÂÓË ÂÓÂÚÁËÙÈ΋ ·È‰·ÁˆÁÈ΋ ÙˆÓ Û˘ÓÙÂÏÂÛÙÒÓ ·˘ÙÒÓ Ù˘ ·ÁˆÁ‹˜, ÔfiÙ ¢ÓÔÂ›Ù·È Ë ÂÌÊ¿ÓÈÛË ·ÓÙÈÎÔÈÓˆÓÈ΋˜ Û˘ÌÂÚÈÊÔÚ¿˜. E›Ó·È, ÏÔÈfiÓ, ÙÔ˘Ï¿¯ÈÛÙÔÓ ¿‰ÈÎÔ Ó· ˘Ê›ÛÙ·ÓÙ·È ÔÈ Ì·ıËÙ¤˜ Ì ‰˘ÛÏÂÍ›·, Ô˘ ¤¯Ô˘Ó fï˜ ·ÚÎÂÙ¤˜ ÈηÓfiÙËÙ˜, ÙȘ Û˘Ó¤ÂȘ Ù˘ ¿ÁÓÔÈ·˜ ÙˆÓ ¿ÌÂÛ· ÂÌÏÂÎÔÌ¤ÓˆÓ ÛÙË ‰È··È‰·ÁÒÁËÛË ÙÔ˘˜. AÓÙ›ıÂÙ·, fiÙ·Ó ÔÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ ÁÓˆÚ›˙Ô˘Ó fiÙÈ ¤Ó·˜ Û˘ÁÎÂÎÚÈ̤ÓÔ˜ Ì·ıËÙ‹˜ ·ÚÔ˘ÛÈ¿˙ÂÈ ÙËÓ ÂȉÈ΋ Ì·ıËÛȷ΋ ‰˘ÛÎÔÏ›· Î·È ¤¯Ô˘Ó ÂÓËÌÂÚˆı› Â·ÚÎÒ˜ ÁÈ· ÙË Û˘ÌÂÚÈÊÔÚ¿ ÙˆÓ ‰˘ÛÏÂÎÙÈÎÒÓ Ì·ıËÙÒÓ ÁÂÓÈο, ÙfiÙ ı· ÓÈÒıÔ˘Ó ÈÔ ‰˘Ó·ÙÔ› Î·È ı· ¤¯Ô˘Ó ÌÂÁ·Ï‡ÙÂÚË ·˘ÙÔÂÔ›ıËÛË fiÛÔÓ ·ÊÔÚ¿ ÙËÓ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ (Peer & Reid, 2003). £· ¤¯Ô˘Ó ÂÈÛı› fiÙÈ Ë ‰È·Ù‹ÚËÛË Ù˘ ·˘ÙÔÂÎÙ›ÌËÛ˘ ÙÔ˘ Ì·ıËÙ‹ Û ¤Ó· ÈηÓÔÔÈËÙÈÎfi Â›Â‰Ô Â›Ó·È ÚˆÙ·Ú¯È΋˜ ÛÔ˘‰·ÈfiÙËÙ·˜. K·È ·˘Ùfi ‰ÈfiÙÈ ·fi ÙÔ ˘„ËÏfi ‹ ÌË Â›Â‰Ô Ù˘ ·˘ÙÔÂÎÙ›ÌËÛ‹˜ ÙÔ˘, ÂËÚ¿˙ÔÓÙ·È ·ÓÙ›ÛÙÔȯ· ‚·ÛÈΤ˜ Ù˘¯¤˜ Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ÙÔ˘ Ì·ıËÙ‹, fiˆ˜ Ë Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÙÔ˘ ¢ÛÙ¿ıÂÈ·, ÔÈ ‰È·ÚÔÛˆÈΤ˜ ÙÔ˘ Û¯¤ÛÂȘ, Ë Ì·ıËÛȷ΋ ·Ô‰ÔÙÈÎfiÙËÙ· ÙÔ˘, ÔÈ ÂȉÈÒÍÂȘ ÙÔ˘ ÎÙÏ. °È· Ó· ‰È·ÌÔÚÊÒÛÂÈ Ô ‰˘ÛÏÂÎÙÈÎfi˜ Ì·ıËÙ‹˜ ÙËÓ ÂÓÙ‡ˆÛË fiÙÈ Â›Ó·È ¿ÍÈÔ˜ Î·È ÈηÓfi˜, Â›Ó·È ·Ó¿ÁÎË «ÔÈ ÛÔ˘‰·›ÔÈ ¿ÏÏÔÈ ÛÙË ˙ˆ‹ ÙÔ˘», ‰ËÏ·‰‹ ÔÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ, Ó· ÙÔ˘ Û˘ÌÂÚÈÊÂÚıÔ‡Ó Ì ηٷÓfiËÛË Î·È ˘ÔÌÔÓ‹, Ó· Û‚·ÛÙÔ‡Ó ÙËÓ È‰È·ÈÙÂÚfiÙËÙ· ÙÔ˘, Ó· ÌËÓ ·Ó‚¿˙Ô˘Ó „ËÏ¿, ¿Óˆ ·fi ÙȘ ‰˘Ó·ÙfiÙËÙ¤˜ ÙÔ˘, ÙÔÓ ‹¯Ë ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ÙÔ˘ ÂȉfiÛˆÓ, Ó· ÙÔ˘ ·Ó·ı¤ÙÔ˘Ó ‰Ú·ÛÙËÚÈfiÙËÙ˜ ÛÙȘ Ôԛ˜ Ë ÂÈÙ˘¯›· ÙÔ˘ ı· Â›Ó·È ÈÔ Û›ÁÔ˘ÚË, Ó· ·ÔʇÁÔ˘Ó ÙÔ˘˜ ÌÂȈÙÈÎÔ‡˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜ ÁÈ' ·˘ÙfiÓ Î.¿.

H ·ÍÈÔÏfiÁËÛË ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹ ·fi ÙÔÓ ÂÎ·È‰Â˘ÙÈÎfi ‰Â ı· Á›ÓÂÙ·È ·ÔÎÏÂÈÛÙÈο Ì ‰È·ÙÔÌÈÎfi ÎÚÈÙ‹ÚÈÔ, Ì ÙËÓ ÂÎÙ›ÌËÛË ‰ËÏ·‰‹ Ù˘ Â›‰ÔÛ˘ ÙÔ˘ Û ۇÁÎÚÈÛË Ì ÂΛÓË ÙˆÓ Û˘ÌÌ·ıËÙÒÓ ÙÔ˘. £· Ú¤ÂÈ Ó· ¤¯ÂÈ ÂÚÈÛÛfiÙÂÚÔ ÂÓ‰Ô·ÙÔÌÈÎfi ¯·Ú·ÎÙ‹Ú·, Ó· Á›ÓÂÙ·È ‰ËÏ·‰‹ Û ۇÁÎÚÈÛË Ì ÙËÓ Â›‰ÔÛË ÙÔ˘ Ù˘ ÚÔËÁÔ˘Ì¤Ó˘ ÂÚÈfi‰Ô˘. ŒÙÛÈ Ô ÂÎ·È‰Â˘ÙÈÎfi˜ ‰ÂÓ ·Ú·‚ϤÂÈ ÙË ÌÂÈÔÓÂÍ›· ÙÔ˘ Ì·ıËÙ‹ Î·È ‰ÂÓ ·Ú·‚È¿˙ÂÈ Ù· ‰ÈηÈÒÌ·Ù· ÙÔ˘ Ô˘ ·ÔÚÚ¤Ô˘Ó ·fi ·˘Ù‹. OÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ, ÁÓˆÚ›˙ÔÓÙ·˜ ÙȘ ȉÈÔÌÔÚʛ˜ ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, ‰Â ı· ÂÎÓ¢ڛ˙ÔÓÙ·È, fiÙ·Ó ·Ú·ÙËÚÔ‡Ó fiÙÈ ÎÔ˘Ú¿˙ÂÙ·È ÁÚ‹ÁÔÚ· ·fi ÙÔ ‰È¿‚·ÛÌ· ÙÔ˘ Î·È ‰Â ı· ÙÔ˘ ·¢ı‡ÓÔ˘Ó Ù·ÂÈÓˆÙÈÎÔ‡˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜, ‰ÈfiÙÈ ı· ͤÚÔ˘Ó fiÙÈ ÙÔ ·È‰› Û˘Ó·ÓÙ¿ Ú¿ÁÌ·ÙÈ ÔÏϤ˜ ‰˘ÛÎÔϛ˜ ÛÙË ÁÓˆÛÙÈ΋ ÂÂÍÂÚÁ·Û›· ÙˆÓ Ï¤ÍÂˆÓ ÂÓfi˜ ÎÂÈ̤ÓÔ˘ Î·È Î·Ù·Ó·ÏÒÓÂÈ ·ÚÎÂÙfi ¯ÚfiÓÔ ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË ÙÔ˘. E›Û˘, ‰Â ı· ·Á·Ó·ÎÙÔ‡Ó, fiÙ·Ó ‚ϤÔ˘Ó fiÙÈ ‰È·Û¿Ù·È Û˘¯Ó¿ Ë ÚÔÛÔ¯‹ ÙÔ˘ Ì·ıËÙ‹ ‹ fiÙ·Ó Î·ı˘ÛÙÂÚ› ÛÙÔ ÁÚ¿„ÈÌÔ ÙÔ˘ ·ÎfiÌË Î·È ÛÙËÓ ·ÓÙÈÁÚ·Ê‹. H ‰˘ÛÎÔÏ›· Ô˘ Û˘Ó·ÓÙ¿ Ô Ì·ıËÙ‹˜ ÛÙËÓ ·ÔÌÓËÌfiÓ¢ÛË ÔÚÈÛÌÒÓ, ¯ÚÔÓÔÏÔÁÈÒÓ, ÛÙËÓ ÂÎÌ¿ıËÛË Ù˘ ÚÔ·›‰ÂÈ·˜ Î.¿. Â›Ó·È ·Ó·ÌÂÓfiÌÂÓË Î·È ‰ÂÓ ÚÔ‚ÏËÌ·Ù›˙ÂÈ ÙÔ˘˜ ÂÓËÌÂڈ̤ÓÔ˘˜ ÁÔÓ›˜ Î·È ÂÎ·È‰Â˘ÙÈÎÔ‡˜. E›Ó·È ÏÔÈfiÓ ÚÔÂÙÔÈÌ·Ṳ̂ÓÔÈ Ó· ‰Â›ÍÔ˘Ó ˘ÔÌÔÓ‹, ·ÏÏ¿ Î·È Ó· ÚÔ¯ˆÚ‹ÛÔ˘Ó ÛÙËÓ ÂÈÓfiËÛË ÌÓËÌÔÓÈÎÒÓ Ì˯·ÓÈÛÌÒÓ ÚÔ˜ ‰È¢ÎfiÏ˘ÓÛË ÙÔ˘ Ì·ıËÙ‹. H ‡ÏÔÁË Î·È ÂÈ‚·ÏÏfiÌÂÓË ÂÈÂÈ΋˜ ÛÙ¿ÛË ÙˆÓ ÁÔÓ¤ˆÓ Î·È ÙˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ ·¤Ó·ÓÙÈ ÛÙË ÌÂȈ̤ÓË Â›‰ÔÛË ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, Î·È ÂӉ¯Ô̤ӈ˜ ·¤Ó·ÓÙÈ Û οÔȘ ÂÓÔ¯ÏËÙÈΤ˜ ÂÓ¤ÚÁÂȘ ÙÔ˘, ÌÂ Î·Ó¤Ó·Ó ÙÚfiÔ ‰ÂÓ Ú¤ÂÈ Ó· ÊÙ¿ÛÂÈ ÛÙËÓ ˘ÂÚ‚ÔÏ‹ Î·È Ó· ηٷϋÍÂÈ ÛÙÔ Ó· ·È™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 16

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E›Ì·È ‰˘ÛÏÂÍÈÎfi˜, fi¯È «Î·Îfi˜» Ì·ıËÙ‹˜!!! Œ¯Ô˘Ó Ôχ ·˘ÍË̤ÓË Û˘Ó›‰ËÛË ÙÔ˘ ÂÚÈ‚¿ÏÏÔÓÙfi˜ ÙÔ˘˜ Î·È Â›Ó·È ÈÔ ÂÚ›ÂÚÁÔÈ ·fi Educational Consultant-Teacher Ù· ¿ÏÏ· ¿ÙÔÌ· Ù˘ ËÏÈΛ·˜ ÙÔ˘˜. E›Ó·È ÁÓˆ[email protected] ÛÙfi fiÙÈ Ë ÂÚȤÚÁÂÈ· Ô‰ËÁ› ÛÙËÓ ·Ó·˙‹ÙËÛË, ÙËÓ ÂÍÂÚ‡ÓËÛË Î·È Û˘ÓÂÒ˜ ÙË ÁÓÒÛË. ™Î¤ñ Ï¿ıË ÛËÌ›ˆÓ ÛÙ›Í˘ ÊÙÔÓÙ·È Î˘Ú›ˆ˜ Ì ÂÈÎfiÓ˜ Î·È Â›Ó·È ÂÍ·ÈÚÂÙÈo ÚÒÙÔ ñ Û˘ÓÙ·ÎÙÈο Ï¿ıË Î¿ ‰È·ÈÛıËÙÈÎÔ›. §fiÁˆ Ù˘ ˙ˆËÚ‹˜ Ê·ÓÙ·Û›·˜ Ú¿ÁÌ· Ô˘ OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ «ÚÔ‰›‰ÔÓÙ·È» Â›Û˘ ÙÔ˘˜, ‚ÈÒÓÔ˘Ó ¤ÓÙÔÓ· ÙȘ ÛΤ„ÂȘ ÙÔ˘˜ Î·È ‰›¤Ú¯ÂÙ·È ÛÙÔ ·fi ÙËÓ ÂÈÎfiÓ· ÙÔ˘ ÁÚ·ÙÔ‡ ÏfiÁÔ˘ ÙÔ˘˜, Ô˘ ÓÔ˘Ó ÔÏÏ·Ϥ˜ ÂÈÏÔÁ¤˜ Û ‰È¿ÊÔÚ· ÚÔÌ˘·Ïfi ÂÓfi˜ Â›Ó·È Û˘Ó‹ıˆ˜ ·Î·Ù¿ÛÙ·ÙË. ¶·ÚÔ˘ÛÈ¿˙Ô˘Ó ‚Ï‹Ì·Ù·. XÚËÛÈÌÔÔÈÔ‡Ó fiϘ ÙÔ˘˜ ÙȘ ·ÈÛı‹·ÓıÚÒÔ˘ fiÙ·Ó ·‰˘Ó·Ì›· ÛÙËÓ Â˘ı˘ÁÚ¿ÌÌÈÛË Î·È ÙÔ ‰È·¯ˆÛÂȘ, ÁÂÁÔÓfi˜ Ô˘ ÙÔ˘˜ ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· Ó· Ì·ı·›ÓÂÈ fiÙÈ ¤Ó· ÚÈÛÌfi ÙˆÓ Ï¤ÍÂˆÓ Î·È ‰˘ÛÎÔχÔÓÙ·È Ó· ·ÓÙÈ·ÓÙÈÏ·Ì‚¿ÓÔÓÙ·È Ù· Ú¿ÁÌ·Ù· Î·È ÙȘ ηٷ·È‰› Â›Ó·È ‰˘ÛÏÂÍÈÎfi Â›Ó·È Ù· ÚÔ‚Ï‹Ì·Ù· ÁÚ¿„Ô˘Ó Î¿ÙÈ ·fi ÙÔÓ ›Ó·Î·. ÛÙ¿ÛÂȘ ÔÏ˘‰È¿Ûٷٷ. Ô˘ Û˘Û¯ÂÙ›˙ÔÓÙ·È Ì ÙË Ì¿ıËÛË Î·È Ô‰ËÁÔ‡Ó ŸÛÔ ·ÊÔÚ¿ ÙÔ ÚÔÊÔÚÈÎfi ÏfiÁÔ, ·Ú·ÙËÚÔ‡A˘Ùfi Ô˘ ¯ÚÂÈ¿˙ÔÓÙ·È ÔÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ ÛÙË ÊÙˆ¯‹ Û¯ÔÏÈ΋ ·fi‰ÔÛË. E¿Ó ÙÔ˘ ˙ËÙ‹- ÓÙ·È ÚÔ‚Ï‹Ì·Ù· Â›Ó·È Î·Ï¿ ηÛÔ˘Ì ӷ Ê·ÓÙ·ÛÙ› ÙÔ Ì¤ÏÏÔÓ ·˘ÙÔ‡ ÙÔ˘ ·È- Û ˘ Á Î Â Î Ú È Ì ¤ Ó Ô ˘ Ù·ÚÙÈṲ̂ÓÔ˘˜ ‰·‰ÈÔ‡ fiÛÔ ·ÊÔÚ¿ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ Î·È ÙȘ ·Î·- Ù‡Ô˘ fiˆ˜: ÛοÏÔ˘˜ Ô˘ η‰ËÌ·˚Τ˜ ÙÔ˘ ÂȉfiÛÂȘ, ÚÔÊ·ÓÒ˜ ı· Ì·˜ ñ KfiÌÈ·ÛÌ·Ù·ÓÔÔ‡Ó ÙË Ê‡ÛË ÂÈ fiÙÈ ÔÈ ·ÔÙ˘¯›Â˜ ÙÔ˘ ‰˘ÛÏÂÍÈÎÔ‡ ·ÙfiÌÔ˘ ÛÙ·Ì¿ÙËÌ· ·Ó¿ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜, ı· Â›Ó·È ÂÚÈÛÛfiÙÂÚ˜ ·fi ÙȘ ÂÈÙ˘¯›Â˜ ÙÔ˘ ÌÂÛ· ÛÙȘ ϤÍÂȘ. ÁÓˆÚ›˙Ô˘Ó Î·Ï¿ ÌÈ·˜ Î·È Ë Û¯ÔÏÈ΋ ÙÔ˘ ˙ˆ‹ ÚÔηıÔÚ›˙ÂÙ·È ñ ÊÙˆ¯fi Î·È ÛÙÂÙȘ ·‰˘Ó·Ì›Â˜ 片ÛÎÔÏË Î·È Â›ÌÔ¯ıË. ÚÂfiÙ˘Ô ÏÂÍÈÏfiÁÈÔ ıÒ˜ Î·È ÙȘ ‰˘Ó·H ·Ï‹ıÂÈ· Â›Ó·È fiÙÈ Ô ‰˘ÛÏÂÍÈÎfi˜ Ì·ıËÙ‹˜ ·- Û ۯ¤ÛË Ì ÙËÓ ËÙfiÙËÙ˜ ÙˆÓ Ì·ıËÓÙÈÌÂÙˆ›˙ÂÈ ÌÈ· ÛÂÈÚ¿ ÚÔ‚ÏËÌ¿ÙˆÓ Ô˘ ÏÈΛ· ÙÔ˘˜. ÙÒÓ ÙÔ˘˜ Î·È Â›Ó·È Î·ıÈÛÙÔ‡Ó ÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘ ‰‡- ñ MÂÚÈΤ˜ ‰˘ÛÎÔÚfiı˘ÌÔÈ Ó· ÚÔÛÎÔÏË. T· ÚÔ‚Ï‹Ì·Ù· ·˘Ù¿ ÂÛÙÈ¿˙ÔÓÙ·È Î˘- ϛ˜ ÛÙËÓ ¿ÚıÚˆÛË Û·ÚÌfiÛÔ˘Ó ÙÔ ÂÎÚ›ˆ˜ ÛÙÔ ÁÚ·Ùfi Î·È ÚÔÊÔÚÈÎfi ÏfiÁÔ. ñ MÔÓfiÙÔÓË Î·È ·È‰Â˘ÙÈÎfi ÙÔ˘˜ AÍ›˙ÂÈ Ó· ÛËÌÂÈÒÛÔ˘Ì fiÙÈ Ë ÁÚ·Ê‹ Â›Ó·È ÌÈ· · Ó ¤ Î Ê Ú · Û Ù Ë ÚfiÁÚ·ÌÌ· ÛÙ· ÁÚ·ÊÔÎÈÓËÙÈ΋ ÂÓ¤ÚÁÂÈ· Î·È ‰È·ÎÚ›ÓÂÙ·È Û : ¯ÚÔÈ¿ ʈӋ˜ Ô˘ Ó¤· ‰Â‰Ô̤ӷ Ô˘ ñ AÓÙÈÁÚ·Ê‹ ‰ËÏÒÓÂÈ ·Ó·ÛÊ¿ÚÔ·ÙÔ˘Ó ·fi ñ K·ı’ ˘·ÁfiÚ¢ÛË ÏÂÈ· ÙËÓ ‡·ÚÍË ‰˘ñ Afi ÌÓ‹Ì˘ ñ XÚ‹ÛË Û˘ÁÎÂÛÏÂÍÈÎÒÓ ·ÙfiÌˆÓ ñ A˘ıfiÚÌËÙË ÁÚ·Ê‹ ÎÚÈÌ¤ÓˆÓ Ï¤ÍÂˆÓ Û ̛· ÂÓÈ·›· Ù¿OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÚÔ- Î·È ÂÎÊÚ¿ÛÂˆÓ ÍË. O ÚfiÏÔ˜ ÙÔ˘ ‚Ï‹Ì·Ù· Û fiÏ· Ù· ›‰Ë ÁÚ·Ê‹˜. AÓ¿ÏÔÁ· Ì ÙË Ê‡‰·ÛοÏÔ˘ ÛÙËÓ O Ì·ıËÙ‹˜ ·ÚÔ˘ÛÈ¿˙ÂÈ Â›Û˘ ·Ó·ÁÓˆÛÙÈο ÛË ÙÔ˘ ÚÔ‚Ï‹Ì·ÂÎ·›‰Â˘ÛË ÙÔ˘ ÚÔ‚Ï‹Ì·Ù· Î·È Ë ¤ÎÊÚ·ÛË ÙÔ˘ Â›Ó·È ÊÙˆ¯‹ ÙÔ˜, Ô ‰˘ÛÏÂÍÈÎfi˜ Ì·ıËÙ‹ Ì ÂȉÈΤ˜ Sylvia Kar Publications Û ۯ¤ÛË Ì ·˘Ù‹ ÙˆÓ ÔÌÔÏfiÁˆÓ ÙÔ˘. Ì·ıËÙ‹˜ ·ÓÙÈÌÂÌ·ıËÛȷΤ˜ ‰˘¶ÈÔ Û˘ÁÎÂÎÚÈ̤ӷ, Ë ·Ó¿ÁÓˆÛË ÂÓfi˜ ‰˘ÛÏÂÍÈ- Ùˆ›˙ÂÈ ÌÈ· ÛÂÈÚ¿ Contact Us: 210-6390030, 210-6081673 ÛÎÔϛ˜ Â›Ó·È ÏÂÎÔ‡ ·ÙfiÌÔ˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÔÚÈṲ̂Ó˜ ‰˘ÛÎÔ- ÚÔ‚ÏËÌ¿ÙˆÓ Ô˘ Ùfi˜ Î·È Î·ıÔÚÈϛ˜ ΢ڛˆ˜ ÛÙ· ÁÚ¿ÌÌ·Ù·, ÙȘ Û˘ÏÏ·‚¤˜, ÙȘ ηıÈÛÙÔ‡Ó ·Ó·Áη›· ÙË ‰È·ÊÔÚÂÙÈ΋ ÂÎ·ÈÛÙÈÎfi˜. MÂÁ¿ÏÔ˜ ·ÚÈıÌfi˜ ÂÚ¢ÓÒÓ ·Ô‰ÂÈϤÍÂȘ, ÙȘ ÚÔÙ¿ÛÂȘ, ÙÔ Î›ÌÂÓÔ, ÙÔÓ ÙÔÓÈÛÌfi ‰Â˘ÙÈ΋ ÚÔÛ¤ÁÁÈÛË ÚÔÎÂÈ̤ÓÔ˘ Ó· ÙÔ˘ ‰ÔÎÓ‡ÂÈ fiÙÈ Ù· ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ Î·È Ù· ÛËÌ›· ÛÙ›Í˘. ı› Ë Â˘Î·ÈÚ›· Ó· ‰È·Ú¤„ÂÈ Û ¤Ó· ÊÈÏfiÍÂÓÔ ·ÏÏËÏÂȉÚÔ‡Ó ÂÚÈÛÛfiÙÂÚÔ Ì ÙÔ˘˜ ‰·ÛοMÂÚÈΤ˜ ·fi ·˘Ù¤˜ ÙȘ ‰˘ÛÎÔϛ˜ Â›Ó·È ÔÈ: Û¯ÔÏÈÎfi ÂÚÈ‚¿ÏÏÔÓ. ÏÔ˘˜ ÙÔ˘˜ ·fi fiÙÈ Ù· ·È‰È¿ ¯ˆÚ›˜ Ì·ıËÛÈ·ñ ·ÓÙÈηٷÛÙ¿ÛÂȘ ¢ÂÓ Ú¤ÂÈ Ó· ͯӿÌ fiÙÈ ÔÈ ‰˘ÛÏÂÍÈÎÔ› Ì·- ο ÚÔ‚Ï‹Ì·Ù·. ñ ÚÔÛı¤ÛÂȘ-·ÚÂÌ‚ÔϤ˜ ıËÙ¤˜ ¤¯Ô˘Ó fiÏ· Ù· ÚÔÛfiÓÙ· ÁÈ· Ó· Á›ÓÔ˘Ó Â- H ‡·ÚÍË ·˘ÙÔ‡ ÙÔ˘ Ê·ÈÓÔ̤ÓÔ˘ ÂÈÛËÌ·›ÓÂÈ ñ ·Ê·ÈÚ¤ÛÂȘ-·Ú·Ï›„ÂȘ Í·›ÚÂÙÔÈ ÂÈÛÙ‹ÌÔÓ˜. E›Ó·È Â˘Ê˘‹ ¿ÙÔÌ· Ì ÙË ÛËÌ·Û›· Ù˘ ÛˆÛÙ‹˜ Û¯¤Û˘ ‰·ÛοÏÔ˘ñ ·ÓÙÈÛÙÚÔʤ˜-·ÓÙÈÌÂÙ·ı¤ÛÂȘ ˘„ËÏfi ‰Â›ÎÙË ÓÔËÌÔÛ‡Ó˘. Œ¯Ô˘Ó ˘„ËÏfi Â- Ì·ıËÙ‹ Ì ̷ıËÛȷο ÚÔ‚Ï‹Ì·Ù·. ñ Ì·Ó٤̷ٷ-ÚÔÏ‹„ÂȘ ÛˆÙÂÚÈÎfi ΛÓËÙÚÔ Â›Ù¢Í˘ Ô˘ Ì ηٿÏÏË- OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜, ηıÒ˜ Î·È fiÏÔÈ ÔÈ Ì·ñ ·Ú·ÙÔÓÈÛÌÔ› ÏË Î·ıÔ‰‹ÁËÛË ÌÔÚ› Ó· ÙÔ˘˜ Ô‰ËÁ‹ÛÂÈ ÛÙËÓ ıËÙ¤˜ Ô˘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó Ì·ıËÛȷο ÚÔñ Â·Ó·Ï‹„ÂȘ ÂÈÙ˘¯›·. ‚Ï‹Ì·Ù·, ·ÏÏËÏÂȉÚÔ‡Ó ÂÚÈÛÛfiÙÂÚÔ ÌÂ

Dr. Theodora Papadopoulou

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™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 14

Ûı·ÓıÔ‡Ó Ô›ÎÙÔ ÁÈ· ÙÔ Ì·ıËÙ‹. OÈ ÂÓËÌÂڈ̤ÓÔÈ ÁÔÓ›˜ Î·È ‰¿ÛηÏÔÈ ı· Â›Ó·È ·‰ÈηÈÔÏfiÁËÙÔÈ, ·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÔ˘Ó ÙËÓ ÂÓÙ‡ˆÛË ÛÙÔ ‰˘ÛÏÂÎÙÈÎfi Ì·ıËÙ‹ fiÙÈ, ÂÍ·ÈÙ›·˜ ÙˆÓ Ú·ÁÌ·ÙÈÎÒÓ ‰˘ÛÎÔÏÈÒÓ Ô˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÛÙË Ì¿ıËÛË, ‰ÈηÈÔ‡Ù·È Ó· ˘ÈÔıÂÙ‹ÛÂÈ ÙËÓ Ù·ÎÙÈ΋ Ù˘ ‹ÛÛÔÓÔ˜ ÚÔÛ¿ıÂÈ·˜ ÛÙÔ Ì·ıËÛÈ·Îfi ¤ÚÁÔ ÙÔ˘. M ÙȘ „˘¯Ô·È‰·ÁˆÁÈΤ˜ ·˘Ù¤˜ ÂÓ¤ÚÁÂȘ ÙˆÓ ÁÔÓ¤ˆÓ Î·È ÙˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ ÛÙËÓ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, Ô˘ Èı·ÓfiÓ Â›Ó·È Î·È ÔÈ ÛËÌ·ÓÙÈÎfiÙÂÚ˜, ‚ÔËıÔ‡ÓÙ·È ÔÈ Ì·ıËÙ¤˜ Ì ‰˘ÛÏÂÍ›· Ó· ·ԉ¯ÙÔ‡Ó ÙÔÓ Â·˘Ùfi ÙÔ˘˜ Ì ÙȘ οÔȘ ·‰˘Ó·Ì›Â˜ ÙÔ˘, ÁÂÁÔÓfi˜ Ô˘ Û˘ÓÈÛÙ¿ ÙËÓ Î·ıÔÚÈÛÙÈÎfiÙÂÚË ·Ú¿ÌÂÙÚÔ Ù˘ „˘¯È΋˜ ÈÛÔÚÚÔ›·˜, Î·È Ó· ‰È·Ê˘Ï¿ÍÔ˘Ó ÙË Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÛÙ·ıÂÚfiÙËÙ· ÙÔ˘˜. N· ÓÈÒıÔ˘Ó Â˘¯¿ÚÈÛÙ· ·Ó¿-

ÙÔ˘˜ ‰·ÛοÏÔ˘˜ ÙÔ˘˜ fiÙ·Ó ·˘ÙÔ› Â›Ó·È ÈÔ Î·ıÔ‰ËÁËÙÈÎÔ›, ‰ÈÔÚıˆÙÈÎÔ› Î·È ‰È·ÎÚÈÙÈÎÔ› ·¤Ó·ÓÙÈ ÙÔ˘˜. ™ÎÔfi˜ ÙÔ˘ ‰·ÛοÏÔ˘ Ú¤ÂÈ Ó· Â›Ó·È Ë ÂÏ·¯ÈÛÙÔÔ›ËÛË ÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ Î·È Ë ÚÔ‚ÔÏ‹ ÙˆÓ ‰˘Ó·ÙÔÙ‹ÙˆÓ ÙˆÓ ‰˘ÛÏÂÍÈÎÒÓ Ì·ıËÙÒÓ. T· ·È‰È¿ Ì ÂȉÈΤ˜ Ì·ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ ÌÔÚÔ‡Ó Ó· ‰È‰·¯ÙÔ‡Ó ÙȘ ‰ÂÍÈfiÙËÙ˜ ÁÚ·Ê‹˜ Î·È ·Ó¿ÁÓˆÛ˘ Û ÁÂÓÈ΋ Ù¿ÍË ·ÎÔÏÔ˘ıÒÓÙ·˜ ¤Ó· ¢¤ÏÈÎÙÔ Î·È ÈÛÔÚÚÔË̤ÓÔ ÂÎ·È‰Â˘ÙÈÎfi ÚfiÁÚ·ÌÌ· Ô˘ ı· Â͢ËÚÂÙ› Î·È ÙȘ ‰ÈΤ˜ ÙÔ˘˜ ·Ó¿ÁΘ. §fiÁˆ ÙˆÓ ‰˘ÛÎÔÏÈÒÓ Ô˘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó, ÔÈ ‰¿ÛηÏÔÈ ·ÛÎÔ‡Ó Â˘ÎÔÏfiÙÂÚ· ÎÚÈÙÈ΋ ÛÙ· ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ ·ÁÓÔÒÓÙ·˜ ÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÊÔÚ¤˜ ÙËÓ Ú·ÁÌ·ÙÈ΋ ʇÛË ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜. ¶Ú¤ÂÈ Ó· ÁÓˆÚ›˙Ô˘Ì fï˜ fiÙÈ Ë ÛÙ¿ÛË ÙÔ˘ ‰·ÛοÏÔ˘ ·¤Ó·ÓÙÈ ÛÙ· ¿ÙÔÌ· Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ Â›Ó·È Î·ıÔÚÈÛÙÈ΋ ÁÈ· ÙȘ ηϤ˜ ‹ ¿Û¯Ë̘ Û¯¤ÛÂȘ ÙˆÓ ·È‰ÈÒÓ Ì ÙÔ˘˜ ÔÌÔÏfiÁÔ˘˜ ÙÔ˘˜. Œ¯ÂÈ ˘ÔÛÙËÚȯÙ› fiÙÈ ÂÓ›ÔÙ ÔÈ ‰¿ÛηÏÔÈ ¤¯Ô˘Ó ÙËÓ Ù¿ÛË Ó· ‰›ÓÔ˘Ó ˘ÂÚ‚ÔÏÈο ÌÂÁ¿ÏË ÚÔÛÔ¯‹ Û ¯·Ú·ÎÙËÚÈÛÙÈο Ô˘ ÙÔÓ›˙Ô˘Ó ÙË ‰È·ÊÔÚÂÙÈÎfiÙËÙ· ÙˆÓ ·È‰ÈÒÓ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ (Weinstein, 1982). H ÚÔÛÔ¯‹ ·˘Ù‹ ÌÔÚ›, ¤ÛÙˆ Î·È ¯ˆÚ›˜ Ó· ˘¿Ú¯ÂÈ Ë ·Ó¿ÏÔÁË ÚfiıÂÛË, Ó· ‰›ÓÂÈ ÙËÓ ÂÓÙ‡ˆÛË Ù˘ ·ÚÓËÙÈ΋˜ ÂÎÙ›ÌËÛ˘ ‹ Î·È Ó· ˘ÔÓÔ› ÚÔÛ‰ÔΛ· ÁÈ· ηÙÒÙÂÚË ‹ ¯ÂÈÚfiÙÂÚË ·fi‰ÔÛË ·fi Ù· ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜. TÔ ÁÂÁÔÓfi˜ ·˘Ùfi ÌÔÚ› Ó· ÂËÚ¿ÛÂÈ ÙËÓ ÎÔÈÓˆÓÈ΋ ı¤ÛË ·˘ÙÒÓ ÙˆÓ ·È‰ÈÒÓ Î·È ÂÓ‰¤¯ÂÙ·È ·ÎfiÌ· Î·È Ó· ÂÓı·ÚÚ‡ÓÂÈ ÙËÓ ÂΉ‹ÏˆÛË ¿Û¯ËÌˆÓ Û˘ÌÂÚÈÊÔÚÒÓ ÂΠ̤ÚÔ˘˜ ÙˆÓ Û˘ÌÌ·ıËÙÒÓ ÙÔ˘˜. E›Ó·È ÛËÌ·ÓÙÈÎfi ÁÈ· ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Î·È ÙÔ˘˜ ÁÔÓ›˜ Ó· ηٷÓÔ‹ÛÔ˘Ó Ì ۷ʋÓÂÈ· ÙÈ ·ÎÚÈ‚Ò˜ Â›Ó·È Ë ‰˘ÛÏÂÍ›· Î·È ÙÈ ÙËÓ ÚÔηÏ›. H ÁÓÒÛË Ì·˜ ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ì ÙÔ˘˜ ‰˘ÛÏÂÍÈÎÔ‡˜ Ì·ıËÙ¤˜ ÛˆÛÙ¿, Ó· οÓÔ˘Ì ¤ÁηÈÚË ·Ú¤Ì‚·ÛË Î·È Ó· Û˘Ì‚¿ÏÏÔ˘Ì ÛÙË ‰ËÌÈÔ˘ÚÁ›· Ì·ıËÙÒÓ Ô˘ ¯·›ÚÔÓÙ·È ÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘ Î·È Â›Ó·È ¤ÙÔÈÌÔÈ Ì¤Û· ·fi ÂÈÙ˘¯Ë̤Ó˜ ÚÔÛ¿ıÂȘ Ó· ‚¿ÏÔ˘Ó Ó¤Ô˘˜ ÛÙfi¯Ô˘˜ ÛÙË ˙ˆ‹ ÙÔ˘˜. A˜ ‰Ô‡Ì ÏÔÈfiÓ ÙË ‰˘ÛÏÂÍ›· ˆ˜ ¯¿ÚÈÛÌ· ÁÈ· ÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜ Î·È ˆ˜ ÚfiÎÏËÛË ÁÈ· ÂÌ¿˜ ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜.

¶Èı·Ó¤˜ Û˘Ó¤ÂȘ Ù˘ ¿ÁÓÔÈ·˜ ÙˆÓ ÁÔÓ¤ˆÓ ÌÂÛ· ÛÙÔ˘˜ Û˘ÌÌ·ıËÙ¤˜ ÙÔ˘˜ Î·È Ó· ¯·›ÚÔÓÙ·È ÙȘ ‰È¿ÊÔÚ˜ ÛÙÈÁ̤˜ Ù˘ Û¯ÔÏÈ΋˜ ÙÔ˘˜ ˙ˆ‹˜. N· ηٷÓÔ‹ÛÔ˘Ó fiÙÈ Ë ÁÓÒÛË Â›Ó·È ¤Ó· ÔχÙÈÌÔ ÔÏÈÙÈÛÙÈÎfi ·Á·ıfi, ÁÈ· ÙËÓ Î·Ù¿ÎÙËÛË ÙÔ˘ ÔÔ›Ô˘ ··ÈÙÂ›Ù·È Û˘Ó¯‹˜ ·ÁÒÓ·˜ Î·È Â›ÌÔÓË ÚÔÛ¿ıÂÈ·, Ù· ·ÔÙÂϤÛÌ·Ù· fï˜ ·˘ÙÒÓ, fiÔÈ· Î·È ·Ó ›ӷÈ, ı· Ú¤ÂÈ Ó· Ù˘Á¯¿ÓÔ˘Ó ÌÈ·˜ ÛÎfiÈÌ· ÂΉËÏÔ‡ÌÂÓ˘ ÂȉÔÎÈÌ·Û›·˜ ·fi ÙÔ˘˜ ¿ÏÏÔ˘˜. ŒÙÛÈ Ë Ì¿ıËÛË ı· ·‡ÛÂÈ Ó· Â›Ó·È ÌÈ· ‰È·‰Èηۛ· Ô˘ ÚÔηÏ› ÌÔӛ̈˜ Î·È ÙËÓ ·ÔÛÙÚÔÊ‹ ÙÔ˘˜. N· ÚÔۂϤÔ˘Ó Ì ·ÈÛÈÔ‰ÔÍ›· ÛÙÔ Ì¤ÏÏÔÓ, fiˆ˜ Î·È ÔÈ Ê›ÏÔÈ ÙÔ˘˜, Î·È Ó· ÔÚ·Ì·Ù›˙ÔÓÙ·È ÙËÓ Â·ÁÁÂÏÌ·ÙÈ΋ Î·È ÎÔÈÓˆÓÈ΋ ηٷ͛ˆÛË ÙÔ˘˜. H ˘‡ı˘ÓË ÂÓË̤ڈÛË Î·È Ë Â˘·ÈÛıËÙÔÔ›ËÛË ÙˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ Ù˘ ¶ÚˆÙÔ‚¿ıÌÈ·˜ Î·È Ù˘

¢Â˘ÙÂÚÔ‚¿ıÌÈ·˜ EÎ·›‰Â˘Û˘ ‰ÂÓ ÌÔÚÔ‡Ó ¿ÏÏÔ Ó· ηı˘ÛÙÂÚ‹ÛÔ˘Ó. O‡ÙÂ Â›Ó·È ‰˘Ó·ÙfiÓ Ó· Û˘Ó¯ÈÛÙ› Ë ¤ÏÏÂÈ„Ë ÂȉÈο ۯ‰ȷṲ̂Ó˘ ÂÍ·ÙÔÌÈÎÂ˘Ì¤Ó˘ ˘ÔÛÙËÚÈÎÙÈ΋˜ ‰È‰·Ûηϛ·˜ ÁÈ· ηı¤Ó·Ó ·fi ÙÔ˘˜ Ì·ıËÙ¤˜ Ì ‰˘ÛÏÂÍ›·. H ÂÓË̤ڈÛË ı· ‚ÔËı‹ÛÂÈ ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Î·È ÛÙËÓ ÂÁ΢ÚfiÙÂÚË ·Ó›¯Ó¢ÛË ÙˆÓ ÂȉÈÎÒÓ Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ, fiÔ˘ ˘¿Ú¯Ô˘Ó, Î·È ÛÙËÓ ÂÈÛÙÈÎfiÙÂÚË ·ÚfiÙÚ˘ÓÛË ÙˆÓ ÁÔÓ¤ˆÓ Ó· ηٷʇÁÔ˘Ó Û οÔÈÔ Î¤ÓÙÚÔ ÁÈ· ÙËÓ ¤ÁηÈÚË ‰È¿ÁÓˆÛË Èı·Ó‹˜ ‰˘ÛÏÂÍ›·˜. ¢ÈfiÙÈ fiÛÔ ÚˆÈÌfiÙÂÚ· ‰È·ÁÓˆÛÙ› Ë ‰˘ÛÏÂÍ›· Î·È ·Ú·Û¯Âı› ÛÙÔ˘˜ Ì·ıËÙ¤˜ ·˘ÙÔ‡˜ Û˘ÛÙËÌ·ÙÈ΋-‰È‰·ÎÙÈ΋ ·ÁˆÁ‹ ÙfiÛÔ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙÂÚ· «ı· ÌÔÚ¤ÛÔ˘Ó Ó· ÍÂÂÚ¿ÛÔ˘Ó ÙȘ ÈÔ ÔÏϤ˜ ·Ó·ÁÓˆÛÙÈΤ˜ Î·È ÔÚıÔÁÚ·ÊÈΤ˜ ‰˘ÛÎÔϛ˜» (¶fiÚÔ‰·˜, 1981,

Û. 18). E›Ó·È ηٷʷӤ˜ ˆ˜ Ë ‰È·ÈÒÓÈÛË Ù˘ ·Ú·Í›·˜ ·¤Ó·ÓÙÈ ÛÙÔ Úfi‚ÏËÌ· Ù˘ ‰˘ÛÏÂÍ›·˜ Û˘ÓÂ¿ÁÂÙ·È, ÂÎÙfi˜ ·fi ÙËÓ ·‰ÈΛ· Û ‚¿ÚÔ˜ ÙˆÓ Ì·ıËÙÒÓ ·˘ÙÒÓ Î·È ÙËÓ ·Ú·‚›·ÛË ÙÔ˘ ‰ÈηÈÒÌ·ÙÔ˜ ÙÔ˘˜ ÁÈ· ›ÛË ÂÎBÈ‚ÏÈÔÁÚ·Ê›· - Bruner, J. S. (1966). Toward a theory of instruction. New York: W. W. Norton & Company, INC. - Howe, M. J. A. (1990). Does intelligence exist? The Psychologist of the British Psychological society, 3 (11), 490-493. - Ldonline Organization (2003). Specific Learning Disabilities: "Finding Common Ground" in Learning Disabilities On line Report-January 2003: http://WWW. ldonline. org/news/commonground. html - Lyon, G. R. (1996). Special education for students with disabilities. The fucture of children. E- Learning disabilities, 6 (1). - Peer, L., & Reid, G. (2003). Introduction to dyslexia. London: David Fulton Publishers. - ¶fiÚÔ‰·˜, K. (1981). ¢˘ÛÏÂÍ›·, H ÂȉÈ΋ ‰È·Ù·Ú·¯‹ ÛÙË Ì¿ıËÛË ÙÔÓ ÁÚ·ÊÙÔ‡ ÏfiÁÔ˘.

·›‰Â˘ÛË Ì ÙÔ˘˜ Û˘ÌÌ·ıËÙ¤˜ ÙÔ˘˜. °È· ÌÈ· ÂÎ·›‰Â˘ÛË Ô˘ ı· ÂӉȷʤÚÂÙ·È ·ÊÂÓfi˜ ÁÈ· ÙËÓ Î·Ù¿ÏÏËÏ· ηıÔ‰ËÁÔ‡ÌÂÓË ÚÔÒıËÛË Ù˘ Ì¿ıËÛ˘ ÙÔ˘˜ Î·È ·ÊÂÙ¤ÚÔ˘ ÁÈ· ÙË ‰È·ÌfiÚʈÛË ÙÔ˘˜ ˆ˜ ·ÙfiÌˆÓ Ì „˘¯È΋ ˘Á›· Î·È ÎÔÈÓˆÓÈ΋ ¢·ÈÛıËÛ›·, ˘¢ı‡ÓˆÓ Î·È ‰ËÌÈÔ˘ÚÁÈÎÒÓ. Aı‹Ó·: ·˘ÙԤΉÔÛË. - Rosenthal, R., & Jacobson, L. (1968). Pygmalion in the classroom. Holt: Rinehart & Winston, Inc. - Rothman, H. R., & Cosden, M. (1995). Selfperception of a learning disability: self-concept and social support. Learning disability Quarterly, 18, 203-212. - Rutter, M., & Giller, H. (1983). Juvenile Delinquency:Trends and perspectives. Harmoudswarth, Middlesex: Penguin. - T·Ófi˜, °. XÚ. (1995). °ÓˆÚ›˙ÔÓÙ·˜ ηχÙÂÚ· ÙÔ ·È‰›. Aı‹Ó·: ·˘ÙԤΉÔÛË. TÔ ¿ÚıÚÔ ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ Special Education http://www.specialeducation.gr/ H URL ·˘ÙÔ‡ ÙÔ˘ ¿ÚıÚÔ˘ ›ӷÈ: http://www.specialeducation.gr/modules.php?o p=modload&name=News&file=article&sid= 444

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H E.E. ·ÚÔ˘ÛÈ¿˙ÂÈ 6 ηÈÓÔÙfiÌ· ÚÔÁÚ¿ÌÌ·Ù· ÂÎÌ¿ıËÛ˘ Í¤ÓˆÓ ÁψÛÛÒÓ Ô ÚfiÁÚ·ÌÌ· AT EVERY HOME ·ÔÙÂÏ› ¤Ó· ·fi Ù· Ó¤· ÂȉÔÙÔ‡ÌÂÓ· ÚÔÁÚ¿ÌÌ·Ù· Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘ Ì ‚·ÛÈÎfi ÛÙfi¯Ô ÙËÓ ÂÓË̤ڈÛË ÙÔ˘ ÎfiÛÌÔ˘ ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ ·Ó¿ ÙËÓ E˘ÚÒË, Û¯ÂÙÈο Ì 6 ÚˆÙÔÔÚȷο ÚÔÁÚ¿ÌÌ·Ù·. ŸÏ· Ù· ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È ÂÁÎÂÎÚÈ̤ӷ ·fi ÙÔ ˘ÔÚfiÁÚ·ÌÌ· SOCRATESLINGUA II Ô˘ ¤¯ÂÈ ˆ˜ ‚·ÛÈÎfi ÙÔ˘ ÛÎÔfi ÙË ‰È¿‰ÔÛË Î·È ÚÔÒıËÛË ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ Î·È ÙËÓ ·Ó¿Ù˘ÍË Ó¤ˆÓ ÙÚfiˆÓ ÂÎ·›‰Â˘Û˘. ™Ùfi¯Ô˜ ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ AT EVERY HOME Â›Ó·È Ó· ÂÍÔÈÎÂÈÒÛÂÈ ÙÔ ÎÔÈÓfi Ì Ӥ· Î·È Û‡Á¯ÚÔÓ· ÂÚÁ·Ï›· Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡ÓÙ·È ÛÙË ‰È‰·Ûηϛ· Î·È ÛÙËÓ ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ ÁÈ· Ó· ÌÔÚ¤ÛÔ˘Ó fiÏÔÈ ÔÈ E˘Úˆ·›ÔÈ Ôϛ٘ Ó· Ï¿‚Ô˘Ó ÁÓÒÛË ÁÈ· ÙȘ Ӥ˜ Ù¯ÓÈΤ˜ Ô˘ ‰‡Ó·Ù·È Ó· ÂÊ·ÚÌÔÛÙÔ‡Ó. TÔ ÚfiÁÚ·ÌÌ· ·˘Ùfi ·ÔÙÂÏ› Ì›· ÊÈÏfi‰ÔÍË Û˘ÓÂÚÁ·Û›· ÌÂٷ͇ EÏÏ¿‰·˜, AÁÁÏ›·˜, IÙ·Ï›·˜, BÂÏÁ›Ô˘, TÔ˘ÚΛ·˜, BÔ˘ÏÁ·Ú›·˜ Î·È O˘ÁÁ·Ú›·˜. O EΉÔÙÈÎfi˜ O›ÎÔ˜ ™Ù·Ê˘Ï›‰Ë ‰Ú·ÛÙËÚÈÔÔÈ›ٷÈ, Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·, Ì ÌÂÁ¿ÏË ÂÈÙ˘¯›· ÛÙË Û˘ÁÁÚ·Ê‹ ÍÂÓfiÁψÛÛˆÓ ÁψÛÛÈÎÒÓ Î·È ÂÈÛÙËÌÔÓÈÎÒÓ ÏÂÍÈÎÒÓ. ¶·Ú¿ÏÏËÏ·, Û˘ÌÌÂÙ¤¯ÂÈ Û ‰È¿ÊÔÚ· Â˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· Ì ÙË Û˘ÓÂÚÁ·Û›· ¿ÏÏˆÓ Â˘Úˆ·˚ÎÒÓ È‰Ú˘Ì¿ÙˆÓ ‰ÈÂıÓÔ‡˜ ·Ó·ÁÓÒÚÈÛ˘. ŒÓ· ·fi ·˘Ù¿ Ù· ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È Î·È ÙÔ AT EVERY HOME, ÙÔ ÔÔ›Ô ·ÔÙÂÏ› ÙÔ ÙÂÏÂ˘Ù·›Ô Â›Ù¢ÁÌ· ÙˆÓ Â˘Úˆ·˚ÎÒÓ ‰Ú·ÛÙËÚÈÔÙ‹ÙˆÓ ÙÔ˘ EΉÔÙÈÎÔ‡ O›ÎÔ˘. ™Ù· Ï·›ÛÈ· ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜, ı· Ú·ÁÌ·ÙÔÔÈËıÔ‡Ó ‰È¿ÊÔÚ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ Û fiÏË ÙËÓ EÏÏ¿‰· ÁÈ· ÙËÓ ÂÓË̤ڈÛË ÙˆÓ Ó¤ˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ ÌÂıfi‰ˆÓ. OÈ ·ÚÔ˘ÛÈ¿ÛÂȘ ·˘Ù¤˜ ÎÚ›ÓÔÓÙ·È ··Ú·›ÙËÙ˜ ·fi ÙËÓ E˘Úˆ·˚΋ ŒÓˆÛË ÁÈ· Ó· ¤ÚıÂÈ Ì ¿ÌÂÛÔ ÙÚfiÔ ÙÔ ÎÔÈÓfi Û Â·Ê‹ Ì ÚÔ˚fiÓÙ· Ù· ÔÔ›· ¤¯Ô˘Ó ‰ËÌÈÔ˘ÚÁËı› ˘fi ÙËÓ ¤ÁÎÚÈÛË Ù˘ ·ÏÏ¿ ‰ÂÓ ¤¯Ô˘Ó Á›ÓÂÈ ·ÎfiÌ· ¢ڤˆ˜ ÁÓˆÛÙ¿. H ÚÒÙË ·ÚÔ˘Û›·ÛË, Ú·ÁÌ·ÙÔÔÈ‹ıËΠÙÔÓ AÚ›ÏÈÔ ÙÔ˘ 2007 ÛÙËÓ Aı‹Ó· Ì ÌÂÁ¿ÏË ÂÈÙ˘¯›·. O ÎfiÛÌÔ˜ ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ ·ÓÙ·ÔÎÚ›ıËΠ̠ÂÓıÔ˘ÛÈ·ÛÌfi ÛÙÔ Î¿ÏÂÛÌ· ÙˆÓ EΉfiÛÂˆÓ ™Ù·Ê˘Ï›‰Ë Î·È ‹Úı Û Â·Ê‹ Ì ٷ ÚÔÁÚ¿ÌÌ·Ù· ÂÎÌ¿ıËÛ˘. OÈ ÏËÚÔÊÔڛ˜ Î·È ÔÈ ÂÌÂÈڛ˜ Ô˘ ·ÔÎÔÌ›ÛÙËÎ·Ó ·fi ÙȘ ·ÚÔ˘ÛÈ¿ÛÂȘ ÌÔÚÔ‡Ó Ó· ·ÔÙÂϤÛÔ˘Ó ÂÊ·ÏÙ‹ÚÈÔ ÁÈ· Ì›· Ó¤· ‰È‰·ÎÙÈ΋ ÚÔÛ¤ÁÁÈÛË. T· ÚÒÙ· ‰Â›ÁÌ·Ù· ·ÔηχÙÔ˘Ó fiÙÈ ÔÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ ÂÈ˙ËÙÔ‡Ó Ó¤Â˜ ÚÔÛÂÁÁ›ÛÂȘ ÛÙÔÓ ÙÔ̤· Ù˘ ‰È‰·Ûηϛ·˜ Î·È Ù˘ ÂÎÌ¿ıËÛ˘ ÁψÛÛÒÓ. Afi ·˘Ùfi ÙÔ ÛËÌÂ›Ô ·ÔÚÚ¤ÂÈ Î·È ÙÔ ¤ÓÙÔÓÔ ÂӉȷʤÚÔÓ ÙfiÛÔ ÙˆÓ Î·ıËÁËÙÒÓ fiÛÔ Î·È ÙˆÓ Ì·ıËÙÒÓ. AÓÙ›ÛÙÔȯ· ÙËÓ ›‰È· ÂÚ›Ô‰Ô Ú·ÁÌ·ÙÔÔÈ‹ıËÎ·Ó ·ÚÔ˘ÛÈ¿ÛÂȘ Î·È ÛÙȘ ¿ÏϘ Û˘ÓÂÚÁ·˙fiÌÂÓ˜ ¯ÒÚ˜. H Û˘ÌÌÂÙÔ¯‹ ÙÔ˘ ÎÔÈÓÔ‡ Î·È ÂΛ ‹Ù·Ó ȉȷ›ÙÂÚ·

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ÂÓı·ÚÚ˘ÓÙÈ΋. T· ·ÚÔ˘ÛÈ·˙fiÌÂÓ· ÚÔÁÚ¿ÌÌ·Ù· ¤Ù˘¯·Ó ˙ÂÛÙ‹˜ ˘Ô‰Ô¯‹˜. TÔ ÎÔÈÓfi ÂÓıÔ˘ÛÈ¿ÛÙËΠ·fi ÙËÓ ‡·ÚÍË ÂÚÁ·Ï›ˆÓ Ô˘ ı· Â͢ËÚÂÙ‹ÛÔ˘Ó Î·Ï‡ÙÂÚ· ÙȘ ·Ó¿ÁΘ ÙÔ˘˜ ÁÈ· ÂÎÌ¿ıËÛË. H ÂÊ·ÚÌÔÁ‹ ÙˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ ÂͤÏËÍ ¢¯¿ÚÈÛÙ· ÙÔ˘˜ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ Î·È ‚Ô‹ıËÛ ӷ ·ÓÙÈÏËÊıÔ‡Ó ÙËÓ Â‡ÎÔÏË ¯Ú‹ÛË ÙÔ˘˜. TÔ ÁÂÁÔÓfi˜ fiÙÈ ÔÈ ÚÒÙ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ ÛÙ¤ÊıËÎ·Ó Ì ÂÈÙ˘¯›· ·ÔÙÂÏ› ·fiÏ˘ÙË ÂÎÏ‹ÚˆÛË ÙˆÓ ÛÙfi¯ˆÓ Î·È ÛÎÔÒÓ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘. AÓ¿ÏÔÁË ·Ó·Ì¤ÓÂÙ·È Î·È Ë Û˘ÌÌÂÙÔ¯‹ Î·È Ë ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ÎÔÈÓÔ‡ Ô˘ ·Û¯ÔÏÂ›Ù·È Ì ÙȘ ͤÓ˜ ÁÏÒÛÛ˜ Î·È ÛÙȘ ˘fiÏÔÈ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ ÙfiÛÔ ÛÙËÓ EÏÏ¿‰· fiÛÔ Î·È ÛÙȘ ¯ÒÚ˜ ÙÔ˘ E͈ÙÂÚÈÎÔ‡. ◊‰Ë ÂΉËÏÒÓÂÙ·È ÂӉȷʤÚÔÓ ÁÈ· Â¤ÎÙ·ÛË ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ ÌÂ Û˘ÌÌÂÙÔ¯‹ Ó¤ˆÓ ÂÈÚfiÛıÂÙˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ Î·È ¯ˆÚÒÓ. OÈ ÂfiÌÂÓ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ ÛÙËÓ EÏÏ¿‰· ¤¯Ô˘Ó ÚÔÁÚ·ÌÌ·ÙÈÛÙ› Ó· Ú·ÁÌ·ÙÔÔÈËıÔ‡Ó ÙÔ ™Â٤̂ÚÈÔ ÙÔ˘ 2007 ÛÙËÓ Aı‹Ó· Î·È ÙË £ÂÛÛ·ÏÔÓ›ÎË. £· ‰Ôı› Í·Ó¿ ÛÙÔ ÎÔÈÓfi ÔÈ Â˘Î·ÈÚ›· ̤ۈ ÙˆÓ ·ÚÔ˘ÛÈ¿ÛÂˆÓ Ó· «ÁÓˆÚ›ÛÂÈ» 6 Â˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· Ù· ÔÔ›· ÌÔÚÔ‡Ó Ó· Ê·ÓÔ‡Ó ¯Ú‹ÛÈÌ· ÙfiÛÔ Û ηıËÁËÙ¤˜ fiÛÔ Î·È Û ̷ıËÙ¤˜. £· Ú¤ÂÈ Ó· ÛËÌÂȈı› fiÙÈ Ù· ÚÔÁÚ¿ÌÌ·Ù· ·˘Ù¿ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È ÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙËÓ EÏÏ¿‰· Î·È fiÏ· Â›Ó·È ·ÔÙ¤ÏÂÛÌ· ·ÓÂÈÛÙËÌȷ΋˜ ÂÚÁ·Û›·˜ Î·È ÌÂϤÙ˘. §›Á· ÏfiÁÈ· ÁÈ· ·˘Ù¿ Ù· ÂÚÁ·Ï›·: 1) TÔ ÚfiÁÚ·ÌÌ· HERMES Â›Ó·È ¤Ó· ηÈÓÔÙfiÌÔ ÂÚÁ·ÏÂ›Ô Ô˘ ¯ÚËÛÈÌÔÔÈ› Ӥ˜ ·È‰·ÁˆÁÈΤ˜ ÌÂıfi‰Ô˘˜ Î·È Û˘Ó‰˘¿˙ÂÈ ÙËÓ ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ Ì ÙËÓ „˘¯·ÁˆÁ›·. ¶ÂÚÈÏ·Ì‚¿ÓÂÈ CDROM, ‚È‚Ï›Ô ÁÚ·ÌÌ·ÙÈ΋˜ Î·È Ô‰ËÁfi ÛÔ˘‰·ÛÙ‹. (www.hermes-world.com). 2) TÔ ÚfiÁÚ·ÌÌ· SOCCERLINGUA, Ô˘ ·ÔÙÂÏÂ›Ù·È ·fi DVD Î·È ‚È‚Ï›Ô, ¯ÚËÛÈÌÔÔÈ› ÙÔ Ô‰fiÛÊ·ÈÚÔ ˆ˜ ̤ÛÔ ÁÓˆÚÈÌ›·˜ Ì ¿ÏÏÔ˘˜ ÔÏÈÙÈÛÌÔ‡˜ Î·È ÂÎÌ¿ıËÛ˘ Í¤ÓˆÓ ÁψÛÛÒÓ. (www.soccelingua.net). 3) TÔ ÚfiÁÚ·ÌÌ· LINC Â›Ó·È ¤Ó· ·Î¤ÙÔ ÔÏ˘Ì¤ÛˆÓ ÙÔ ÔÔ›Ô Û˘Ó‰˘¿˙ÂÈ ÙË ÁψÛÛÈ΋ ÂÎÌ¿ıËÛË Ì ÙËÓ ·fiÎÙËÛË ÎÔÈÓˆÓÈÎÔÔÏÈÙÈÛÙÈ΋˜ ÁÓÒÛ˘. (www.lingueges.net). 4) TÔ ÚfiÁÚ·ÌÌ· EASY 2 Â›Ó·È ¤Ó· ÁψÛÛÈÎfi ÂÚÁ·ÏÂ›Ô ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ online, Ô˘ ·¢ı‡ÓÂÙ·È ÂȉÈο ÛÙÔ˘˜ Ó¤Ô˘˜. (www.easy2.org). 5) TÔ ÚfiÁÚ·ÌÌ· GALANET Â›Ó·È ÌÈ· ‰È·‰ÈÎÙ˘·Î‹ «Ï·ÙÊfiÚÌ·» Ô˘ ÂÚÈÏ·Ì‚¿ÓÂÈ ÔÈΛϷ ÂÚÁ·Ï›· Î·È Ì¤Û· Î·È ¤¯ÂÈ ˆ˜ ÛÙfi¯Ô ÙË ‰È·Î·Ù·ÓfiËÛË ·Ó¿ÌÂÛ· Û 4 ڈ̷ÓÈΤ˜ ÁÏÒÛÛ˜. (www.galanet.be). 6) TÔ ÚfiÁÚ·ÌÌ· BULGARIAN FOR FOREIGNERS, Â›Ó·È ¤Ó· Û‡Á¯ÚÔÓÔ Û‡ÛÙËÌ· ÔÏ˘Ì¤ÛˆÓ Û ÙÚ›· Â›‰· (CD-ROM, ‚›ÓÙÂÔ Î·È Î·Û¤Ù˜ ˯Ô-

ÁÚ¿ÊËÛ˘, ÂÁ¯ÂÈÚ›‰È· Î·È ÈÛÙÔÛÂÏ›‰·) ÁÈ· Ó· ‰È‰¿ÍÂÈ Ù· ‚Ô˘ÏÁ·ÚÈο Û ͤÓÔ˘˜. °È· Ó· ¤ÚıÂÙ Û Â·Ê‹ Î·È Ó· ÂÓËÌÂÚˆı›Ù ۯÂÙÈο Ì ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘ ÛÙÔÓ ÙÔ̤· Ù˘ ÂÎÌ¿ıËÛ˘ Í¤ÓˆÓ ÁψÛÛÒÓ ÌÔÚ›Ù ӷ ·Ú·ÎÔÏÔ˘ı‹ÛÂÙ ÙȘ ÂΉËÏÒÛÂȘ ÔÈ Ôԛ˜ ı· Ú·ÁÌ·ÙÔÔÈËıÔ‡Ó ÙÔ ™¿‚‚·ÙÔ 1 ™ÂÙÂÌ‚Ú›Ô˘ 2007 ÛÙÔ ÍÂÓÔ‰Ô¯Â›Ô HOLIDAY INN Î·È ÙËÓ TÚ›ÙË 4 ™ÂÙÂÌ‚Ú›Ô˘ 2007, ÛÙÔ ÍÂÓÔ‰Ô¯Â›Ô GRAND HOTEL PALACE ÛÙ· Ï·›ÛÈ· Ù˘ ¤ÎıÂÛ˘ KOSMOS BOOK EXHIBITIONS 2007, Ô˘ ‰ÈÔÚÁ·ÓÒÓÂÙ·È ·fi Ù· ‚È‚ÏÈÔˆÏ›· º§øPA™ –KOSMOS. TÔ ÚfiÁÚ·ÌÌ· ÙˆÓ ·ÚÔ˘ÛÈ¿ÛÂˆÓ Â›Ó·È: ¶APOY™IA™H 1 ™YMMETEXONTE™: M·ıËÙ¤˜ Î·È ÛÔ˘‰·ÛÙ¤˜. 11:00-13:30 ¶APOY™IA™H ¶PO°PAMMATøN. 13:30 ºOPMA A•IO§O°H™H™, ¶I™TO¶OIHTIKO ™YMMETOXH™, ENHMEPøTIKO Y§IKO, ¢IAºHMI™TIKA ¢øPA ¶APOY™IA™H 2 ™YMMETEXONTE™: K·ıËÁËÙ¤˜ Î·È ÊÚÔÓÙÈÛÙ‹ÚÈ· Í¤ÓˆÓ ÁψÛÛÒÓ. 14:30-17:00 ¶APOY™IA™H ¶PO°PAMMATøN. 17:00 ºOPMA A•IO§O°H™H™, ¶I™TO¶OIHTIKO ™YMMETOXH™, ENHMEPøTIKO Y§IKO, ¢IAºHMI™TIKA ¢øPA ™ÙȘ ·ÚÔ˘ÛÈ¿ÛÂȘ ·Ú¢ڛÛÎÂÙ·È Î·È ·ÍÈÔÏÔÁËÙ‹˜ ÂÓÙÂÙ·Ï̤ÓÔ˜ ·fi ÙËÓ E.E., Ô ÚfiÏÔ˜ ÙÔ˘ ÔÔ›Ô˘ Â›Ó·È Ó· ‰È·ÈÛÙÒÛÂÈ Î·È Ó· ·ÍÈÔÏÔÁ‹ÛÂÈ ÙËÓ ÂÈÙ˘¯›· Ù˘ ·ÚÔ˘Û›·Û˘. OÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ Ï·Ì‚¿ÓÔ˘Ó ÂÓËÌÂÚˆÙÈο Ê˘ÏÏ¿‰È· Û¯ÂÙÈο Ì ٷ ÚÔ˚fiÓÙ·, demo ÔÚÈÛÌ¤ÓˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ, ‰È·ÊËÌÈÛÙÈÎfi ˘ÏÈÎfi Î·È ‰ÒÚ·. ¶·Ú¿ÏÏËÏ· fiÏÔÈ ÔÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ Ï·Ì‚¿ÓÔ˘Ó ÈÛÙÔÔÈËÙÈÎfi ·fi ÙËÓ E˘Úˆ·˚΋ ŒÓˆÛË, ÁÈ· ÙË Û˘ÌÌÂÙÔ¯‹ ÙÔ˘˜ ÛÙËÓ ·ÚÔ˘Û›·ÛË. ¶Ú¤ÂÈ Ó· ÙÔÓÈÛÙ› fiÙÈ Ë Û˘ÌÌÂÙÔ¯‹ ÛÙȘ ·Ú·¿Óˆ ÂΉËÏÒÛÂȘ Â›Ó·È ‰ˆÚ¿Ó! °È· Û˘ÌÌÂÙÔ¯‹ ÛÙÔ E˘Úˆ·˚Îfi ¶ÚfiÁÚ·ÌÌ· AT EVERY HOME, Â›Ó·È ··Ú·›ÙËÙË Ë ÂÈÎÔÈÓˆÓ›· ÁÈ· ÎÚ¿ÙËÛË ı¤ÛÂˆÓ ·fi ÙȘ 20 A˘ÁÔ‡ÛÙÔ˘ Ì ÙÔÓ EΉÔÙÈÎfi O›ÎÔ ™Ù·Ê˘Ï›‰Ë (9,30-16,00, ÂÎÙfi˜ ™·‚‚¿ÙÔ˘), ÛÙÔ ÙËÏ. 2103813773. KÚ¿ÙËÛË ı¤ÛÂˆÓ Á›ÓÂÙ·È Î·È Ì ·ÔÛÙÔÏ‹ ÛÙÔȯ›ˆÓ ̤ۈ e-mail ÛÙË ‰È‡ı˘ÓÛË [email protected]. E›Ó·È Ì›· ÌÔÓ·‰È΋ ¢ηÈÚ›· Ó· Û˘ÌÌÂÙ¤¯ÂÙ Û ¤Ó· Â˘Úˆ·˚Îfi ÚfiÁÚ·ÌÌ·, ÙÔ ÔÔ›Ô ÊÈÏÔ‰ÔÍ› Ó· ‰È·‰ÒÛÂÈ Ó¤Â˜ ηÈÓÔÙfiÌÔ˘˜ ÌÂıfi‰Ô˘˜ ‰È‰·Ûηϛ·˜ ÛÙÔ ¯ÒÚÔ Ù˘ ÂÎ·›‰Â˘Û˘.

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Laugh and the whole class learns with you Experienced teachers know the value of mirth, says Rose Senior Reprinted from Guardian Unlimited When asked, most experienced language teachers will readily admit that they encourage humour and laughter in their classrooms and plan it into their lessons. So what is the role of unplanned and spontaneous humour - moments when the whole class momentarily erupts in laughter before returning to the task at hand? In the early days of each coursewhen they meet their class for the first time, language teachers convey many hidden messages through their body language, their overall demeanour and the manner in which they address their students. One clear message (usually implicit) relates to the kind of atmosphere they wish to foster in their classroom. In order to develop a spirit of informality within their classes such teachers attempt to reduce the social distance between themselves and their students by behaving in friendly and approachable ways. They smilingly encourage students to speak and applaud their efforts, being supportive when errors are made. They may sometimes demonstrate in a humorous way that they themselves find unfamiliar sounds difficult to pronounce. If they make an error on the board (as most teachers do from time to time) they may make a quick quip to show that they are not embarrassed - and to demonstrate that mistakes are a natural part of the learning process.

When it is appropriate to pull individuals into line, teachers tend to do so firmly but with a light touch, returning to the business of the lesson as quickly as possible. (By disciplining students with humour, teachers reduce the risk of alienating potentially tricky individuals.) Language learners quickly absorb the message that their teacher welcomes spontaneous laughter within the classroom (provided it is of the supportive "laughing with" and not of the destructive "laughing at" kind). Sensing that their teacher has given them permission to laugh, many classes start to relax and to behave in readily responsive ways. They then find themselves laughing spontaneously at the myriad unexpected events, unwitting errors and unanticipated misunderstandings that routinely occur in language classes. Once it is understood that laughter is acceptable, students will see the funny side of daily occurrences that an outsider might not even consider funny. Not all language classes respond equally readily to the humorous initiatives of their teachers. For a variety of reasons students in some classes remain relatively unresponsive throughout their courses. Sometimes it takes longer for classes to relax and become readily responsive. Teachers can often pinpoint a particular moment when the class laughed spontaneously for the first time - often at a quite trivial event. When this happens the

teacher relaxes, feels more confident - and is inspired to teach more imaginatively and enthusiastically. Language teachers use a number of specific techniques to ensure that their classes continue to be laughter-filled environments that they consider conducive to language practice. In the early days of their classes experienced teachers are on the alert for quick-witted, extroverted individuals with whom they can develop a bantering relationship. Students who are prepared to act as the teacher's foil, even to the extent of lighthearted cheekiness, can provide a focal

point for the class, enabling shyer individuals to enjoy the interaction by watching and listening and laughing on cue. Over the years experienced teachers develop personal tried-and-tested techniques, in the form of facial expressions, exaggerated gestures, plays on words, well-worn quips and so on that they know from experience are likely to engender laughter and give a quick injection of vitality into the lesson. They know, too, which interactive language learning activities are likely to enliven the class. They are aware, however, that students can become overexcited and that laughter ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 20

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ŸÏÁ· °. °ÂÚÈÙÛ›‰Ô˘ EÎ·È‰Â˘ÙÈ΋ æ˘¯ÔÏfiÁÔ˜ B.A., M.A., ·ÓÂÈÛÙËÌ›Ô˘ McGill K·Ó·‰¿, EÈÎÂÊ·Ï‹˜ ÂÚ¢ÓËÙÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ MindPower Publishing, EÈÎÂÊ·Ï‹˜ K¤ÓÙÚÔ˘ EÏ¢ı¤ÚˆÓ ™Ô˘‰ÒÓ e-mail:[email protected] site: www.mindpower.gr «™Â ·ÚÎÂÙ¤˜ ·fi ÙȘ Ù¿ÍÂȘ Ô˘ ‰È‰¿ÛΈ ˘¿Ú¯Ô˘Ó ·È‰È¿ ‘‰˘ÛÏÂÎÙÈο’ Ô˘ ‰ÂÓ ·ÓÙ·ÔÎÚ›ÓÔÓÙ·È ÛÙȘ ÚÔÛ¿ıÂȘ ÌÔ˘. TÈ Â›Ó·È ÙÔ Î·Ï‡ÙÂÚÔ Ô˘ ÌÔÚÒ Ó· οӈ Ì ·˘Ù¿ Ù· ·È‰È¿;» K·ıËÁ‹ÙÚÈ· AÁÁÏÈÎÒÓ, §¿ÚÈÛ· (Û˘Ó¤¯ÂÈ· ÙÔ˘ æ˘¯ÔÁÚ·Ê‹Ì·ÙÔ˜ M·˝Ô˘) TÔ ·ÚfiÓ „˘¯ÔÁÚ¿ÊËÌ·, Û˘Ó¯›˙ÔÓÙ·˜ ÙËÓ ·ÚÔ˘Û›·ÛË Ù˘ ÌÂıÔ‰ÔÏÔÁ›·˜ Ô˘ ·ÚÔ˘ÛÈ¿ÛıËΠÛÙÔ „˘¯ÔÁÚ¿ÊËÌ· ÙÔ˘ M·˝Ô˘, ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙËÓ ÂÈÛ‹Ì·ÓÛË Ù˘ ÛËÌ·ÓÙÈÎfiÙËÙ·˜ ÙˆÓ ·ÎÔÏÔ‡ıˆÓ ·Ú·ÁfiÓÙˆÓ ÔÈ ÔÔ›ÔÈ Â›Ó·È ·Ó·Áη›Ô Ó· Û˘ÓÂÍÂÙ¿˙ÔÓÙ·È ÛÂ Û˘Ó¿ÚÙËÛË Ì ÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ Ì·ıËÛÈ·Îfi ÚÔÊ›Ï ÂοÛÙÔ˘ Ì·ıËÙÔ‡ ÒÛÙ ӷ Â›Ó·È ÂÁÁ˘Ë̤ÓË fi¯È ÌfiÓÔ Ë ÛˆÛÙ‹ ·Ú¤Ì‚·ÛË ·ÏÏ¿ Â›Û˘ Ó· ÂÍ·ÛÊ·Ï›˙ÂÙ·È Î·È Ë ÚfiÏË„Ë ÙÔ˘ ÂÚÈÔÚÈÛÌÔ‡ Î·È Ù˘ ··ÏÔÈÊ‹˜ ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È Î·È ·Ú·ÙËÚÔ‡ÓÙ·È ÛÙËÓ ÂÚ›ÙˆÛË Ù˘ ÍÂÓfiÁψÛÛ˘ ÂÎ·›‰Â˘Û˘. TÔ Â›‰Ô: Â›Ó·È ·˘ÙÔÓfiËÙÔ fiÙÈ ÙÔ ÂÎ·È‰Â˘ÙÈÎfi Â›Â‰Ô Ú¤ÂÈ Ó· ·ÓÙ·ÔÎÚ›ÓÂÙ·È ¿ÌÂÛ· Î·È ÂÈ Ù˘ Ô˘Û›·˜ ÛÙÔ ÁÓˆÛÈ·Îfi Â›Â‰Ô (‰ËÏ·‰‹ ÙȘ ‹‰Ë ˘¿Ú¯Ô˘Û˜ ÁÓÒÛÂȘ) ÙÔ˘ Ì·ıËÙ‹ ÒÛÙÂ Ë fiÏË Ì·ıËÛȷ΋ ‰È·‰Èηۛ· Ô˘ ı· ·ÎÔÏÔ˘ı‹ÛÂÈ Ó· ¤¯ÂÈ ÂÈÙ˘¯Ë̤ӷ ·ÔÙÂϤÛÌ·Ù· Î·È ÓfiËÌ·. ŸÌˆ˜ Ë Â·ÙË̤ÓË Û¯ÔÏ›ˆÓ, ÊÚÔÓÙÈÛÙËÚ›ˆÓ Î·È È‰È·ÈÙ¤ÚˆÓ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ÂÓfi˜ Ì·ıËÙ‹ Û ¤Ó· Â›Â‰Ô Á›ÓÂÙ·È Ì ‚¿ÛË ÎÚÈÙ‹ÚÈ· ‰Â˘ÙÂÚ¢ԇÛ˘ ÛËÌ·ÓÙÈÎfiÙËÙ·˜ ( ËÏÈΛ·, ÙÔ ÚÔËÁÔ‡ÌÂÓÔ Â›Â‰Ô Ô˘ ·Ú·ÎÔÏÔ‡ıËÛÂ Ô Ì·ıËÙ‹˜, ÙËÓ ‡ÏË Ô˘ Ê·ÈÓÔÙ˘Èο ¤¯ÂÈ Î·Ï‡„ÂÈ, ÙȘ ··ÈÙ‹ÛÂȘ Î·È ÂÈı˘Ì›Â˜ ÙˆÓ ÁÔÓ¤ˆÓ ÙÔ˘, Î.Ï.) Ù· ÔÔ›· ÂÈηχÙÔ˘Ó ÙËÓ Ú·ÁÌ·ÙÈ΋ ÁÓˆÛȷ΋ ηٿÛÙ·ÛË ÙÔ˘ Ì·ıËÙ‹. E›Ó·È Û˘ÓÂÒ˜ ÂfiÌÂÓÔ ·˘ÙÔ‡ ÙÔ˘ ›‰Ô˘˜ Ë Ú·ÎÙÈ΋ Ù˘ ‘·˘ı·›ÚÂÙ˘ ηٿٷ͢’ Ó· Ô‰ËÁ› Ì ̷ıËÌ·ÙÈ΋ ·ÎÚ›‚ÂÈ· ÙÔÓ Ì·ıËÙ‹ Ô˘ ‰ÂÓ ¤¯ÂÈ Î·Ù·Ù·¯ı› ÛÙÔ ÛˆÛÙfi ÁÈ· ·˘ÙfiÓ Â›Â‰Ô ÛÙËÓ ÂÌÊ¿ÓÈÛË Î¿ÔÈÔ˘ ›‰Ô˘˜ Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ‹ ÛÙËÓ ÂÈ‚¿Ú˘ÓÛË ÙˆÓ ‹‰Ë ˘·Ú¯Ô˘ÛÒÓ. KÏ·ÛÛÈΤ˜ „˘¯ÔÏÔÁÈΤ˜ ¤Ú¢Ó˜ ·Ó·Ù˘ÍÈ·ÎÔ‡ Î·È Ì·ıËÛÈ·ÎÔ‡ ·ÓÙÈÎÂÈ̤ÓÔ˘ ¤¯Ô˘Ó ·ԉ›ÍÂÈ Î·È ÙÂÎÌËÚÈÒÛÂÈ ¤Ú· ·fi οı ·ÌÊÈÛ‚‹ÙËÛË ÙËÓ ·ÔÊ·ÛÈÛÙÈ΋ Â›‰Ú·ÛË ÙÔ˘ „˘¯ÔÎÔÈÓˆÓÈÎÔ‡ ÂÚÈ‚¿ÏÏÔÓÙÔ˜ fi¯È ÌfiÓÔ ¿ÌÂÛ· ÛÙËÓ ÔÈfiÙËÙ· Î·È ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙËÙ· Ù˘ Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜ ·ÏÏ¿ Î·È ¤ÌÌÂÛ· ÛÙÔ˘˜ ÛÙfi¯Ô˘˜ (ÙȘ ÂȉÈÒÍÂȘ), ÙËÓ ‡-

æ˘¯Ô...ÁÚ¿ÊËÌ· ™Â οı Ù‡¯Ô˜ Ë ¤ÁÎÚÈÙË „˘¯ÔÏfiÁÔ˜ ŸÏÁ· °ÂÚÈÙÛ›‰Ô˘ ı· ··ÓÙ¿ ÛÙ· ÁÚ¿ÌÌ·Ù· Î·È Ù· e-mails Û·˜ Î·È ı· ‰›ÓÂÈ ··ÓÙ‹ÛÂȘ ÛÙ· ı¤Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÙ ηıËÌÂÚÈÓ¿ ÛÙËÓ Ù¿ÍË.

·ÚÍË Î·È ÙËÓ ÔÚ›· ÙÔ˘ ÎÈÓ‹ÙÚÔ˘ (ÂÓÂÚÁÔÔ›ËÛË Î·È ·Ó¿Ù˘ÍË ‹ ·Ôı¿ÚÚ˘ÓÛË Î·È Î·Ù·ÛÙÔÏ‹) Î·È ÙËÓ Û˘ÓÂ·ÁÔ̤ÓË Â›Ù¢ÍË (ÔÏÈÎÒ˜ ÂÈÙ˘¯Ë̤ÓË, ÌÂÚÈÎÒ˜ ÂÈÙ˘¯Ë̤ÓË ‹ ·ÓÙÂÏÒ˜ ·ÔÙ˘¯Ë̤ÓË Ì·ıËÛȷ΋ ‰È·‰Èηۛ·) ÙÔ˘ Ì·ıËÙ‹. E›Ó·È Û˘ÓÂÒ˜ ηıÔÚÈÛÙÈ΋˜ ÛËÌ·Û›·˜ ÁÈ· ÙËÓ ·ÔÊ˘Á‹, ÙÔÓ ¤ÏÂÁ¯Ô Î·È ÙËÓ ·¿ÏÂÈ„Ë Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ÙfiÛÔ ÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÙÌ‹Ì· ÛÙÔ ÔÔ›Ô Î·Ù·Ù¿ÛÛÂÙ·È Ô Ì·ıËÙ‹˜ fiÛÔ Î·È Ô ‰È‰¿ÛÎˆÓ Î·ıËÁËÙ‹˜ Ô˘ ÙÔÓ ·Ó·Ï·Ì‚¿ÓÂÈ. TÔ ÙÌ‹Ì·: Ë Û‡ÓıÂÛË ÂÓfi˜ ÏÂÈÙÔ˘ÚÁÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ Ô˘ ‰È¢ÎÔχÓÂÈ ÙËÓ Ì·ıËÛȷ΋ ‰È·‰Èηۛ·, Û¯ËÌ·Ù›˙ÂÙ·È Ì ‚¿ÛË ÙËÓ Û˘Ì‚·ÙfiÙËÙ· ÙˆÓ ¯·Ú·ÎÙËÚÈÛÙÈÎÒÓ Î·È Ù˘ „˘¯ÔÛ‡ÓıÂÛ˘ ÙˆÓ ·ÔÙÂÏÔ‡ÓÙˆÓ ÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÙÌ‹Ì· Ì·ıËÙÒÓ ¤ÙÛÈ ÒÛÙ ӷ ÂÍ·ÛÊ·Ï›˙ÂÙ·È Ë Ï‹Ú˘ ÂÎÌÂÙ¿ÏÏ¢ÛË ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ‰˘Ó·ÙÔÙ‹ÙˆÓ ÙˆÓ Ì·ıËÙÒÓ ·˘ÙÒÓ Î·Ù¿ ÙËÓ Ì·ıËÛȷ΋ ·ÏÏËÏÂ›‰Ú·ÛË ÙÔ˘˜ Î·È Ó· ·ÔʇÁÂÙ·È Î¿ı ›‰Ô˘˜ ·Ó·Û¯ÂÙÈÛÌfi˜ Î·È ¤ÎÙˆÛË ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ÂȉfiÛÂˆÓ Ô ÔÔ›Ô˜ ÚÔ·ÙÂÈ ·fi ÙËÓ ·Û˘Ì‚·ÙfiÙËÙ· ÙÔ˘ ÚÔÊ›Ï, Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ Î·È ÙˆÓ Ô˘ÛÈ·ÛÙÈÎÒÓ ÂȉÈÒÍÂˆÓ ÙˆÓ Ì·ıËÙÒÓ. O ηıËÁËÙ‹˜: Ë ÛËÌ·ÓÙÈÎfiÙËÙ· Ù˘ ÌÂÙ·‚ÏËÙ‹˜ ÙÔ˘ ‰È‰¿ÛÎÔÓÙÔ˜ ÛÙÔ ·ÔÙ¤ÏÂÛÌ· Ù˘ Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜ fi¯È ÌfiÓÔ ¤¯ÂÈ ·Ú·ÁÓˆÚÈÛı› ·ÏÏ¿ Î·È fiÙ·Ó Ï·Ì‚¿ÓÂÙ·È ˘’ fi„Ë ÂÍÂÙ¿˙ÂÙ·È Û ÂÓÙÂÏÒ˜ Ï·Óı·Ṳ̂ÓÔ ÁÈ· ÙÔ˘˜ ÛÙfi¯Ô˘˜ Î·È ÙËÓ ÂÈÙ˘¯›· Ù˘ fiÏ˘ ‰È·‰Èηۛ·˜ Ï·›ÛÈÔ. H ‚¿ÛË ÙˆÓ Ù˘ÈÎÒÓ ÚÔ¸Ôı¤ÛÂˆÓ Î·È ÚÔÛfiÓÙˆÓ Ô˘ ηıÔÚ›˙ÂÈ ÙÔ ÂÎ·È‰Â˘ÙÈÎfi Û‡ÛÙËÌ· (ÙfiÛÔ ÛÙÔÓ ‰ËÌfiÛÈÔ fiÛÔ Î·È ÛÙÔÓ È‰ÈˆÙÈÎfi ÙÔ̤·) ‰ÂÓ ˘ÂÈÛ¤Ú¯ÂÙ·È Ô‡Ù ηχÙÂÈ ÙȘ ··ÈÙ‹ÛÂȘ ÙˆÓ Ú·ÁÌ·ÙÈο ÛËÌ·ÓÙÈÎÒÓ ÌÂÙ·‚ÏËÙÒÓ Ô˘ ÌÔÚÔ‡Ó Ó· ÂËÚ¿ÛÔ˘Ó ÙËÓ Ì·ıËÛȷ΋ ‰È·‰Èηۛ·. ™˘ÁÎÂÎÚÈ̤ӷ Ë „˘¯ÔÛ‡ÓıÂÛË ÙÔ˘ ηıËÁËÙ‹, Ë ·˘ÙÔÂÎÙ›ÌËÛË ÙÔ˘, Ë ÂÔ›ıËÛË ÛÙËÓ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙËÙ· ÙÔ˘, Ë ·ÔÊ·ÛÈÛÙÈÎfiÙËÙ· Î·È ÙÔ Î›ÓËÙÚÔ ÁÈ· ÙËÓ Â›Ù¢ÍË ÙÔ˘ ‰ÈÎÔ‡ ÙÔ˘ ÛÙfi¯Ô˘ ˆ˜ ‰È‰¿ÛÎÔÓÙÔ˜, Î·È Ë ÂÈÎÔÈÓˆÓȷ΋ ÙÔ˘ ÈηÓfiÙËÙ· (ÌÂÙ·‰ÔÙÈÎfiÙËÙ· ÙÔ˘) Â›Ó·È ÔÈ Î·Ù·Ï˘ÙÈÎÔ› ·Ú¿ÁÔÓÙ˜ ÔÈ ÔÔ›ÔÈ Ì·˙› Ì ÙËÓ ÛÙ¿ÛË Ô˘ ‰È·ÙËÚ› ·¤Ó·ÓÙÈ ÛÙÔÓ ‰È‰·ÛÎfiÌÂÓÔ Î·ıÔÚ›˙Ô˘Ó ÙÔ ·ÔÙ¤ÏÂÛÌ· Ù˘ Ì·ıËÛȷ΋˜ ‰È·-

‰Èηۛ·˜. ŸÌˆ˜ ÔÈ ·Ú¿ÁÔÓÙ˜ ·˘ÙÔ› fi¯È ÌfiÓÔ ‰ÂÓ Ï·Ì‚¿ÓÔÓÙ·È Î·ıfiÏÔ˘

˘’ fi„Ë ·ÏÏ¿ ˘¿Ú¯ÂÈ Ï‹Ú˘ ·ÔÚÔÛ·Ó·ÙÔÏÈÛÌfi˜ ÛÙËÓ ·ÍÈÔÏfiÁËÛË Ù˘ ÛËÌ·ÓÙÈÎfiÙËÙ·˜ ÙˆÓ ÁÓˆÚÈÛÌ¿ÙˆÓ ÙÔ˘ ‰È‰¿ÛÎÔÓÙÔ˜ ηıÒ˜ ‚·ÛÈÎfi˜ ÁÓÒÌÔÓ·˜ ÙˆÓ ÎÚÈÙËÚ›ˆÓ ·ÍÈÔÏfiÁËÛ˘ Ù˘ ‰È‰·ÎÙÈ΋˜ ÙÔ˘˜ ÈηÓfiÙËÙ·˜ Ï·Ì‚¿ÓÂÙ·È Ë Èı·Á¤ÓÂÈ· ÙÔ˘˜ (‰ËÏ·‰‹ Ë ¯ÒÚ· ηٷÁˆÁ‹˜ Î·È ÚÔ¤Ï¢Û˘ ÙÔ˘˜). AÁÓÔÔ‡ÓÙ·È fï˜ Ì ·˘Ùfi ÙÔÓ ÙÚfiÔ fiÏ· Ù· „˘¯ÔÎÔÈÓˆÓÈο Î·È ·È‰·ÁˆÁÈο ÂÈÛÙËÌÔÓÈο ‰Â‰Ô̤ӷ Ù· ÔÔ›· ÂÈÛËÌ·›ÓÔ˘Ó ÙËÓ ‡„ÈÛÙË ÛËÌ·ÓÙÈÎfiÙËÙ· ÙÔ˘ ÎÔÈÓÔ‡ ÔÏÈÙÈÛÙÈÎÔ‡ Î·È ÔÏÈÙÈÛÌÈÎÔ‡ ˘Ô‚¿ıÚÔ˘ Î·È ÙËÓ ·ÎÚÔÁˆÓÈ·›· Û˘Ì‚ÔÏ‹ Ù˘ ÎÔÈÓ‹˜ ÌËÙÚÈ΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ fiÏË Ì·ıËÛȷ΋ ‰È·‰Èηۛ·. EÈ ϤÔÓ ·ÁÓÔÂ›Ù·È Ë ÛËÌ·ÓÙÈÎfiÙËÙ· Ù˘ ÂӉ‰ÂÈÁ̤Ó˘ ¯ÚÔÓÈ΋˜ ÛÙÈÁÌ‹˜ ·Ú¤Ì‚·Û˘ ÂÓfi˜ ‘native speaker’ ÛÙËÓ ÁÂÓÈ΋ ÔÚ›· Ù˘ Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜, Ë Û¯¤ÛË Ô˘ ¤¯ÂÈ Ì ·˘Ù‹Ó Î·È Ë ‚·Ú‡ÙËÙ· ·˘Ù‹˜ Ù˘ ·Ú¤Ì‚·Û˘ ÂÈ ÙˆÓ ÂÈ̤ÚÔ˘˜ ‰È‰·ÛÎÔÌ¤ÓˆÓ ‰ÂÍÈÔÙ‹ÙˆÓ Î·È ÛÙfi¯ˆÓ ·˘Ù‹˜ Ù˘ Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜ (fiˆ˜ .¯. speaking) ¤ÙÛÈ ÒÛÙ ӷ ˘¿Ú¯ÂÈ ÌÂÁÈÛÙÔÔ›ËÛË ÙˆÓ ÂÈı˘ÌËÙÒÓ ıÂÙÈÎÒÓ ·ÔÙÂÏÂÛÌ¿ÙˆÓ. °ÂÓÈο ÛÙËÓ ÂÏÏËÓÈ΋ ÎÔÈÓ‹ ÁÓÒÌË ÂÈÎÚ·Ù› ·ÓÙÂÏ‹˜ ¿ÁÓÔÈ· Î·È Ï¿ÓË Û¯ÂÙÈο Ì ÙËÓ ÛËÌ·ÓÙÈÎfiÙËÙ· Î·È ÙËÓ Â˘ÂÚÁÂÙÈ΋ Â›‰Ú·ÛË ÙˆÓ ÔÌÔÈÔÁÂÓÒÓ ÛÙÔȯ›ˆÓ Ù˘ ÎÔÈÓ‹˜ ÔÏÈÙÈÛÙÈ΋˜ ˘Ô‰ÔÌ‹˜ Î·È ÚÔ¤Ï¢Û˘ Ì·ıËÙÔ‡ Î·È ‰È‰·ÛοÏÔ˘, ȉȷ›ÙÂÚ· ηٿ Ù· ÚÒÙ· ÛÙ¿‰È· Ù˘ ÍÂÓfiÁψÛÛ˘ Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜, Ë ÔÔ›· Û˘Ó¯Ҙ ˘Ô‰ÂÈ-

ÎÓ‡ÂÙ·È, ·Ô‰ÂÈÎÓ‡ÂÙ·È Î·È ÂÈÛËÌ·›ÓÂÙ·È ·fi ¤Á΢Ú˜ „˘¯ÔÎÔÈÓˆÓÈΤ˜ ıˆڛ˜ Î·È ÂÚ¢ÓËÙÈο ‰Â‰Ô̤ӷ ·ÁÎÔÛÌ›ˆ˜. T¤ÏÔ˜ ‰ÂÓ Ú¤ÂÈ Ó· ÏËÛÌÔÓÂ›Ù·È Ô‡Ù ӷ ·ÓÙÈÌÂÙˆ›˙ÂÙ·È ‘ÂÏ·ÊÚ¿ ÙË Î·Ú‰›·’ Ë ˘¿Ú¯Ô˘Û· ÂÈÎÔÈÓˆÓÔ‡ÌÂÓË ˘Ô‚¿ıÌÈÛË ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ ·ÚÔ˘˜ ÙÔ˘ Â·ÁÁÂÏÌ·Ù›· ηıËÁËÙ‹ Í¤ÓˆÓ ÁψÛÛÒÓ Ë ÔÔ›· ·Ú·Ï·Ó› ÁÈ· ÙËÓ ÛËÌ·ÓÙÈÎfiÙËÙ· Ù˘ ‚·Ú‡ÙËÙ·˜ ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ ÚfiÏÔ˘ Ô˘ Ô˘ÛÈ·ÛÙÈο ‰È·‰Ú·Ì·Ù›˙ÂÈ Î·È Ù˘ ÎÔÈÓˆÓÈ΋˜ ·ÔÛÙÔÏ‹˜ ÙÔ˘ ȉȷ›ÙÂÚ· ηٿ ÙËÓ ÛËÌÂÚÈÓ‹ ÌÂÙ·‚·ÙÈ΋ ÂÔ¯‹ Ù˘ ‘·ÁÎÔÛÌÈÔÔ›ËÛ˘’ Î·È ÙÔ˘ ·Ó·ÚÔÛ‰ÈÔÚÈÛÌÔ‡ ·ÍÈÒÓ Î·È ıÂÛÌÒÓ. B·Ú‡ÙËÙ· Î·È ·ÔÛÙÔÏ‹ ÔÈ Ôԛ˜ ı· ¤ÚÂ ӷ ÙÔ˘ ÂÈÛËÌ·›ÓÔÓÙ·È Î·È Ó· ÙÔ˘ ·Ó·ÁÓˆÚ›˙ÔÓÙ·È .

H ¯·ÌËÏ‹ Â·ÁÁÂÏÌ·ÙÈ΋ ·˘ÙÔÂÎÙ›ÌËÛË Ô˘ ηÏÏÈÂÚÁÂ›Ù·È Î·È ÛÙÔÓ Î·ıËÁËÙ‹ Í¤ÓˆÓ ÁψÛÛÒÓ ¤¯ÂÈ ·Ô‰Âȯı› ÂÚ¢ÓËÙÈο fiÙÈ ÂËÚ¿˙ÂÈ ÙËÓ ÂÈÎfiÓ· Ô˘ ¤¯ÂÈ ÁÈ· ÙÔÓ Â·˘Ùfi Î·È ÙȘ ‰˘Ó·ÙfiÙËÙ˜ ÙÔ˘ ¤Ó·˜ Â·ÁÁÂÏÌ·Ù›·˜ , ÌÂ Û˘Ó¤ÂÈ· Ó· ÌÂÈÒÓÂÙ·È ÙÔ Î›ÓËÙÚÔ Ô˘ ¤¯ÂÈ ÁÈ· Â›Ù¢ÍË Î·È ˘¿Ú¯Ô˘Ó ·ÚÓËÙÈΤ˜ ÂÈÙÒÛÂȘ ÛÙËÓ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙËÙ· ÙÔ˘. ŸÏÔÈ ÔÈ ·ÓˆÙ¤Úˆ ·Ú¿ÁÔÓÙ˜ (ηıÒ˜ Î·È ÂΛÓÔÈ Ô˘ ı· ÂÍÂÙ·ÛıÔ‡Ó ÛÙÔ ÂfiÌÂÓÔ „˘¯ÔÁÚ¿ÊËÌ·) ÔÈ ÔÔ›ÔÈ ÂÌϤÎÔÓÙ·È ‰˘Ó·ÌÈο Î·È ·ÔÊ·ÛÈÛÙÈο ÛÙËÓ ‰ËÌÈÔ˘ÚÁ›· Î·È ÙËÓ ·Ó¿Ù˘ÍË ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ·Ú·‚ϤÔÓÙ·È Î·È ·ÔÛȈÔ‡ÓÙ·È Ì ÙËÓ Ù·ÎÙÈ΋ Ô˘ ÂÈ‚¿ÏÏÂÙ·È Î·È Î·ıÈÂÚÒÓÂÙ·È: ÙËÓ ·Ï‹ ·fi‰ÔÛË ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜ ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ, ÛÙȘ ‘‰˘Ó·ÙfiÙËÙ˜’ Î·È ÙËÓ Ì·ıËÛȷ΋ ÈηÓfiÙËÙ· ÙˆÓ Ì·ıËÙÒÓ, Ù·ÎÙÈ΋ Ô˘ Ù¯ÓˤÓÙˆ˜ ηÏÏÈÂÚÁÂ›Ù·È ·fi ÙËÓ ‰ÂηÂÙ›· ÙÔ˘ 1990.

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20 a première séance du cours ainsi que les cours suivants seront cruciaux afin qu'on crée une atmosphère chaleureuse et former l'attitude de nos élèves. Dans ma propre expérience autrefois, j'étais préoccupée par mon arrivée dans la classe notamment dans la préparatoire le premier jour des cours. En effet, voila quelques conseils pour connaître mieux vos élèves et bien partir avec eux. ñ Tout d'abord, tenez compte du fameux adage que ''la première impression compte toujours'' alors, appliquez-le dans la classe. ñ Amusez-vous bien ! essayez de se détendre et de rire. Le sens de

L

Se présenter dans la classe Par Vasiliki Boltsi Boltsi Vasiliki est professeur de français et d'anglais ainsi que traductrice. Elle s'occupe de l'enseignement des LE et elle parle aussi l'anglais et l'italien. Elle a comme but de suivre des études post-universitaires sur la didactique de FLE. l'humour aide aussi ! ñ Vous ferez mieux d'exprimer vos soucis qui que ce soient ! ñ Vous n'avez qu'à poser des règles des le début du cours, voire faites-les bien claires. ñ Vous devriez vous être patient. Donnez-leur du temps pour vous poser des questions et se familiariser avec votre voix.

ñ Ayez l'air de professionnel : ne changez pas votre style mais habillez-vous selon la culture de l'école. Respectez le ''dress code'' pour que vos élèves vous apercevoir comme ''professeur''. C'est à vous de gagner ce titre honore. ñ Soyez positif : souriez même quand vous êtes à bout de nerfs !

Concentrez-vous sur vos étudiants en leur prêtant une attention constante et à la fois encouragezles avec des sourires, louez également leurs efforts. Il vaudrait mieux que vous disiez ''Tu vas réussir, j'en suis sur !'', ''Bravo !'' ou ''Allez, encore un petit effort !'' Aussi obtient-on de meilleurs résultats et on gagne leur confiance en même temps. ñ Il est nécessaire que vous maintenez une distance bien évidente et amicale car vous n'êtes pas leur ''bonhomme''. Vous n'avez pas intérêt à établir des relations personnelles. Essayez d'être un enseignant amical et sympathique mais non un ami. ñ Il faut absolument s'efforcer de se souvenir de leurs prénoms. De plus, pour le faire vous pouvez soit dessiner

le plan de la classe et marquer leurs coordonnées soit poser des cartons sur les tables tout en écrivant leurs prénoms. ñ Dans un premier temps, tapez dans vos mains pour éveiller leur intérêt. Dans un deuxième temps, postez des autocollants sur leur front ou sur leurs mains. Ils vont s'exciter ! ñ Montrez que vous êtes vraiment intéressés de leurs réponses et réagissez : ''C'est une très bonne réponse ! Je partage la même opinion.'', ''Vous avez aussi un portable ?''. Bougez entre les tables, donnez la parole tour à tour. Ils aiment s'exprimer. ñ Passez professionnel : soyez attentifs en ce qui concerne votre voix (claire et douce) et votre posture. Les apprenants ont besoin de sentir que tout est en ordre autrement, vous allez perdre le contrôle. ñ Planifiez à plusieurs reprises avant se présenter et organisez une activité de façon que vous fassiez connaissance avec eux. Qu'est-ce que vous allez écrire sur le tableau ? Combien de temps va durer l'activité proposée ? Qu'est-ce que vous allez faire s'ils font du bruit ? Suggestion : présentez-vous en disant : ''Je m'appelle X, je fais du tennis et j'aime les chips, toi ?''. On s'ouvre sur eux-mêmes et on établit un premier contact anodin et animé.

Laugh and the whole class learns with you ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 18

can get out of control. As they progress, language classes develop their individual cultures: bodies of shared understandings about the personalities, passions, strengths, weaknesses and foibles of individuals within the class. Each class also develops a collective memory of the various incidents that have occurred within that particular class. This sense of friendly intimacy enables short bursts of laughter to be invoked by reference (either by the teacher or by a student) to previous events that the class found amusing. Humour is, of course, a powerful force in any situation and a highly complex phenomenon. There are obviously times when humour is detrimental to the well-being of individuals. Teasing is a case in point. While some students are happy to be foregrounded (for example, by being given a nickname) others are not. Jokes that were funny first time round can quickly wear thin. Most teachers who include teasing in their personal repertoire of laughter-engendering techniques back off quickly if they see that they are causing offence. Although it has the potential to be used unwisely, experienced language teachers see laughter as a positive force in their classrooms. They regard whole-class laughter as a welcome behaviour in their classrooms and actively cultivate it. For teachers regular small bursts of laughter are a vital and reassuring sign that their class as a whole is functioning cohesively and is in a responsively. Experienced language teachers demonstrate through their words and their classroom actions that good teaching involves far more than simply teaching in technically proficient ways: it involves encouraging each class to function as cohesively as possible. Judicious use of humour is a key way to encourage classes to develop into friendly, lively, mutually supportive social groups. Ø Rose Senior is a senior lecturer at Curtin University, Perth, Western Australia Guardian unlimited C M Y K

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™‡Ó‰ÚÔÌÔ EÏÏÂÈÌ·ÙÈ΋˜ ¶ÚÔÛÔ¯‹˜ / YÂÚÎÈÓËÙÈÎfiÙËÙ·˜ ¶ÂÓ‹ÓÙ· ¯Ú‹ÛÈ̘ Û˘Ì‚Ô˘Ï¤˜ ÁÈ· ÙËÓ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ™˘Ó‰ÚfiÌÔ˘ EÏÏÂÈÌÌ·ÙÈ΋˜ ¶ÚÔÛÔ¯‹˜ - YÂÚÎÈÓËÙÈÎfiÙËÙ·˜ (™E¶/Y) ÛÙË Û¯ÔÏÈ΋ Ù¿ÍË Dr. ŒÓÙÔ˘·ÚÓÙ X¿ÏÔÁÔ˘ÂÏ ·È‰Ô„˘¯›·ÙÚÔ˜, È‰Ú˘Ù‹˜ ÙÔ˘ K¤ÓÙÚÔ˘ °ÓˆÛÙÈ΋˜ Î·È æ˘¯È΋˜ YÁ›·˜ ÛÙÔ ™¿ÓÙÌÂÚÈ Ù˘ M·Û·¯Ô˘Û¤Ù˘, ‰È‰¿ÛÎÂÈ ÛÙÔ ÙÌ‹Ì· I·ÙÚÈ΋˜ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ X¿Ú‚·ÚÓÙ AÓ·‰ËÌÔÛ›Â˘ÛË È ÂÎ·È‰Â˘ÙÈÎÔ› ÁÓˆÚ›˙Ô˘Ó Ú¿ÁÌ·Ù· Ô˘ ηӤӷ˜ ¿ÏÏÔ˜ Â·ÁÁÂÏÌ·Ù›·˜ ÙÔ˘ ¯ÒÚÔ˘ ‰Â ÁÓˆÚ›˙ÂÈ: fiÙÈ ‰ÂÓ ˘¿Ú¯ÂÈ ¤Ó· Û‡Ó‰ÚÔÌÔ ™E¶/Y, ·ÏÏ¿ ÔÏÏ¿Ø fiÙÈ ÙÔ ™E¶/Y Û¿ÓÈ· ÂÌÊ·Ó›˙ÂÙ·È "ÌfiÓÔ ÙÔ˘", ·ÏÏ¿ fiÙÈ Û˘Ó‹ıˆ˜ ÂÌÊ·Ó›˙ÂÙ·È ÂÎ ·Ú·ÏÏ‹ÏÔ˘ Ì ¿ÏÏ· ÚÔ‚Ï‹Ì·Ù·, fiˆ˜ ÔÈ Ì·ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ ‹ Ù· Û˘Ó·ÈÛıËÌ·ÙÈο ÚÔ‚Ï‹Ì·Ù·Ø fiÙÈ ÙÔ ÚfiÛˆÔ ÙÔ˘ ™E¶/Y ·ÏÏ¿˙ÂÈ, fiˆ˜ Û˘Ì‚·›ÓÂÈ Î·È Ì ÙÔÓ Î·ÈÚfi, ·Ú¿ÏÔÁ· Î·È ·ÚfiÛÌÂÓ·Ø fiÙÈ Ë ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ™E¶/Y, ·Ú¿ ÙȘ ‰È·ÊˆÙÈÛÙÈΤ˜ ÂÂÍËÁ‹ÛÂȘ Ô˘ ··ÓÙÔ‡ÓÙ·È Û ‰È¿ÊÔÚ· ΛÌÂÓ·, ÂÍ·ÎÔÏÔ˘ı› Ó· ··ÈÙ› ÛÎÏËÚ‹ ‰Ô˘ÏÂÈ¿ Î·È È‰È·›ÙÂÚË ·ÊÔÛ›ˆÛË. ¢ÂÓ ˘¿Ú¯ÂÈ Â‡ÎÔÏÔ˜ ÙÚfiÔ˜ ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ì ÙÔ ™E¶/Y ÛÙËÓ Ù¿ÍË - Ô‡Ù ·ÎfiÌ· Î·È ÛÙÔ Û›ÙÈ. ⁄ÛÙÂÚ· ·fi fiÛ· ¤¯Ô˘Ó ÂÈˆı› Î·È Á›ÓÂÈ, ı· ϤÁ·Ì fiÙÈ Ë ·ÔÙÂÏÂÛÌ·ÙÈ΋ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ Û˘Ó‰ÚfiÌÔ˘ ÛÙÔ Ï·›ÛÈÔ ÙÔ˘ Û¯ÔÏ›Ԣ ÂÍ·ÚÙ¿Ù·È ·fi ÙËÓ Î·Ù¿ÚÙÈÛË Î·È ÙËÓ ÂÈÌÔÓ‹ Ô˘ ¤¯Ô˘Ó ÙfiÛÔ ÙÔ Û¯ÔÏÂ›Ô fiÛÔ Î·È Ô ÂÎ·È‰Â˘ÙÈÎfi˜. AÓ Ô ÂÎ·È‰Â˘ÙÈÎfi˜ ÂÊ·ÚÌfiÛÂÈ ÙȘ ·ÎfiÏÔ˘ı˜ ¯Ú‹ÛÈ̘ Û˘Ì‚Ô˘Ï¤˜, ÙfiÙÂ Ë ‰È‰·Ûηϛ· Û ̷ıËÙ¤˜ Ì ™E¶/Y ı· Â›Ó·È ÈÔ Â‡ÎÔÏË Î·È ÂÚÈÛÛfiÙÂÚÔ ·ÔÙÂÏÂÛÌ·ÙÈ΋. T· ·È‰È¿ ·˘Ù¿ ÌÔÚÔ‡Ó Ó· ÌÂÙ·ÌÔÚʈıÔ‡Ó Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· ÙÔ˘ Û¯ÔÏÈÎÔ‡ ¤ÙÔ˘˜Ø ÂΛ ‰ËÏ·‰‹ Ô˘ ‹Ù·Ó ÔÈ ÈÔ ‰‡ÛÎÔÏÔÈ Ì·ıËÙ¤˜ ÁÈ· Û·˜, ÌÔÚÔ‡Ó Ó· Á›ÓÔ˘Ó ÛÙË Û˘Ó¤¯ÂÈ· ÔÈ ÈÔ ÈηÓÔÔÈËÙÈÎÔ›. M ÙËÓ Â›ÌÔÓË Î·È ÙË Û˘ÓÂ‹ ÂÊ·ÚÌÔÁ‹ ÙˆÓ Ù¯ÓÈÎÒÓ Ô˘ ÂÚȤ¯ÔÓÙ·È Û ·˘Ù¤˜ ÙȘ Û˘Ì‚Ô˘Ï¤˜, Ì ÙË Û˘ÓÂÚÁ·Û›· ÙˆÓ Û˘Ó·‰¤ÏʈÓ, ÙˆÓ ÁÔÓ¤ˆÓ Î·È ÙÔ˘ Ì·ıËÙ‹, ÌÔÚ›Ù ӷ ‰Â›Ù ÙËÓ ·ÔÙ˘¯›· Ó· ·ÏÏ¿˙ÂÈ ÚfiÛˆÔ, Ó· Á›ÓÂÙ·È ÈηÓfiÙËÙ· Î·È ÂÈÙ˘¯›·. OÈ Û˘Ì‚Ô˘Ï¤˜ ·¢ı‡ÓÔÓÙ·È Û ÂÎ·È‰Â˘ÙÈÎÔ‡˜ fiÏˆÓ ÙˆÓ ‚·ıÌ›‰ˆÓ, οÔȘ ı· Â›Ó·È ÚÔÊ·ÓÒ˜ ÂÚÈÛÛfiÙÂÚÔ Î·Ù¿ÏÏËϘ ÁÈ· ÌÈÎÚfiÙÂÚÔ˘˜ Ì·ıËÙ¤˜, ÂÓÒ ¿ÏϘ ÁÈ· ÌÂÁ·Ï‡ÙÂÚÔ˘˜Ø ı¤Ì·Ù· ˆÛÙfiÛÔ ‰ÔÌ‹˜, ÂÎ·›‰Â˘Û˘ Î·È ÂÓı¿ÚÚ˘ÓÛ˘ Â›Ó·È ÎÔÈÓ¿ Î·È ·ÊÔÚÔ‡Ó fiÏ· Ù· ·È‰È¿. 1. ¶ÚÒÙÔÓ, ÛÈÁÔ˘Ú¢Ù›Ù fiÙÈ ¤¯ÂÙ ӷ οÓÂÙ Ì ™E¶/Y. AÓ·ÌÊ›‚ÔÏ· ‰ÂÓ Â›Ó·È Î·ı‹ÎÔÓ ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ Ó· ‰È·ÁÓÒÛÂÈ ÙÔ ™E¶/Y, ÌÔÚ›Ù fï˜, Î·È ı· ¤ÚÂÂ, Ó· οÓÂÙ ÛÙÔ˘˜ ÁÔÓ›˜ ÌÂÚÈΤ˜ ÂÚˆÙ‹ÛÂȘ. ™˘ÁÎÂÎÚÈ̤ӷ, ‚‚·Èˆı›Ù fiÙÈ ¤¯ÂÈ ÂÏÂÁ¯ı› ÚfiÛÊ·Ù· Ë ·ÎÔ‹ Î·È Ë fiÚ·ÛË ÙÔ˘ ·È‰ÈÔ‡ Î·È fiÙÈ Â›Û˘ ‰ÂÓ ˘¿Ú¯Ô˘Ó ¿ÏÏ· È·ÙÚÈο ÚÔ‚Ï‹Ì·Ù·. B‚·Èˆı›Ù fiÙÈ ÔÈ ·Ó¿ÏÔÁË ÂͤٷÛË ‹Ù·Ó Â·Ú΋˜. ™˘Ó¯›ÛÙ ӷ οÓÂÙ ÂÚˆÙ‹ÛÂȘ ̤¯ÚȘ fiÙÔ˘ ÂÈÛı›ÙÂ. TËÓ Â˘ı‡ÓË ÁÈ· fiÏ· ·˘Ù¿ ÙËÓ ¤¯Ô˘Ó ÔÈ ÁÔÓ›˜ Î·È fi¯È Ô ÂÎ·È‰Â˘ÙÈÎfi˜, Ô ÂÎ·È‰Â˘ÙÈÎfi˜ fï˜ ÌÔÚ› Ó· ˘ÔÛÙËÚ›ÍÂÈ ÙË ‰È·‰Èηۛ·. 2. ¢Â‡ÙÂÚÔÓ, ÔÚÁ·ÓÒÛÙ ÙËÓ ˘ÔÛÙ‹ÚÈÍ‹ Û·˜. TÔ Ó· ›۷ÛÙ ÂÎ·È‰Â˘ÙÈÎfi˜ Û ÌÈ· Ù¿ÍË fiÔ˘ ˘¿Ú¯Ô˘Ó ‰‡Ô ÙÚ›· ·È‰È¿ Ì ™E¶/Y Â›Ó·È ÙÚÔÌÂÚ¿ ÎÔ˘Ú·ÛÙÈÎfi. B‚·Èˆı›Ù fiÙÈ ¤¯ÂÙ ÙËÓ ˘ÔÛÙ‹ÚÈÍË ÙÔ˘ Û¯ÔÏ›Ԣ Î·È ÙˆÓ ÁÔÓ¤ˆÓ. B‚·Èˆı›Ù fiÙÈ ˘¿Ú¯ÂÈ Î¿ÔÈÔ˜ ÂȉÈÎfi˜ Ô˘ Ó· ÌÔÚ›Ù ӷ ÙÔÓ Û˘Ì‚Ô˘Ï¢Ù›ÙÂ

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fiÙ·Ó Û˘Ó·ÓÙ‹ÛÂÙ Úfi‚ÏËÌ· (ÂȉÈÎfi˜ Û ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜, ·È‰Ô„˘¯›·ÙÚÔ˜, ÎÔÈÓˆÓÈÎfi˜ ÏÂÈÙÔ˘ÚÁfi˜, Û¯ÔÏÈÎfi˜ „˘¯ÔÏfiÁÔ˜, ·È‰›·ÙÚÔ˜ - ÙÔ ‰›ψ̿ ÙÔ˘ ‰ÂÓ ¤¯ÂÈ ÛËÌ·Û›·). EΛÓÔ Ô˘ Ú¤ÂÈ Ó· Û·˜ ··Û¯ÔÏ› Â›Ó·È ÙÔ ·Ó ÁÓˆÚ›˙ÂÈ ·ÚÎÂÙ¿ ÁÈ· ÙÔ ™E¶/Y Î·È ¤¯ÂÈ ‰ÂÈ ·ÚÎÂÙ¿ ·È‰È¿ Ì ™E¶/Y. B‚·Èˆı›Ù fiÙÈ ÔÈ ÁÔÓ›˜ Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì·˙› Û·˜ Î·È fiÙÈ ÔÈ Û˘Ó¿‰ÂÏÊÔ› Û·˜ ÌÔÚÔ‡Ó Ó· Û·˜ ‚ÔËı‹ÛÔ˘Ó.

5. N· ı˘Ì¿ÛÙ ÙÔ Û˘Ó·ÈÛıËÌ·ÙÈÎfi ÎÔÌÌ¿ÙÈ Ô˘ ÂÌÂÚÈÎÏ›ÂÈ Ë ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘. A˘ÙÔ› ÔÈ Ì·ıËÙ¤˜ ¯ÚÂÈ¿˙ÔÓÙ·È ÂȉÈ΋ ‚Ô‹ıÂÈ· ÁÈ· Ó· ‚ÚÔ˘Ó Â˘¯·Ú›ÛÙËÛË Ì¤Û· ÛÙË Ù¿ÍËØ ÁÈ· Ó· ·ÓÙÈηٷÛÙ‹ÛÔ˘Ó Ì ÂÈÙ˘¯›· ÙËÓ ·ÔÙ˘¯›· Î·È ÙË Ì·Ù·›ˆÛË, Ì ÂÓıÔ˘ÛÈ·ÛÌfi ÙËÓ ·Ó›· Î·È ÙÔ Êfi‚Ô. E›Ó·È ··Ú·›ÙËÙÔ Ó· ‰ÒÛÂÙ ÚÔÛÔ¯‹ ÛÙ· Û˘Ó·ÈÛı‹Ì·Ù· Ô˘ ÂÌϤÎÔÓÙ·È ÛÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘.

3. TÚ›ÙÔÓ, Ó· ͤÚÂÙ ٷ fiÚÈ¿ Û·˜. MË ‰ÈÛÙ¿ÛÂÙ ӷ ˙ËÙ‹ÛÂÙ ‚Ô‹ıÂÈ·. EÛ›˜ ˆ˜ ÂÎ·È‰Â˘ÙÈÎfi˜ ‰ÂÓ Â›ÛÙ ˘Ô¯Úˆ̤ÓÔ˜ Ó· ›ÛÙÂ Î·È ÂȉÈÎfi˜ ÛÙÔ ™E¶/Y. °È' ·˘Ùfi ‰Â ı· Ú¤ÂÈ Ó· ‰ÈÛÙ¿ÛÂÙ ӷ ˙ËÙ‹ÛÂÙ ‚Ô‹ıÂÈ· fiÙ·Ó ıˆڋÛÂÙ ˆ˜ ÙËÓ ¤¯ÂÙ ·Ó¿ÁÎË. 4. PˆÙ‹ÛÙ ÙÔ Ì·ıËÙ‹ ÁÈ· ÙÔ ÙÈ ı· ÙÔÓ ‚ÔËıÔ‡ÛÂ. A˘Ù‹ Ë Â‡ÏÔÁË Î›ÓËÛË ·Ú·‚ϤÂÙ·È Û¯Â‰fiÓ ¿ÓÙ·. EÌ›˜ ÔÈ ÂÓ‹ÏÈΘ ›̷ÛÙÂ Û˘Ó‹ıˆ˜ ÙfiÛÔ ··Û¯ÔÏË̤ÓÔÈ ÛÙËÓ ÚÔÛ¿ıÂÈ¿ Ì·˜ Ó· ·Ó·Î·Ï‡„Ô˘Ì ÌfiÓÔÈ Ì·˜ ÙÈ Â›Ó·È Î·Ïfi ÁÈ' ·˘Ù¿ Ù· ·È‰È¿ Î·È ÙÈ ÔÊ›ÏÔ˘Ì ӷ οÓÔ˘Ì ÁÈ' ·˘Ù¿, Ô˘ Ì·˜ ‰È·Ê‡ÁÂÈ Ó· ‰È·Ù˘ÒÛÔ˘Ì ÂÚˆÙ‹ÛÂȘ ÁÈ· ÙÔ ÙÈ ÓÔÌ›˙Ô˘Ó Ù· ›‰È· fiÙÈ ı· Ù· ‚ÔËıÔ‡ÛÂ. A˘Ù¿ Ù· ·È‰È¿ ¤¯Ô˘Ó Û˘Ó‹ıˆ˜ ‰È·›ÛıËÛË. AÓ Ù· ÚˆÙ‹ÛÂÙÂ, ı· Û·˜ Ô˘Ó Ò˜ ÌÔÚÔ‡Ó Ó· Ì¿ıÔ˘Ó Î·Ï‡ÙÂÚ·. NÙÚ¤ÔÓÙ·È Ôχ Ó· Û·˜ ÂÓËÌÂÚÒÛÔ˘Ó ·fi ÌfiÓ· ÙÔ˘˜, ÁÈ·Ù› ÙÔ˘˜ Ê·›ÓÂÙ·È Î¿ˆ˜ ÙÚ·‚ËÁ̤ÓÔ. øÛÙfiÛÔ ÚÔÛ·ı‹ÛÙ ӷ ηı›ÛÂÙ ̷˙› Ì ÙÔ Ì·ıËÙ‹ οÓÔÓÙ¿˜ ÙÔ˘ ÂÚˆÙ‹ÛÂȘ ÁÈ· ÙÔ Ò˜ ı· ÌÔÚÔ‡Û ӷ Ì¿ıÂÈ Î·Ï‡ÙÂÚ·. O ηχÙÂÚÔ˜ "ÂȉÈÎfi˜" ÁÈ· Ó· ÚÔÙ›ÓÂÈ ÙËÓ ·Ô‰ÔÙÈÎfiÙÂÚË Ì¤ıÔ‰Ô ÂÎÌ¿ıËÛ˘ Â›Ó·È ÙÔ ›‰ÈÔ ÙÔ ·È‰›. E›Ó·È ÊÔ‚ÂÚfi fiÛÔ Û˘¯Ó¿ ·ÁÓÔÔ‡ÓÙ·È ‹ ‰ÂÓ ·ÎÔ‡ÁÔÓÙ·È ÔÈ ·fi„ÂȘ ÙÔ˘˜. EÈÚÔÛı¤Ùˆ˜, ÂȉÈο Û ۯ¤ÛË Ì ٷ ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿, ‚‚·Èˆı›Ù fiÙÈ ÙÔ ·È‰› ÁÓˆÚ›˙ÂÈ ÙÈ Â›Ó·È ÙÔ ™E¶/Y. A˘Ùfi ı· ‚ÔËı‹ÛÂÈ ·ÚÎÂÙ¿ Î·È ÙÔ˘˜ ‰˘Ô Û·˜.

6. N· ı˘Ì¿ÛÙ fiÙÈ ÔÈ Ì·ıËÙ¤˜ Ì ™E¶/Y ¤¯Ô˘Ó ·Ó¿ÁÎË ·fi ÙË ‰ÔÌ‹ Î·È ÙËÓ ÔÚÁ¿ÓˆÛË. TÔ ÂÚÈ‚¿ÏÏÔÓ ÙÔ˘˜ ÔÊ›ÏÂÈ Ó· ‰ÔÌ› Â͈ÙÂÚÈο ·˘Ùfi Ô˘ ÂΛÓÔÈ ‰ÂÓ ÌÔÚÔ‡Ó Ó· ‰ÔÌ‹ÛÔ˘Ó ÂÛˆÙÂÚÈο ·fi ÌfiÓÔÈ ÙÔ˘˜. ºÙÈ¿ÍÙ ϛÛÙ˜. T· ·È‰È¿ Ì ™E¶/Y ˆÊÂÏÔ‡ÓÙ·È Ôχ ·fi ¤Ó·Ó ›Ó·Î· ‹ ÌÈ· Ï›ÛÙ· Ô˘ ı· ¯ÚËÛÈÌÔÔÈÔ‡Ó ˆ˜ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ fiÙ·Ó ¯¿ÓÔÓÙ·È Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· Ì›·˜ ‰Ú·ÛÙËÚÈfiÙËÙ¿˜ ÙÔ˘˜. XÚÂÈ¿˙ÔÓÙ·È ˘ÂÓı˘Ì›ÛÂȘ. XÚÂÈ¿˙ÔÓÙ·È ÚÔηٷÚÎÙÈΤ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ. XÚÂÈ¿˙ÔÓÙ·È Â·Ó¿ÏË„Ë. XÚÂÈ¿˙ÔÓÙ·È Î·Ù‡ı˘ÓÛË. XÚÂÈ¿˙ÔÓÙ·È fiÚÈ·. XÚÂÈ¿˙ÔÓÙ·È ‰ÔÌ‹. 7. AÓ·ÚÙ‹ÛÙ ηÓfiÓ˜. N· ÙÔ˘˜ ÁÚ¿„ÂÙ Û ¢‰È¿ÎÚÈÙÔ Ì¤ÚÔ˜. T· ·È‰È¿ ‰Â ı· ÓÈÒıÔ˘Ó ¿Á¯Ô˜ ·Ó ÁÓˆÚ›˙Ô˘Ó ÙÈ ÂÚÈ̤ÓÂÙ ·fi ·˘Ù¿. 8. N· Â·Ó·Ï·Ì‚¿ÓÂÙ ÙȘ Ô‰ËÁ›Â˜. N· ÁÚ¿ÊÂÙ ÙȘ Ô‰ËÁ›Â˜. N· ϤÙ ÙȘ Ô‰ËÁ›Â˜. N· Â·Ó·Ï·Ì‚¿ÓÂÙ ÙȘ Ô‰ËÁ›Â˜. T· ¿ÙÔÌ· Ì ™E¶/Y ¤¯Ô˘Ó ·Ó¿ÁÎË Ó· ·ÎÔ‡Ó ٷ ›‰È· Ú¿ÁÌ·Ù· ¿Óˆ ·fi Ì›· ÊÔÚ¿. 9. N· ¤¯ÂÙÂ Û˘¯Ó‹ ‚ÏÂÌÌ·ÙÈ΋ Â·Ê‹. MÔÚ›Ù ӷ "Â·Ó·Ê¤ÚÂÙÂ" ¤Ó· ·È‰› Ì ™E¶/Y ¯ÚËÛÈÌÔÔÈÒÓÙ·˜ ÙÔ ‚ϤÌÌ·. K¿ÓÙ ÙÔ Û˘¯Ó¿. MÈ· Ì·ÙÈ¿ ÌÔÚ› Ó· Â·Ó·Ê¤ÚÂÈ ¤Ó· ·È‰› ·fi ÙËÓ ÔÓÂÈÚÔfiÏËÛË ‹ Ó· ÙÔ Î·ıËÛ˘¯¿ÛÂÈ Ì ÙÚfiÔ ÛȈËÏfi. 10. B¿ÏÙ ÙÔ ·È‰› Ì ™E¶/Y Ó· ηı›ÛÂÈ ÎÔÓÙ¿ Û·˜ ‹ Û ÂΛÓÔ ÙÔ ÛËÌÂ›Ô Ô˘ ‚Ú›ÛÎÂÛÙ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ Ù˘ ÒÚ·˜. A˘Ùfi ı·

Û˘ÓÙÂϤÛÂÈ ·ÔÙÂÏÂÛÌ·ÙÈο ÛÙË Ì›ˆÛË Ù˘ ¤ÓÙÔÓ˘ ÎÈÓËÙÈÎfiÙËÙ¿˜ ÙÔ˘˜, Ô˘ ÙfiÛÔ Ù· Ù·Ï·ÈˆÚ›. 11. £¤ÛÙ fiÚÈ· Î·È ÂÚÈÔÚÈÛÌÔ‡˜. ™Ùfi¯Ô˜ Ù˘ ÂÈ‚ÔÏ‹˜ ÔÚ›ˆÓ Â›Ó·È Ó· Û˘ÁÎÚ·Ù‹ÛÂÙÂ Î·È Ó· ηıËÛ˘¯¿ÛÂÙ ٷ ·È‰È¿, fi¯È Ó· Ù· ÙÈ̈ڋÛÂÙÂ. N· ÂÈ‚¿ÏÏÂÙ ٷ fiÚÈ· ÌÂ Û˘Ó¤ÂÈ·, ÏÔÁÈ΋, ÁÚ‹ÁÔÚ· Î·È ·Ï¿. MËÓ ÂÌϤÎÂÛÙ Û ÔχÏÔΘ, "‰ÈÎËÁÔÚ›ÛÙÈΘ" Û˘˙ËÙ‹ÛÂȘ ÂÚ› ‰Èη›Ô˘. A˘Ù¤˜ ÔÈ Ì·ÎÚÔÛÎÂÏ›˜ Û˘˙ËÙ‹ÛÂȘ Û¿˜ ·ÔÌ·ÎÚ‡ÓÔ˘Ó ·fi ÙÔ ÛÙfi¯Ô Û·˜. MË ¯¿ÓÂÙ ÙÔÓ ¤ÏÂÁ¯Ô Ù˘ ηٿÛÙ·Û˘. 12. N· ¤¯ÂÙ fiÛÔ ÙÔ ‰˘Ó·Ùfi ÂÚÈÛÛfiÙÂÚÔ ÍÂοı·ÚÔ Î·È Û·Ê¤˜ ËÌÂÚ‹ÛÈÔ ÚfiÁÚ·ÌÌ·. TÔÔıÂÙ‹ÛÙ ÙÔ ¿Óˆ ÛÙÔÓ ›Ó·Î· Ù˘ Ù¿Í˘ ‹ ¿Óˆ ÛÙÔ ıÚ·Ó›Ô ÙÔ˘ ·È‰ÈÔ‡. N· ÙÔ ¯ÚËÛÈÌÔÔÈ›ÙÂ Û˘¯Ó¿ ˆ˜ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜. AÓ ÚÔÙ›ıÂÛÙ ӷ οÓÂÙ οÔȘ ·ÏÏ·Á¤˜, fiˆ˜ οÓÔ˘Ó ·ÚÎÂÙÔ› ¤ÌÂÈÚÔÈ ÂÎ·È‰Â˘ÙÈÎÔ›, ÂÓËÌÂÚÒÛÙÂ Î·È ÚÔÂÙÔÈÌ¿ÛÙ ٷ ·È‰È¿. OÈ ·Ó·Î·Ù·Ù¿ÍÂȘ Î·È ÔÈ Í·ÊÓÈΤ˜ ·ÏÏ·Á¤˜ ÙÔ‡˜ Â›Ó·È ‰‡ÛÎÔϘ. T· ·ÔÚÔÛ·Ó·ÙÔÏ›˙Ô˘Ó. ºÚÔÓÙ›ÛÙ ÏÔÈfiÓ Ó· Ù· ÚÔÂÙÔÈÌ¿ÛÂÙ ·ÚÎÂÙfi ηÈÚfi ÚÈÓ. AÓ·ÎÔÈÓÒÛÙ ÙÔ˘˜ ÙÈ ÚfiÎÂÈÙ·È Ó· Û˘Ì‚Â› Î·È ÂÍ·ÎÔÏÔ˘ı‹ÛÙ ӷ Â·Ó·Ï·Ì‚¿ÓÂÙ fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔ, fiÛÔ Ô Î·ÈÚfi˜ ÏËÛÈ¿˙ÂÈ, ÙȘ ÂÈΛÌÂÓ˜ ·ÏÏ·Á¤˜. 13. ¶ÚÔÛ·ı‹ÛÙ ӷ Ù· ‚ÔËı‹ÛÂÙ ÒÛÙ ӷ ۯ‰ȿÛÔ˘Ó ÙÔ ÚfiÁÚ·ÌÌ· Ô˘ ı· ·ÎÔÏÔ˘ı‹ÛÔ˘Ó ÌÂÙ¿ ÙÔ Ù¤ÏÔ˜ Ù˘ Ë̤ڷ˜ ÙÔ˘˜ ÛÙÔ Û¯ÔÏ›Ô, ·›ÚÓÔÓÙ·˜ ¤ÙÛÈ Ì¤ÙÚ· ÒÛÙ ӷ ·ÔÊ¢¯ı› ¤Ó· ·fi Ù· ‚·ÛÈο ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔ˘ ™E¶/Y: Ë ·‰Ú¿ÓÂÈ·. 14. K·Ù·ÚÁ‹ÛÙ ‹ ÌÂÈÒÛÙ ÙË Û˘¯ÓfiÙËÙ· ÙˆÓ ÙÂÛÙ Ô˘ ˘fiÎÂÈÓÙ·È Û ¯ÚÔÓÈÎÔ‡˜ ÂÚÈÔÚÈÛÌÔ‡˜. H ÂÎ·È‰Â˘ÙÈ΋ ·Í›· ·˘ÙÒÓ ÙˆÓ ÙÂÛÙ Â›Ó·È ÌÈÎÚ‹. 15. EÈÙÚ¤„Ù ÙÔ˘˜, ˆ˜ ‰ÈÎÏ›‰· ·ÛÊ·Ï›·˜, Ó· "‰Ú·ÂÙ‡ԢÓ" ÁÈ· Ï›ÁÔ ·fi ÙËÓ Ù¿ÍË. AÓ ·˘Ùfi ÂÚ¿ÛÂÈ Î·È ÂÓۈ̷وı› ÛÙÔ˘˜ ηÓfiÓ˜ Ù˘ Ù¿Í˘, ‰Â ı· ÂÎÓ¢ڛ˙ÔÓÙ·È ·fi ÙËÓ ·Ó˘·ÚÍ›· ‰ÈÂÍfi‰Ô˘. M' ·˘ÙfiÓ ÙÔÓ ÙÚfiÔ ı· Ì¿ıÔ˘Ó Ó· οÓÔ˘Ó ¯Ú‹ÛË Ù˘ ·˘ÙÔ·Ú·Ù‹ÚËÛ˘ Î·È Ù˘ ·˘ÙÔ-Ú‡ıÌÈÛ‹˜ ÙÔ˘˜. 16. ¶ÚÔÛ·ı‹ÛÙ ÒÛÙ ÔÈ ÂÚÁ·Û›Â˜ ÁÈ· ÙÔ Û›ÙÈ Ó· ÛÙËÚ›˙ÔÓÙ·È ÛÙËÓ ÔÈfiÙËÙ· Î·È fi¯È ÛÙËÓ ÔÛfiÙËÙ·. T· ·È‰È¿ Ì ™E¶/Y ‰ÂÓ ·ÓÙ¤¯Ô˘Ó Û˘Ó‹ıˆ˜ ÙÔ ÌÂÁ¿ÏÔ ÊfiÚÙÔ ÂÚÁ·Û›·˜. EÊfiÛÔÓ Ì·ı·›ÓÔ˘Ó ·˘Ù¿ Ô˘ Ú¤ÂÈ, Â›Ó·È ÚÔÙÈÌfiÙÂÚÔ Ó· ÙÔ˘˜ ÂÈÙÚ¤ÂÙ·È Ó· ¤¯Ô˘Ó ÏÈÁfiÙÂÚË ‰Ô˘ÏÂÈ¿ ÛÙÔ Û›ÙÈ. ¢ÂÓ Ú¤ÂÈ Ó· ¤¯Ô˘Ó ÂÚÈÛÛfiÙÂÚË ‰Ô˘ÏÂÈ¿ ·' ·˘Ù‹ Ô˘ ÌÔÚÔ‡Ó Ó' ·ÓÙ¤ÍÔ˘Ó. 17. ¶·Ú·ÎÔÏÔ˘ı‹ÛÙÂ Û˘¯Ó¿ ÙËÓ ÚfiÔ‰fi ÙÔ˘˜. H Û˘¯Ó‹ ÏËÚÔÊfiÚËÛË ÙÔ˘˜ ÁÈ· ÙËÓ ÚÔÛˆÈ΋ ÙÔ˘˜ ÚfiÔ‰Ô ¤¯ÂÈ ÂÍ·ÈÚÂÙÈο ÔʤÏË, ηıÒ˜ Ù· ‚ÔËı¿ÂÈ Ó· ·Ú·Ì¤ÓÔ˘Ó ÛÙÔ ÛÙfi¯Ô, ÙÔ˘˜ ÂÈÙÚ¤ÂÈ Ó· ͤÚÔ˘Ó ÙÈ ÂÚÈ̤ÓÔ˘Ó ÔÈ ¿ÏÏÔÈ ·fi ·˘Ù¿ Î·È Ò˜ Ù· ËÁ·›ÓÔ˘Ó ÛÙÔ Û¯ÔÏ›ÔØ fiÏ· ·˘Ù¿ ·ÔÙÂÏÔ‡Ó ·Ú¿ÁÔÓÙ˜ Ô˘ Û˘ÓÙÂÏÔ‡Ó ÛÙËÓ ÂÓı¿ÚÚ˘ÓÛ‹ ÙÔ˘˜. 18. ™¿ÛÙ ÙȘ ÌÂÁ¿Ï˜ ÂÚÁ·Û›Â˜ Û ÌÈÎÚfiÙÂÚ˜. A˘Ùfi Û˘ÓÈÛÙ¿ Ì›· ·fi ÙȘ ÈÔ ÛËÌ·ÓÙÈΤ˜ Ù¯ÓÈΤ˜ ‰È‰·Ûηϛ·˜ ÁÈ· Ù· ·È‰È¿ Ì ™E¶/Y. OÈ ÌÂÁ¿Ï˜ ÂÚÁ·Û›Â˜ ÁÚ‹ÁÔÚ· "Ó›ÁÔ˘Ó" ÙÔ ·È‰›, Ì ·ÔÙ¤ÏÂÛÌ· Ó· ÔÈÛıÔ¯ˆÚ› ¤ÓÙÚÔÌÔ Î·È ÁÂÌ¿ÙÔ ‰¿ÎÚ˘· Ì ¤Ó· "ÔÙ¤

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22 ‰Â ı· ÌÔÚ¤Ûˆ Ó· TÔ Î¿Óˆ AYTO". AÓ fï˜ ¯ˆÚ›˙ÂÙ ÙȘ ÂÚÁ·Û›Â˜ Û ÌÈÎÚfiÙÂÚ· ÙÌ‹Ì·Ù· Ô˘ ÌÔÚ› Ó· ¯ÂÈÚÈÛÙ› ¢ÎÔÏfiÙÂÚ·, ÙfiÙ οı ÌÈÎÚfiÙÂÚÔ ÎÔÌÌ¿ÙÈ ı· ÙÔ˘ Ê·›ÓÂÙ·È Â˘ÎÔÏfiÙÂÚÔ Ó· οÓÂÈ Î·È ¤ÙÛÈ ‰ÂÓ ı· ÓÈÒıÂÈ "ÓÈÁ̤ÓÔ". °ÂÓÈο, Ù· ·È‰È¿ ·˘Ù¿ ÌÔÚÔ‡Ó Ó· οÓÔ˘Ó Ôχ ÂÚÈÛÛfiÙÂÚ· Ú¿ÁÌ·Ù· ·fi ·˘Ù¿ Ô˘ ÓÔÌ›˙Ô˘Ó fiÙÈ ÌÔÚÔ‡Ó. M ·˘Ù‹Ó ÙË ‰È·ÊÔÚÂÙÈ΋ ηٷÓÔÌ‹ ÙÔ˘ ˘ÏÈÎÔ‡, Ô ÂÎ·È‰Â˘ÙÈÎfi˜ ÌÔÚ› Ó· ÂÈÙÚ¤„ÂÈ ÛÙÔ ·È‰› Ó· ·ԉ›ÍÂÈ ÛÙÔÓ Â·˘Ùfi ÙÔ˘ fiÙÈ Ù· ηٷʤÚÓÂÈ. 19. K¿ÓÙ ¯ÈÔ‡ÌÔÚ, ‰È·ÛΉ¿ÛÙ ÙË ‰È‰·Ûηϛ·, ·ÔʇÁÂÙ ӷ ›ÛÙ ÎÔÈÓfiÙÔÔÈ Î·È Û˘Ì‚·ÙÈÎÔ›. T· ¿ÙÔÌ· Ì ™E¶/Y ·Á·Ô‡Ó ÙËÓ Î·ÈÓÔÙÔÌ›·. EÓıÔ˘ÛÈ¿˙ÔÓÙ·È. TÔ˘˜ ‚ÔËı¿ÂÈ ÛÙË Û˘ÁΤÓÙÚˆÛË - Î·È ÂÛ›˜ Û˘ÁÎÂÓÙÚÒÓÂÛÙ Ì' ·˘ÙfiÓ ÙÔÓ ÙÚfiÔ. A˘Ù¿ Ù· ·È‰È¿ Â›Ó·È fiÏÔ ˙ˆ‹ - ·Á·Ô‡Ó ÙË ‰È·ÛΤ‰·ÛË Î·È ÙÔ ·È¯Ó›‰È. K·È ¿Óˆ ·' fiÏ·, Ûȯ·›ÓÔÓÙ·È ÙË ‚·ÚÂÌ¿Ú·. H "ıÂÚ·›·" ÙÔ˘˜ ÂÚÈÏ·Ì‚¿ÓÂÈ ÔÏÏ¿ ‚·ÚÂÙ¿ Ú¿ÁÌ·Ù·, fiˆ˜ ËÌÂÚ‹ÛÈ· ÚÔÁÚ¿ÌÌ·Ù·, Ï›ÛÙ˜ Î·È Î·ÓfiÓ˜. £· ‚ÔËıÔ‡Û ÏÔÈfiÓ ·ÚÎÂÙ¿, ·Ó, ηٿ ‰È·ÛÙ‹Ì·Ù·, ÌÔÚ›Ù ӷ ·Ê‹ÓÂÛÙÂ Î·È Ó· "·È‰È·Ú›˙ÂÙÂ". 20. ¶ÚÔÛ¤ÍÙ ˆÛÙfiÛÔ ÙËÓ ˘ÂډȤÁÂÚÛË ·fi ˘ÂÚ‚ÔÏÈο ÔÏÏ¿ Â͈ÙÂÚÈο ÂÚÂı›ÛÌ·Ù·. TÔ ·È‰› Ì ™E¶/Y ÌÔÚ› Ó· ͯÂÈÏ›ÛÂÈ fiˆ˜ ÌÈ· ηÙÛ·ÚfiÏ· Â¿Óˆ ÛÙË ÊˆÙÈ¿. ¶Ú¤ÂÈ Ó· ›ÛÙ Û ı¤ÛË Ó· ÌÂÈÒÛÂÙ ÁÚ‹ÁÔÚ· ÙË "ıÂÚÌÔÎÚ·Û›·", Î·È Ô Î·Ï‡ÙÂÚÔ˜ ÙÚfiÔ˜ ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›ÛÂÙ ÙÔ ¯¿Ô˜ ÛÙËÓ Ù¿ÍË ÙÔ˘ Û¯ÔÏ›Ԣ Â›Ó·È Ó· ÙÔ ÚÔÏ¿‚ÂÙ ÂÍ·Ú¯‹˜. 21. AÓ·˙ËÙ‹ÛÙ ÙËÓ ÂÈÙ˘¯›· Î·È ÙÔÓ›ÛÙ ÙËÓ fiÛÔ ÙÔ ‰˘Ó·ÙfiÓ ÂÚÈÛÛfiÙÂÚÔ. A˘Ù¿ Ù· ·È‰È¿ ˙Ô˘Ó Ì¤Û· Û ÙfiÛË ·ÔÙ˘¯›·, Ô˘ ¯ÚÂÈ¿˙ÔÓÙ·È ÙË ÌÂÁ·Ï‡ÙÂÚË ‰˘Ó·Ù‹ ıÂÙÈ΋ ·ÓÙÈÌÂÙÒÈÛËØ ÌË ‰ÒÛÂÙ fï˜ ˘ÂÚ‚ÔÏÈ΋ ¤ÌÊ·ÛË Û' ·˘Ùfi. O ¤·ÈÓÔ˜ Â›Ó·È ¯Ú‹ÛÈÌÔ˜ Î·È ÂÔÈ-

ÎÔ‰ÔÌËÙÈÎfi˜. AÁ·Ô‡Ó ÙËÓ ÂÓı¿ÚÚ˘ÓÛË, Ù· "ÙÚ¤ÊÂÈ". XˆÚ›˜ ·˘Ù‹ Û˘ÚÚÈÎÓÒÓÔÓÙ·È Î·È Ì·Ú·›ÓÔÓÙ·È. ™˘¯Ó¿ ÙÔ ÈÔ ·ÔηډȈÙÈÎfi ÎÔÌÌ¿ÙÈ ÙÔ˘ ™E¶/Y ‰ÂÓ Â›Ó·È Î·ı·˘Ùfi ÙÔ ™E¶/Y, Â›Ó·È Ë ‰Â˘ÙÂÚÂ‡Ô˘Û· ÂÈ‚Ï·‚‹˜ Â›‰Ú·ÛË Ô˘ ¤¯ÂÈ ÛÙËÓ ·˘ÙÔÂÔ›ıËÛË ÙÔ˘ ·È‰ÈÔ‡. °È' ·˘Ùfi ÏÔÈfiÓ "ÔÙ›ÛÙÂ" ·˘Ù¿ Ù· ·È‰È¿ Ì ·ÚfiÙÚ˘ÓÛË Î·È ¤·ÈÓÔ. 22. T· ·È‰È¿ ·˘Ù¿ ·ÚÔ˘ÛÈ¿˙Ô˘Ó Û˘¯Ó¿ Úfi‚ÏËÌ· ÌÓ‹Ì˘. ¢È‰¿ÍÙ ÙÔ˘˜ ÌÈÎÚ¿ ÎfiÏ·, fiˆ˜ ÌÓËÌÔÓÈΤ˜ Ù¯ÓÈΤ˜, ¯ÚËÛÈÌÔÔÈ‹ÛÙ ‚ÔËıËÙÈΤ˜ οÚÙ˜ Î.Ï. ™˘¯Ó¿ Â›Û˘ ¤¯Ô˘Ó ÚÔ‚Ï‹Ì·Ù· Ì ·˘Ùfi Ô˘ Ô Mel Levine ·ÔηÏ› "ÂÓÂÚÁfi ÌÓ‹ÌË", ÙÔ ¯ÒÚÔ Ù˘ ÌÓ‹Ì˘ ‰ËÏ·‰‹ Ô˘ ¯ÚËÛÈÌÔÔÈÂ›Ù·È fiÙ·Ó ÚÔÛ·ıԇ̠ӷ ÔÏÔÎÏËÚÒÛÔ˘Ì ÌÈ· ÂÚÁ·Û›·. OÔÈÔ‰‹ÔÙ ÌÈÎÚfi ÎfiÏÔ ÌÔÚ›Ù ӷ Ì˯·Ó¢Ù›ÙÂ Û˘ÓıËÌ·ÙÈΤ˜ ÎÈÓ‹ÛÂȘ, ÔÌÔÈÔηٷÏË͛˜, Έ‰ÈÎÔ‡˜ Î·È fiÏ· Ù· Û¯ÂÙÈο - ÌÔÚ› Ó· ‚ÔËı‹ÛÂÈ Ôχ ÛÙË ‚ÂÏÙ›ˆÛË Ù˘ ÌÓ‹Ì˘. 23. XÚËÛÈÌÔÔÈ‹ÛÙ ۯ‰ȷÁÚ¿ÌÌ·Ù·. ¢È‰¿ÍÙ ÙÔ˘˜ Ò˜ Ó· ¯ÚËÛÈÌÔÔÈÔ‡Ó Û¯Â‰È·ÁÚ¿ÌÌ·Ù·. ¢È‰¿ÍÙ ÙÔ˘˜ ˘ÔÁÚ¿ÌÌÈÛË. A˘Ù¤˜ ÔÈ Ù¯ÓÈΤ˜ ‰ÂÓ Â›Ó·È Â‡ÎÔϘ ÁÈ· Ù· ·È‰È¿ Ì ™E¶/Y, ·ÏÏ¿, Â¿Ó ÙȘ Ì¿ıÔ˘Ó, ÌÔÚ› Ó· Û˘ÓÙÂϤÛÔ˘Ó ÛÙË ‰fiÌËÛË Î·È ÛÙË Û¯ËÌ·ÙÔÔ›ËÛË ·˘ÙÔ‡ Ô˘ Ì·ı·›ÓÔ˘Ó ÙË ÛÙÈÁÌ‹ Ô˘ ÙÔ Ì·ı·›ÓÔ˘Ó. BÔËı¿ÂÈ ÛÙÔ Ó· ·ÈÛı·ÓıÔ‡Ó fiÙÈ Ù· ηٷʤÚÓÔ˘Ó KATA TH ¢IAPKEIA TH™ MA£H™IAKH™ ¢IA¢IKA™IA™, ÙË ÛÙÈÁÌ‹ ‰ËÏ·‰‹ Ô˘ ÙÔ ¯ÚÂÈ¿˙ÔÓÙ·È ÂÚÈÛÛfiÙÂÚÔ. ŒÙÛÈ, ‰ÂÓ ·ÈÛı¿ÓÔÓÙ·È fiÙÈ Ì·Ù·ÈÔÔÓÔ‡Ó, ¤Ó· Û˘Ó·›ÛıËÌ· Ô˘ ÙÔ˘˜ ·ÎÔÏÔ˘ı› Û fiÏË ÙË Ì·ıËÛȷ΋ ‰È·‰Èηۛ·. 24. AÓ·ÎÔÈÓÒÛÙ ·˘Ùfi Ô˘ ı¤ÏÂÙ ӷ ›Ù ÚÔÙÔ‡ ÙÔ ›ÙÂ. ¶¤ÛÙ ÙÔ. MÂÙ¿ Â·Ó·Ï¿‚ÂÙ ·˘Ùfi Ô˘ ›·ÙÂ. ¶ÔÏÏ¿ ·È‰È¿ Ì ™E¶/Y Â›Ó·È ÔÙÈÎÔ› Î·È fi¯È ·ÎÔ˘ÛÙÈÎÔ› Ù‡ÔÈ. ™˘ÓÂ-

Ò˜, ı· ‚ÔËıÔ‡Û Ôχ ·Ó ÌÔÚÔ‡Û·Ù ӷ ÁÚ¿„ÂÙ ·˘Ùfi Ô˘ ÚfiÎÂÈÙ·È Ó· ›ÙÂ Î·È ÂÓ Û˘Ó¯›· Ó· ÙÔ ›Ù ¿ÏÈ. 25. AÏÔÔÈ‹ÛÙ ÙȘ Ô‰ËÁ›Â˜. AÏÔÔÈ‹ÛÙ ÙȘ ÂÈÏÔÁ¤˜. AÏÔÔÈ‹ÛÙ ÙÔ ËÌÂÚ‹ÛÈÔ ÚfiÁÚ·ÌÌ·. XÚËÛÈÌÔÔÈ‹ÛÙ ÈÔ Â‡ÎÔÏÔ ÏÂÍÈÏfiÁÈÔ. Xڈ̷ٛÛÙ ÙȘ ϤÍÂȘ Ô˘ ¯ÚËÛÈÌÔÔÈ›ÙÂ. O ¯ÚˆÌ·ÙÈÛÌfi˜ Ù˘ ÁÏÒÛÛ·˜ ÎÚ·Ù¿ ÙËÓ ÚÔÛÔ¯‹. 26. XÚËÛÈÌÔÔÈ‹ÛÙ ÏËÚÔÊÔÚÈ·Îfi ˘ÏÈÎfi Ô˘ ‚ÔËı¿ÂÈ ÙÔÓ Ì·ıËÙ‹ ÛÙËÓ ·˘ÙÔ·Ú·Ù‹ÚËÛ‹ ÙÔ˘. T· ·È‰È¿ Ì ™E¶/Y ¤¯Ô˘Ó ÙËÓ Ù¿ÛË Ó· ÌËÓ ·˘ÙÔ-·Ú·ÙËÚÔ‡ÓÙ·È. ™˘¯Ó¿ ‰ÂÓ ¤¯Ô˘Ó ȉ¤· ÁÈ· ÙËÓ ÂÓÙ‡ˆÛË Ô˘ ÚÔηÏÔ‡Ó ‹ ÁÈ· ÙÔÓ ·ÓÙ›ÎÙ˘Ô Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ÙÔ˘˜. ¶ÚÔÛ·ı‹ÛÙ ӷ ÙÔ˘˜ ·Ú¤¯ÂÙ ·˘Ù¤˜ ÙȘ ÏËÚÔÊÔڛ˜ Ì ÂÔÈÎÔ‰ÔÌËÙÈÎfi ÙÚfiÔ. K¿ÓÙ ÂÚˆÙ‹ÛÂȘ ÙÔ˘ ÛÙÈÏ: "•¤ÚÂȘ ÙÈ ¤Î·Ó˜ ÌfiÏȘ ÙÒÚ·;" ‹ "¶Ò˜ ÓÔÌ›˙ÂȘ fiÙÈ ı· ÌÔÚÔ‡Û˜ Ó· ÙÔ ÂȘ ‰È·ÊÔÚÂÙÈο;" ‹ "°È·Ù›, ηٿ ÙË ÁÓÒÌË ÛÔ˘, ÙÔ ÎÔÚ›ÙÛÈ ÛÙÂÓ·¯ˆÚ‹ıËΠÌ' ·˘Ùfi Ô˘ ÙÔ˘ ›˜;" K¿ÓÙ ÙÔ˘˜ ÂÚˆÙ‹ÛÂȘ Ô˘ ÂÓÈÛ¯‡Ô˘Ó ÙËÓ ·˘ÙÔ·Ú·Ù‹ÚËÛË. 27. OÚ›ÛÙ Ì ۷ʋÓÂÈ· ÙȘ ÚÔÛ‰Ô˘ Û·˜. 28. MÔÚ›ÙÂ, Ó· ¯ÚËÛÈÌÔÔÈ‹ÛÂÙ ¤Ó· Û‡ÛÙËÌ· Ì fiÓÙÔ˘˜ ÛÙÔ Ï·›ÛÈÔ Ù˘ ÚÔÛ¿ıÂÈ·˜ ÁÈ· ÙËÓ ·ÏÏ·Á‹ Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ‹ ¤Ó· Û‡ÛÙËÌ· ÂÈ‚Ú¿‚¢Û˘ ÁÈ· ·È‰È¿ ÌÈÎÚfiÙÂÚ˘ ËÏÈΛ·˜. T· ·È‰È¿ Ì ™E¶/Y ·ÓÙ·ÔÎÚ›ÓÔÓÙ·È ÛÙËÓ ÂÈ‚Ú¿‚¢ÛË Î·È ¯ÚÂÈ¿˙ÔÓÙ·È Î›ÓËÙÚ·. ¶ÔÏÏ¿ ·fi ·˘Ù¿ Â›Ó·È ÌÈÎÚÔ› ÂȯÂÈÚË̷ٛ˜. 29. AÓ ÙÔ ·È‰› ‰Â›¯ÓÂÈ fiÙÈ ‰˘ÛÎÔχÂÙ·È ÛÙËÓ ·Ó·ÁÓÒÚÈÛË Î¿ÔÈˆÓ ÎÔÈÓˆÓÈÎÒÓ Îˆ‰ÎÒÓ - ÁÏÒÛÛ· ÙÔ˘ ÛÒÌ·ÙÔ˜, ÙfiÓÔ˜ Ù˘ ʈӋ˜, ÛˆÛÙ‹ ¯Ú‹ÛË ÙÔ˘ ¯ÚfiÓÔ˘ Î.Ï. -, ÚÔÛ·ı‹ÛÙ ӷ ÙÔ˘ ‰ÒÛÂÙ ‰È·ÎÚÈÙÈο Û˘ÁÎÂÎÚÈ̤Ó˜ Î·È Û·Ê›˜ Û˘Ì‚Ô˘Ï¤˜ ÂÓ Â›‰ÂÈ ÎÔÈÓˆÓÈ΋˜ ÂÎ·›‰Â˘Û˘. ¶ÚÒÙ·, ÁÈ· ·Ú¿‰ÂÈÁÌ·, ¤ÛÙ "¶ÚÔÙÔ‡ ÂȘ ÙË ‰È΋ ÛÔ˘ ÈÛÙÔÚ›·, ¿ÎÔ˘Û ÙËÓ ÈÛÙÔÚ›· ÙÔ˘ ¿ÏÏÔ˘" ‹ "KÔ›Ù·˙ ÙÔÓ ¿ÏÏÔÓ fiÙ·Ó ÌÈÏ¿ÂÈ". ¶ÔÏÏ¿ ·È‰È¿ Ì ™E¶/Y ‰›ÓÔ˘Ó ÙËÓ ÂÓÙ‡ˆÛË fiÙÈ Â›Ó·È ·‰È¿ÊÔÚ· ‹ ÂÁˆÈÛÙÈο, ÂÓÒ ·˘Ùfi Ô˘ Û˘Ì‚·›ÓÂÈ Ú·ÁÌ·ÙÈο Â›Ó·È fiÙÈ ‰ÂÓ ¤¯Ô˘Ó Ì¿ıÂÈ Ò˜ Ó· Û˘Ó·Ó·ÛÙÚ¤ÊÔÓÙ·È Ì ÙÔ˘˜ ¿ÏÏÔ˘˜ ·ÓıÚÒÔ˘˜. A˘Ù‹ Ë ‰ÂÍÈfiÙËÙ· ‰ÂÓ ·ÔÎÙ¿Ù·È ·˘ÙfiÌ·Ù· Û fiÏ· Ù· ·È‰È¿, ÌÔÚ› fï˜ Ó· ‰È‰·¯ı›. 30. ¢È‰¿ÍÙ ÙÔ˘˜ Ò˜ Ó· ÁÚ¿ÊÔ˘Ó Û ¤Ó· ÙÂÛÙ. 31. MÂÙ·ÙÚ¤„Ù ÙË Û¯ÔÏÈ΋ ÂÚÁ·Û›· Û ÔÌ·‰ÈÎfi ·È¯Ó›‰È. TÔ Î›ÓËÙÚÔ Ù˘ ÔÌ¿‰·˜ ‚ÔËı¿ÂÈ ÙÔ ·È‰› Ì ™E¶/Y. 32. XˆÚ›ÛÙ ÙȘ ‰˘¿‰Â˜, ‹ ÙÚÈ¿‰Â˜ ‹ Î·È ÙȘ ÔÌ¿‰Â˜ Ô˘ ‰ÂÓ ÏÂÈÙÔ˘ÚÁÔ‡Ó Î·Ï¿ Ì·˙›. 33. BÔËı‹ÛÙ ÙÔ˘˜ Ó· ÂÓÙ·¯ıÔ‡Ó ÎÔÈÓˆÓÈο. ŸÛÔ ·ÈÛı¿ÓÔÓÙ·È fiÙÈ ·Ó‹ÎÔ˘Ó ÛÙÔ Û‡ÓÔÏÔ, ı· ¤¯Ô˘Ó ΛÓËÙÚ· Î·È ‰Â ı· ·ÔÛ¿Ù·È Ë ÚÔÛÔ¯‹ ÙÔ˘˜. 34. ŸÔÙ ÙÔ ÂÈÙÚ¤Ô˘Ó ÔÈ ÂÚÈÛÙ¿ÛÂȘ, ·Ó·ı¤ÛÙ ÙÔ˘˜ οÙÈ ÁÈ· ÙÔ ÔÔ›Ô Ó· Â›Ó·È ˘‡ı˘Ó·. 35. ¢ÔÎÈÌ¿ÛÙ ӷ ˘¿Ú¯ÂÈ ¤Ó· TÂÙÚ¿‰ÈÔ ™¯ÔÏ›Ԣ-™ÈÙÈÔ‡. A˘Ùfi ÌÔÚ› Ú·ÁÌ·ÙÈο Ó· ‚ÔËı‹ÛÂÈ ÛÙËÓ Î·ıËÌÂÚÈÓ‹ ÂÈÎÔÈÓˆÓ›· ÁÔÓ¤·-ÂÎ·È‰Â˘ÙÈÎÔ‡ ÁÈ· Ó· ·ÔÊ¢¯ıÔ‡Ó ÔÈ ·ÚÓËÙÈο ÊÔÚÙÈṲ̂Ó˜ Û˘Ó·ÓÙ‹ÛÂȘ. §ÂÈÙÔ˘ÚÁ› Â›Û˘ ÂÔÈÎÔ‰ÔÌËÙÈο ÛÙËÓ Û˘¯Ó‹ ÏËÚÔÊfiÚËÛË Ô˘ Â›Ó·È ·Ó·Áη›Ô Ó· ¤¯Ô˘Ó Ù· ·È‰È¿ ·˘Ù¿. 36. ¶ÚÔÛ·ı‹ÛÙ ӷ Îڷٿ٠ÛËÌÂÈÒÛÂȘ ÁÈ· ÙËÓ Î·ıËÌÂÚÈÓ‹ ÙÔ˘˜ ÚfiÔ‰Ô. 37. EÓÈÛ¯‡ÛÙÂ Î·È ‰ÔÌ‹ÛÙ ¤Ó· Ï·›ÛÈÔ ÁÈ· ·˘ÙÔ·Ó·ÊÔÚ¿ Î·È ·˘ÙÔ·Ú·ÎÔÏÔ‡ıËÛË. MÈÎÚ¤˜ Û˘˙ËÙ‹ÛÂȘ ÛÙÔ Ù¤ÏÔ˜ Ù˘ Ë̤ڷ˜ ÌÔÚ› Ó· ·Ô‰ÂȯÙÔ‡Ó ¯Ú‹ÛÈ̘. 38. ¶ÚÔÂÙÔÈÌ¿ÛÙ ٷ ·È‰È¿ ÁÈ· ÔÙȉ‹ÔÙÂ Â›Ó·È ÂÎÙfi˜ ÚÔÁÚ¿ÌÌ·ÙÔ˜. T· ·È‰È¿ ·˘Ù¿ ¤¯Ô˘Ó ·Ó¿ÁÎË Ó· ÁÓˆÚ›˙Ô˘Ó ÚÔηٷ‚ÔÏÈο ·˘Ùfi Ô˘ ÚfiÎÂÈÙ·È Ó· Û˘Ì‚Â› ¤ÙÛÈ ÒÛÙ ӷ

ÚÔÂÙÔÈÌ·ÛÙÔ‡Ó „˘¯ÔÏÔÁÈο. AÓ Í·ÊÓÈο ÙÔ˘˜ ‰Ôı› ÂχıÂÚÔ˜ ¯ÚfiÓÔ˜ Î·È ‚ÁÔ˘Ó ·fi ÙÔ ÚfiÁÚ·ÌÌ¿ ÙÔ˘˜ ı· ÂÌÊ·Ó›ÛÔ˘Ó ˘ÂډȤÁÂÚÛË. 39. E·ÈÓ¤ÛÙÂ, ¯·˚‰¤„ÙÂ, ÂȉÔÎÈÌ¿ÛÙÂ, ÂÓı·ÚÚ‡ÓÂÙ¤ Ù·. ¢ÒÛÙ ÙÔ˘˜ "ÙÚÔÊ‹" 40. ZËÙ‹ÛÙ ·fi Ù· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ Ó· ÁÚ¿ÊÔ˘Ó ÙȘ ÂÚˆÙ‹ÛÂȘ ÙÔ˘˜. A˘Ùfi ı· Ù· ‚ÔËı‹ÛÂÈ Ó· ÛËÌÂÈÒÓÔ˘Ó ÙȘ ÛΤ„ÂȘ ÙÔ˘˜ Î·È ·ÎÔ‡Ó ηχÙÂÚ· ÙȘ ··ÓÙ‹ÛÂȘ. 41. ¶ÔÏÏ¿ ·fi ·˘Ù¿ Ù· ·È‰È¿ ÂÌÊ·Ó›˙Ô˘Ó ‰˘ÛÎÔÏ›· ÛÙÔ ÁÚ¿„ÈÌÔ. ™ÎÂÊÙ›Ù ¿ÏϘ ÂÔÈÎÔ‰ÔÌËÙÈΤ˜ ÂÓ·ÏÏ·ÎÙÈΤ˜ χÛÂȘ. ¶¤ÛÙ ÙÔ˘˜ Ó· ¯ÚËÛÈÌÔÔÈÔ‡Ó ÙÔÓ ˘ÔÏÔÁÈÛÙ‹. Y·ÁÔÚ‡ÛÙÂ. ¢ÒÛÙ ÙÔ˘˜ ÚÔÊÔÚÈο ÙÂÛÙ. 42. N· ›ÛÙ fiˆ˜ Ô Ì·¤ÛÙÚÔ˜ Ù˘ Û˘ÌʈÓÈ΋˜ ÔÚ¯‹ÛÙÚ·˜. TÚ·‚‹ÍÙ ÙËÓ ÚÔÛÔ¯‹ Ù˘ ÔÚ¯‹ÛÙÚ·˜ ÚÔÙÔ‡ ÍÂÎÈÓ‹ÛÂÈ - (ÌÔÚ›Ù ӷ Ì›ÓÂÙ ÛȈËÏÔ› ‹ Ó· ¯Ù˘‹ÛÂÙ ڢıÌÈο ÙËÓ Ì·ÁΤٷ Û·˜ ÁÈ· Ó· ÙÔ Î·Ù·Ê¤ÚÂÙÂ)-. KÚ·Ù‹ÛÙ ÙËÓ Ù¿ÍË "Û ڢıÌfi", ·ÔÙÂÈÓfiÌÂÓÔ˜ Û ‰È·ÊÔÚÂÙÈο ÚfiÛˆ· ·fi Ù· ÔÔ›· ¯ÚÂÈ¿˙ÂÛÙ ÙË ‚Ô‹ıÂÈ¿ ÙÔ˘˜. 43. ŸÙ·Ó ˘¿Ú¯ÂÈ ‰˘Ó·ÙfiÙËÙ·, ηÓÔÓ›ÛÙ ӷ ˘¿Ú¯ÂÈ ¤Ó·˜ Û˘ÌÌ·ıËÙ‹˜ Ô˘ ÌÔÚ› Ó· ‚ÔËı‹ÛÂÈ ÛÙË ÌÂϤÙË Î·È ‰ÒÛÙ ÙÔ ÙËϤʈÓfi ÙÔ˘. 44. EÍËÁ‹ÛÙÂ Î·È Î¿ÓÙ fiÛÔ ÈÔ Ê˘ÛÈÔÏÔÁÈ΋ ÌÔÚ›Ù ÙËÓ È‰È·›ÙÂÚË ÌÂÙ·¯Â›ÚÈÛË Ô˘ Ï·Ì‚¿ÓÂÈ Ô Ì·ıËÙ‹˜ Ì ™E¶/Y, ÚÔÎÂÈ̤ÓÔ˘ Ó· ·ÔÊ¢¯ı› Ô ÛÙÈÁÌ·ÙÈÛÌfi˜ ÙÔ˘. 45. N· ‚ϤÂÙ ÙÔ˘˜ ÁÔÓ›˜ Û˘¯Ó¿. AÔʇÁÂÙ ÙȘ Û˘Ó·ÓÙ‹ÛÂȘ Û ÂÚÈfi‰Ô˘˜ ÚÔ‚ÏËÌ¿ÙˆÓ ‹ ÎÚ›Û˘. 46. EÓı·ÚÚ‡ÓÂÙ ÙÔ ·È‰› Ó· ‰È·‚¿˙ÂÈ ÌÂÁ·Ïfiʈӷ ÛÙÔ Û›ÙÈ. ¢È·‚¿˙ÂÙ fiÛÔ ÙÔ ‰˘Ó·Ùfi ÈÔ ÌÂÁ·Ïfiʈӷ ÛÙËÓ Ù¿ÍË. ¢ÈËÁËı›Ù ÈÛÙÔڛ˜. BÔËı‹ÛÙ ÙÔ Ó· ·ÔÎÙ‹ÛÂÈ ÙËÓ ÈηÓfiÙËÙ· Ó· ·Ú·Ì¤ÓÂÈ ÛÙÔ ›‰ÈÔ ı¤Ì·, ¯ˆÚ›˜ Ó· ·ÔÛ¿Ù·È Ë ÚÔÛÔ¯‹ ÙÔ˘. 47. E·Ó·Ï·Ì‚¿ÓÂÙÂ, Â·Ó·Ï·Ì‚¿ÓÂÙÂ, Â·Ó·Ï·Ì‚¿ÓÂÙÂ. 48. °˘ÌÓ·ÛÙÈ΋. M›· ·fi ÙȘ ηχÙÂÚ˜ ıÂÚ·›˜ ·ÓÙÈÌÂÙÒÈÛ˘ ÙÔ˘ ™E¶/Y ÁÈ· Ù· ·È‰È¿ ·ÏÏ¿ Î·È ÙÔ˘˜ ÂÓ‹ÏÈΘ Â›Ó·È Ë Á˘ÌÓ·ÛÙÈ΋, ηÈ, ηٿ ÚÔÙ›ÌËÛË, Ë ¤ÓÙÔÓË Á˘ÌÓ·ÛÙÈ΋. H Á˘ÌÓ·ÛÙÈ΋ ‚ÔËı¿ÂÈ ÛÙËÓ ÂÎÙfiÓˆÛË Ù˘ ˘ÂÚ‚ÔÏÈ΋˜ ÂÓ¤ÚÁÂÈ·˜ Î·È ÛÙËÓ ÂÛÙ›·ÛË Ù˘ ÚÔÛÔ¯‹˜, ‰ÈÂÁ›ÚÂÈ Û˘ÁÎÂÎÚÈ̤Ó˜ ÔÚÌfiÓ˜ Î·È Ó¢ÚÔ-¯ËÌÈΤ˜ Ô˘Û›Â˜ Ô˘ ‰ÚÔ˘Ó Â˘ÂÚÁÂÙÈο ÛÙÔÓ ÔÚÁ·ÓÈÛÌfi, ηÈ, Ù¤ÏÔ˜, Â›Ó·È ‰È·ÛΉ·ÛÙÈ΋. B‚·Èˆı›Ù fiÙÈ Ë Á˘ÌÓ·ÛÙÈ΋ EINAI ‰È·ÛΉ·ÛÙÈ΋ ¤ÙÛÈ ÒÛÙ ÙÔ ·È‰› Ó· Û˘Ó¯›ÛÂÈ Ó· ·ÛÎÂ›Ù·È Î·È ÛÙËÓ ˘fiÏÔÈË ˙ˆ‹ ÙÔ˘. 49. ŒÌÊ·ÛË, ·Ó·ÊÔÚÈο Ì ٷ ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿, Ú¤ÂÈ Ó· ‰›ÓÂÙ·È ÛÙËÓ ÚÔÂÙÔÈÌ·Û›· ÙÔ˘˜ Ú›Ó ¤ÚıÔ˘Ó ÛÙÔ Û¯ÔÏ›Ô. ŸÛÔ ÈÔ ÂÓ‹ÌÂÚÔ Â›Ó·È ÙÔ ·È‰› ÂÎ ÙˆÓ ÚÔÙ¤ÚˆÓ ÁÈ· ÙÔ ÙÈ ı· Û˘˙ËÙËı› ÛÙËÓ Ù¿ÍË Î·Ù¿ ÙË Û˘ÁÎÂÎÚÈ̤ÓË Ë̤ڷ, ÙfiÛÔ ÈÔ Â‡ÎÔÏ· ı· ÙÔ˘ Á›ÓÂÈ Î·Ù·ÓÔËÙfi ÙÔ ˘ÏÈÎfi Ô˘ ı· ·ÚÔ˘ÛÈ·ÛÙ›. 50. N· ›ÛÙ ¿ÓÙ· ¤ÙÔÈÌÔÈ ÁÈ· ͯˆÚÈÛÙ¤˜, ¢¯¿ÚÈÛÙ˜ ηٷÛÙ¿ÛÂȘ. A˘Ù¿ Ù· ·È‰È¿ Â›Ó·È Ôχ ÈÔ Ù·Ï·ÓÙÔ‡¯· Î·È ¯·ÚÈÛÌ·ÙÈο ·' fiÛÔ ‰Â›¯ÓÔ˘Ó. E›Ó·È ÁÂÌ¿Ù· ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·, ·È¯ÓȉȿÚÈÎË ‰È¿ıÂÛË, ·˘ıÔÚÌËÙÈÛÌfi Î·È Î¤ÊÈ. E›Ó·È Û˘Ó‹ıˆ˜ ¢¤ÏÈÎÙ· Û ηٷÛÙ¿ÛÂȘ, Â›Ó·È ·ÓÔȯÙfiηډ· Î·È ÙÔ˘˜ ·Ú¤ÛÂÈ Ó· ‚ÔËıÔ‡Ó. ™˘Ó‹ıˆ˜ ¯·Ú·ÎÙËÚ›˙ÔÓÙ·È ·fi "οÙÈ ÙÔ È‰È·›ÙÂÚÔ", Ô˘ ¢ÂÚÁÂÙ› ÙÔ ÂÚÈ‚¿ÏÏÔÓ ÛÙÔ ÔÔ›Ô ‚Ú›ÛÎÔÓÙ·È. N· ı˘Ì¿ÛÙ fiÙÈ Ì¤Û· Û ·˘Ù‹Ó ÙË Î·ÎÔʈӛ· ˘¿Ú¯ÂÈ Ì›· ÌÂψ‰›·, ÌÈ· Û˘Ìʈӛ· Ô˘ ÂÚÈ̤ÓÂÈ Ó· ÁÚ·Ê›. ¢È·Û΢‹ ·fi ÙÔ ‚È‚Ï›Ô Answers to Distraction, Edward M. Hallowell, M.D. Î·È John J. Ratey, M.D., Pantheon, N. York, 1995 www.drhallowell.com http://www.specialeducation.gr/modules.php?o p=modload&name=News&file=article&sid= 119&mode=thread&order=0&thold=0 C M Y K

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23 eginning from the end means taking an approach to lesson planning that focuses on the learning objectives rather than taking a materials-driven approach to the lesson. Starting with a consideration of what we want to achieve is the most effective way of setting out to achieve it. So instead of using whatever is in the course book for today’s lesson, we look at the language areas covered and think how best to teach that language bearing in mind the specific characteristics of our group of learners. Beginning from the end in this way makes a lot of sense. An example given by Dave Willis in a talk at the recent IATEFL conference in Aberdeen: You don’t go out and buy a screwdriver and then think “That’s nice – now what shall I do with it?” You start off with a task to perform and then equip yourself with the tools for the task. Dave’s point is that in a traditional presentation – practice – production lesson, learners are having language presented to them without having a specific purpose and often without a context to give it meaning. Task-based learning focuses first on the language in use, and the analysis comes after the production. Similarly, in the process of lesson planning, starting from a consideration of the outcomes we want to achieve gives a focus to the planning process, and we can then select or design activities that help to achieve that purpose. In one sense, then, beginning from the end is about an approach to integrating our tasks and activities to achieve the learning objectives of the lesson. The other aspect of beginning from the end concerns our own personal aims as we plan for each lesson. Often the activities and techniques that we use on a preservice teacher training course can be adapted to support ongoing teacher development. One such idea is postlesson reflection leading to the formulation of a personal aim for the next lesson. These aims are distinct from the learning objectives for each lesson, and concern areas that the teacher personally feels she needs to work on in her their teaching practice. Research at our teacher training centre in Corinth found that the most common type of personal aim concerned teaching skills, including checking comprehension, giving clear instructions and managing feedback. Aims focused on the teacher personally included staying calm and focused, while interpersonal aims included building rapport and getting the students involved. Aims relating to planning included making a more detailed lesson plan, preparing more material and designing more challenging activities. In the area of teacher language, issues considered included spelling and grammar as

B

In my end is my beginning Peter Beech, Anglo-Hellenic Teacher Training [email protected] well as speaking slowly and clearly. For student language, the main area of concern was increasing student talk time. Having a personal aim for each lesson in this way gives a useful focus to your ongoing development, underpinned by

classroom observation and reflection. It might be possible to have someone observe your teaching in order to give you a fresh perspective, or you can record your own lessons, either with video or with a simple cassette recorder. Analyzing recordings will provide an insight into all the things that are going on in the classroom but which you usually don’t have time to notice when you’re busy teaching. Look at the kind of questions you ask: do you ask display questions to which you already know the answer or genuine questions that stimulate your students to communicate their own responses? Do you ask open questions that generate discussion or closed questions that are answered by a simple “yes” or “no”? When you ask a question how long do you wait for an answer?

™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 4

I understand that many of my colleagues are divided on this issue of whether or not non-Greek English language teachers should be required to take examinations in Greek in order to be issued with a teaching license. TESOL Greece has no standpoint on this issue, and any involvement in the matter would detract from its goals of helping with the professional development of teachers in Greece. My personal attitude is that I live in Greece and have to accept the laws of my adopted country. Of course, this doesn’t help those teachers who have just arrived and speak no Greek, and who will therefore be denied a teaching license. I can only say that as language teachers they would do well to try to learn a Greek as soon as possible, and take examinations to certify their knowledge. On the positive side, going back into the

Do you wait long enough for the learners to understand the question, formulate a response and express that response in English? Or do you jump in, repeating or reformulating the question or even answering it yourself? And who do you ask? Do all the members of the class get included equally, or do you have an unconscious bias, perhaps addressing more questions to the stronger members of the class because you know you’re more likely to get a correct answer that way? What about when your learners make errors? Do you just give the correct form, which often means the students don’t understand the reason for the correction and are unlikely to remember it? Or do you draw attention to the error in a way that gives the student an opportunity to self-correct, supported by your guidance and prompting? How much of class time is occupied by the teacher talking? And how much time does that leave for each of the students to talk? Make an audio recording, using the cassette recorder that’s already in the classroom anyway, and time it. We may think that these aspects of our teaching are being handled effectively, but the truth is that we don’t actually know until we investigate. So find a way to observe yourself – recordings, a colleague, notes made during the lesson, a reflective journal written after the lesson – choose an area to focus on and see what you discover. When you notice something, modify your practice and then research the result of that modification. Here are some simple questions to guide your postlesson reflection: ñ What went less well, and why? ñ What were your aims? ñ Did you achieve them? ñ How do you know? ñ What would you do differently next time? ñ What is your personal aim for the next lesson? Always return to the question “How do you know?” You think your presentation was effective, but how do you know? What evidence is there in the lesson? Were the students able to use the target language accurately? This ongoing observation and change constitutes a cycle of action research – simple classroom research that bridges the gap between the theories of the applied linguists and the practice of classroom teachers. Undertaking this type of research will give you a renewed interest in your teaching, producing positive results both for your students and for your own professional development.

Michael Robbs classroom (and exam room) makes us reflect on our teaching and appreciate our students’ efforts even more! Do you speak Greek? Yes. In fact, I passed the advanced level (“gamma”) of the ‘Elinomathias’ examination a few years ago. What is your vision for TESOL Greece? This year the board and I have identified six priorities for us to continue the excellent work done by previous chairs and their boards. 1. Enhancing the quality of the service we provide to our current members, (e.g. further discounts with major book stores and software producers, full details of which will be announced soon on the web site of TESOL Greece, www.tesolgreece.com, and a greater variety of resources

available to our members in our reading room at the office, Kapodistriou 17, behind Kaningos Square) 2. Continuing to offer excellent events (most importantly the highly successful annual convention which will take place in 2008 on the 15th - 16th of March at the Hellenic American Union, with the theme ‘Inspired teachers, motivated learners’. This is in addition to the 7 other events in the new school year) 3. Reaching more prospective members through a continued presence in EFL journals like this one, and at book exhibitions around the country) 4. Receiving the continued support of the EFL community. 5. Building on our national reputation by establishing presences in towns other than Athens, such as Patras, Hania and

Ioanina. 6. Improving our international standing by maintaining contact with other teaching organizations, (such as TESOL Italy and TESOL France), by affiliating with IATFEL, and by advertising our events internationally. You mentioned some forthcoming

events. Could you give us a sneak preview of these? By all means. Here’s a list of our events. Of course, for more information you can always check our website (www.tesolgreece.com) or contact us directly by e mail [email protected] or call our office, 210 7488411 (Mon – Fri, 9 – 1). We look forward to seeing you soon. Thanks very much.

ñ Sunday, 23rd September 2007 START OF THE YEAR EVENT – “Making the most of our course books”, at the University of Indianapolis ñ Sunday, 4th November 2007 BIG SIG DAY ñ Sunday, 2nd December 2007 CHRISTMAS BAZAAR ñ Saturday, 12th January 2008 PITA CUTTING ñ Saturday, 26th January 2008 7th ANNUAL PATRAS EVENT ñ Sunday, 10th February 2008 ANNUAL TESOL GREECE – PSYCHICO COLLEGE YOUNG LEARNERS’ EVENT “Humanising the Classroom through Performance-based Learning and Assessing” at Psychico College ñ Saturday, 15th & Sunday, 16th March 2008 29th ANNUAL CONVENTION “Inspired Teachers, Motivated Learners” at Hellenic American Union, Athens ñ 14th – 16th June 2008 TESOL Greece SUMMER WEEKEND. Further details of venues, times and speakers will be announced soon.

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24 he BBC and the British Council in their joint webpage www.teachingenglish.org.uk provide a host of information for teachers of English worldwide. The webpage offers among other interesting features tips and lesson plans, ideas on teaching, and a forum for the exchange of ideas between students and teachers. The Question and Answer feature, allows readers to post their questions and have them answered by other professionals from every corner of the world. One interesting question posted by Dilek, a student in Turkey, was that of correcting pronunciation. Also Jackie from Greece is wondering if there other teachers in the world faced with students not interested in anything but obtaining a certificate. Following, you will find Dilek’s question and some of the answers he received as well as Jackie’s question (which had not received any answers by the time this was published) and the links where you can add your ideas. Correcting pronunciation The question

T

Dilek Yagci, Turkey I'm a student of language teaching at university and I'm looking at correcting students' pronunciation for my research. Can you help me by giving examples of suitable ways to deal with students' mistakes in English pronunciation? Thanks for all your help! What’s your opinion? What's your opinion? Mohamed Hassan, Egypt This is a very important matter if you are dealing with accuracy and there are many different ways. First, you can give a chance to the student who pronounces something falsely to correct himself by giving him a sign that he is wrong. Second, you can give a chance to another student to correct. Third, you can correct orally by yourself through repeating the correct pronunciation or through the tape. Above all, one should be very careful in giving a good pronunciation model as a bad one is the root of all mistakes. Hamid Naveed, Dubai I think the best you can do is to teach your students the vowel and consonant sounds first, and then move forward from there to correct their pronunciation. Pay special attention to the schwa sound as it is the most common sound in English and the most mispronounced also. Alfredo Abarca P, Chile If I understood your question correctly, I believe one important point to bear in mind is to determine if those pronunciation mistakes relate to mother tongue interference or if they're pronunciation errors coming from a different source, e.g., they learned certain words incorrectly. Dom›cio Moreira Ribeiro, Brazil If the goal of the lesson is to develop

Questions and answers the ability of speaking, corrections should not take place during the activity of speaking, otherwise they will frustrate (and stop) the students. You should take notes of the mispronounced words and at (by) the end of the activity, correct them. It is very important that students learn the correct pronunciation of a word, but just in the right moment. Harvey Utech, Germany I teach German students who have already had 6-10 years of English in school and yet, still make basic grammar, spelling and pronunciation mistakes. I think it is unproductive to teach pronunciation in the classroom, especially as the number of students in class increases. Yes, one should correct mispronunciation mistakes as they occur but expecting students to remember the many pronunciation exceptions we encounter in English is expecting too much, I find. A more productive approach is to encourage students to listen to as much English spoken by native speakers as they can between classes. I recommend radio, TV, movies and (especially) podcasts. The latter are available now free of charge in so many subjects that students can easily find several of interest, download them regularly and listen to them between classes. My idea is that they should learn pronunciation subconsciously. There are already so many rules and exceptions to rules to keep in mind that we are making the learning of

English too burdensome, if we put too much emphasis on details. Then, all is lost because we make learning English seem too much of a struggle for the average student to be worth the effort. Marielle Fayolle, France The main problem is that students are unable to pronounce sounds they're not used to hear in their mother tongue. With a physical approach, the results are really good: I show them how to place their tongue, their lips and their teeth while pronuncing. I ask them to feel where the sound is in their mouth: in the back or in the front. Then, it's a question of repeating the sounds several times especially with adults. I also use the facilitating gesture (turning round with your hand): it is a gesture that helps with the rythm of the English language. We all have the same sounds as a baby but as we learn our mother tongue, we lose the sounds that are not necessary. And some languages such as French are very poor in sounds compared to Russian or Dutch for instance. I hope these explanations will be of help to you. Craig Wherlock, Greece I think most students simply don't realise that their pronunciation is mistaken so the first job is to bring their attention to this. I find asking students to record themselves doing various exercises from their course book using their mobile phones is very effective. For some reason

listening to this makes them much more aware of how they sound to others. This makes it much easier to correct their pronunciation themselves. Another idea is take a short extract from a film in mp3 form (their are plenty of sites on the internet for this) and ask students to imitate the actor's speech as closely as possible, once gain using their mobile phones to record and playback what they have said. Ken Wong, Hong Kong I'd suggest an analysis of the students' errors, including L1 interference and basic pronunciation and stress problems. On the basis of your analysis, develop some eartraining (recognition skills) exercises, followed by more demanding exercises (production skills) to cover your students' common errors. Attention to individual problems is important. I hope you find these ideas helpful. Mal James, UK The interactive phonetic chart is a great tool for improving pronunciation in my class. Asian student who invariably have problems with 'th' 'w' 'v' are given lots of practice with these basic sounds but with difficult consonant clusters such as 'spr' I get the students to tap out the sounds on the screen s,p,r. spring, sprung, sprat. practice. A further point is syllable stress shift photograph/photographer,

Angela Murphy in Greece ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 1

in Shanghai, Shan gin, Guan Jo, in Greece, in Cyprus and in India. So, I am here today to talk about our relationship with Europalso and in particular the new method of Quality Assurance in England. First of all, I would like to say, that the examinations that we do with Europalso are of the highest Quality and the highest standards. Not only are they controlled internally by our Quality Assurance processes but they also have Government recognition. I know in Greece that there is a debate going on at the moment about the introduction of a Quality Assurance regime. In England, we have had a quality assurance regime for a number of years now, dating back to the mid ‘90s, when there was a lot of debate amongst academics about the introduction of a central process. More recently we have moved, in England, from a subject focus to a focus which is on the University’s own systems and procedures for Quality Assurance. So, moving from the focus disciplines and curriculum on

teaching and learning we are now putting the students at the centre of the process and the audit teams who come to the University are looking at our systems and procedures. Like in Greece, however, when this was first introduced, there was a debate amongst some institutions about an infringement of academic autonomy. Professors would say: “Why are we being checked?’’, “Why is our work being verified when we offer courses of the highest quality?’’ However, this system now which is in place is very well designed and it gives assurance to all students that they will have a degree which is commensurate across the sector. So, whether they study at Central Lancashire in England or Central Lancashire in Greece or in Central Lancashire in China, the standards of our provision will be identical. One of the key aspects of Quality Assurance in England is that we put students at the centre. So, we take feedback from students and we act on student feedback. One example of this is that stu-

dents wanted one area to go to get advice and we have set up a very expensive student centre with state of the art equipment and this in particular deals with any queries that students have across the sector. Students come in and they can seek information on academic affairs, on advice, on guidance, on student laws. It is equipped with the highest standards and also I should add that this year my University, the UCLan, has won a prize awarded by the Times Higher Education Supplement for support for our studying students, for International students. This is the highest award a University could receive and we are very pleased to receive it. So, finally to summarise I would like to say that the system of Quality Assurance in England which has been introduced, not only ensures that students get now value for money as our students have to pay tuition fees in England, it does not have an impact on Academic autonomy in any way, we design on our own curricula, we design our own teaching and learning.”

furthermore words that look confusing such as 'thorough' are broken into phonemes (4 sounds) breaking down words that initialy look daunting encourages students to experiment with the sounds of English through the dual input of sound and sight; great fun if you have a touch screen or smartboard. If students have dyslexic tendencies then colour can be used to isolate syllables. I am a native English speaker and show empathy by pronouncing words and breaking down the sound combinations I find difficult such as 'ethnicity' or allow them to teach me a word or phrase in their language: usualy much to their amusement. Oral motor skills take time to develop and just like exercise we have to include a fun element into them. Nicola Perry, China I find that students are often not aware that there should be a difference between 2 words they are saying, ie that there are two sounds. Long and short vowel sounds are a common problem. The Chinese language has a range of sounds that need very subtle movements of the mouth so I often find that my students do not move their moth enough when speaking. I use exagerated movements to show them the difference and how the sound is different. Elena Sancho, Spain Something which has been proved useful for my students is using a little mirror and looking at themselves while pronouncing the difficult word (for Spanish-speaking students English vowels are a big problem) after they have been corrected. They should try to imitate the teacher's gestures as accurately as possible. The mirror is fun and it really makes them aware of the position of their face, jaw and lips. Pronunciation is something physical, like learning to dance or going to the gym and we also look at ourselves in the mirror to check that we move correctly. Afshin Vatandoost, Iran Communicating meaning through a new language is by itself a very demanding and tough job, so let's not make it more difficult by pressurising our students into correct pronunciation. We should also bear on mind that pronunciation mistakes are really tricky ones as they could be stemming from a variety of origins. In my opinion, from the very beginning teachers should avoid over-simplification of English pronunciation. Many mistakes happen because we teachers cause them. Also, in early stages of learning, intelligibility should be appreciated, and as we go on the emphasis on authentic pronunciation should be increased through lots of drilling and phonological practice. As to correction, I would use constant gradual exposure to authentic standard pronunciation,

25 and be very patient with my students mistakes.I believe Learning correct pronunciation is a very lengthy process and any unreasonable pressure should be eased off students. After all, for a non-native it is impossible to pronounce 100% like a native! Irene Ong, Malaysia Personally, I would not be too quick in correcting students' pronunciation without having first guided them through the usage of phonetics. This takes into consideration the students' cultural background and perhaps physical deficiency in the pronunciation of English words. Secondly, it would be good to use audio recordings as a teaching aid, in which to help strengthen students' listening and ultimately speaking skills as well. It is quite necessary to correct students' pronunciation during the course of a lesson when it is obvious that the word encountered is a common mis-pronunciation of the class as a whole. In such instances correction of pronunciation can then be handled as a group exercise thus not directed at one student in particular. Correction of pronunciation should definitely be part of the teaching of the English Language but ought to be handled gently and with tact and consideration, especially in the case of an adult learner! Anthony O'Driscoll, Spain Re Dom›cio of Brazil's comments: I agree that you shouldn't interrupt students when they're in the middle

of a conversation exercise, BUT, noting down the errors of pronunciation and going over them when the conversation activity has finished is, in my experience, of little use, because the people who made the mistakes have forgotten it was them and, for the rest, it has nothing to do with them, so it all becomes a bit too academic. What I do is when we're correcting homework, with SPOKEN ENGLISH sentences, I get the students to try to pronounce the sentences as if they were actually speaking them - and if the other students don't think the pronunciation is OK, I tell them to cough! (I, also, cough to indicate when the pronunciation is not correct - I sometimes having a coughing fit with some pronunciation!!) This, of course, depends on the relationship with each class/student - obviously, with the more introvert students, I don't overdo it ... This way you corrrect their spoken English pronunciation, but it's NOT a sentence of their own, expressing their own thoughts/ opinions/feelings as it would be in a conversational exercise it's just a sentence from the book. Sheila Bonari, Reunion Island Remembering how useful I found this activity for myself when learning French, I now teach English to uni students but in specialised domains. One student reads out a paragraph from a specialised article thus dealing with verbs and vocabulary related to their needs. In groups they

listen, teacher underlines mispronounced words, repeats mispronounced words in a confused way in order to elicit suggestions from the group and then gives correct pronunciation. Students can then repeat together. This installs confidence in students and reveals keys to resolving similar problems in pronouncing unknown words and language interference. Ana Maria Sierra, Argentina After years of trying to find the best way to correct my students' pronunciation I've found quite a funny one: I pronounce the word wrong - for example "Pikture" and my students correct me saying the correct pronunciation "piktche". I do it with most of the students. They not only learn to pronounce well but they find it funny to correct their teacher. Ziya Erdil, Turkey The best way is: while they are talking or reading in class, you shuldn't interrupt them in the middle of the conversation or text. Let them finish first and then you can correct pronunciation mistakes by using those words and phrases frequantly in different ways, making students take part in activities too. Don't directly correct the student who's made a pronuncation mistake. This will cause him/her to lose self confidence and be discouraged. Let it be natural. Good luck to you :) Francis Peter, India Raising awareness of possible pitfalls

helps prevent their occurance. For my Indian learners, I focus on the following features. These are the common problem areas for a second language learner. Phonetic realisations: My first job is to make the learners realize a new set of sounds need to be learnt while learning a new language. These ‘problem sounds’ unless learnt correctly could lead to ‘phonetic realisations’ i.e. when a learner finds a given English sound difficult to pronounce, a sound closest to the required sound from his mother tongue is used. Such approximations lead to unintelligibility Vowel quantity: The length differences between the vowels of English feature can cause major strain in listening. The long English vowels are very long in comparison with average vowel lengths in other languages. I make them aware of the distinction between long and short vowels. Actually this is more important than exact vowel quality. Consonant clusters: Certain combination of consonants does not occur in a learner’s mother tongue, and pronouncing these is a definite problem for our learners. Words like school, why the word ‘cluster’ ‘request’ ‘triumph’ etc need special attention, especially to make sure no sound is substituted for them. Learners tend to deleting one of the consonants to simplify a cluster or insert a vowel to tide over the difficulty. Weak forms and connected speech modifications is another area that

deserves careful attention. English, with its multiple weak-form words and heavily reduced unstressed vowels is difficult fro a learner from a syllable-timed language background. Focus on achieving adequate prominence on the stressed syllables, rather than on attaining perfect weak forms for the reduced vowels helps. Elvira S. Balinas, Philippines I have been teaching pronunciation for so many years now to Filipino students. I found it helpful to let the students record their own voice and listen to the playback. It gives them motivation to improve on their errors. Also, asking them to listen to documentaries in English outside their classroom hours proved to be successful in making the students aware of the English prosody Jackie who works in Greece posted the following question: The question Jackie, Greece It seems that a lot of my students just want to pass an exam as quickly as possible, and resist my attempts to get them interested in material other than the course books we are using. Most of them regard it 'a waste of time when they could be getting on with the book'. They're not that interested in the language itself at all! Are there any other teachers with the same kind of problem? Any solutions? You can contribute your answers here: http://www.teachingenglish.org.uk/talk/ questions/exam.shtml

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Travailler avec la press et éduquer aux médias Les médias sur Internet Les médias français sur Internet Journaux et chaînes de télévision se sont emparés d'Internet et l'utilisent comme canal de diffusion et de promotion. La majorité d'entre eux propose sur leur site de nombreux articles et dossiers thématiques, parfois liés à des forums de discussion, utiles dans un cadre scolaire. Vous pourrez ainsi retrouver en ligne les journaux télévisés de France 2, France 3 ou TV5 (Actualité panafricaine et Actualité internationale), le journal de RFO ou encore les émissions du groupe Radio France. Le site de l'AFP vous permettra également de travailler avec vos élèves sur les dépêches ou les photos du jour. Pour compléter ce panorama, nous vous invitons à consulter le portail-medias.com ainsi que le répertoire Portail presse, réalisé par la Fédération nationale de la presse française, qui donne accès à plus de 13 000 titres de la presse écrite française.

Les médias francophones sur Internet Du côté de la presse francophone, le portail de l'Union de la presse francophone propose des liens vers les principaux titres diffusés dans les pays francophones. Sur son Portail jeunesse, l'Organisation internationale de la Francophonie (OIF) conseille également des journaux de tous les continents aux jeunes francophones.

La presse pour les jeunes Plusieurs sites proposent une information spécialement calibrée pour les jeunes lecteurs. Parmi eux, on trouve Les Clés de l'actualité Junior, un quotidien destiné aux 8-12 ans, France Jeunes, réalisé par et pour des adolescents, ou encore le Journal de Victor, "l'espace pingouin des petits citoyens". Enfin, la section jeunesse du quotidien régional français Le Télégramme de Brest publie des articles écrits par les jeunes et donne aux enseignants quelques conseils pour utiliser la presse en classe.

Séquences pédagogiques à partir de la presse Pour débuter ce tour d'horizon des outils pédagogiques disponibles sur Internet pour

travailler avec la presse, nous vous proposons de découvrir les nombreuses bonnes adresses sélectionnées par le portail des enseignants de français Weblettres dans sa rubrique presse : sites pédagogiques, pratiques de classe, réalisation d'un journal scolaire, médias en ligne, dessins de presse... Pour vous donner une idée des types d'activités qui peuvent être réalisées en classe de français à partir de la presse, nous vous invitons à lire les articles que Le français dans le monde consacre à l'utilisation de la presse dans l'enseignement du FLE : Avec vos journaux et les nôtres, Les médias sur Internet (activités pour utiliser les médias, comprendre les contenus journalistiques, etc.) ou encore La radio, un trésor à exploiter pour la compréhension orale… Vous pourrez également consulter les activités proposées par un enseignant en IUFM autour de l'article type "faits divers", des illustrations, des "unes" ou encore des dépêches AFP, mais aussi le site Internet de l'académie de Versailles (France) qui présente des séquences pédagogiques (utiliser la presse, réaliser un journal), des textes de référence, des journaux scolaires, des radios scolaires, de l'aide et des outils ainsi que des références bibliographiques. Parmi les activités spécifiques qui peuvent être menées à partir de la presse, vous pourrez choisir de monter avec vos apprenants une revue de presse. Plusieurs sites vous seront utiles dans cette entreprise. Le plus intéressant est sans doute Newsmuseum. Chaque jour il met en ligne les "unes" des quotidiens du monde entier : un exercice qui pourra également vous amener à travailler sur l'interculturel… Deux sites recensent les liens vers la presse mondiale : c'est le cas de The World Press et de Kiosk. Quant à Vianetinfo, il affiche les caricatures de plusieurs dizaines de quotidiens francophones du monde entier (algériens, canadiens, français, suisses, belges…). Enfin, rappelons que l'outil Google News génère un quotidien électronique mis à jour toutes les 15 minutes à partir d'articles collectés auprès de plusieurs centaines de sources d'information en français dans le monde. Le Centre régional de documentation pédagogique

(CRDP) de Versailles vous donnera pour sa part quelques pistes pour travailler autour de l'image de presse, tandis que Clicnet vous fournira des idées pour travailler sur

proposées concerne un groupe de FLE. Retrouvez d'autres exemples d'activités dans nos fiches pratiques…

Créer ou participer à la rédaction d'un journal

les titres de journaux. Notez également que le CRDP de Créteil organise chaque année un concours de Unes qui invite les participants à réaliser la "une" de leur journal d'après des dépêches et images d'agence représentant l'actualité d'une journée. Ce concours s'adresse aux jeunes francophones des écoles, collèges et lycées. De nombreux médias consacrent une partie de leur site Internet à l'exploitation pédagogique de leurs émissions ou articles. TV5 dédie ainsi tout un programme à l'apprentissage et l'enseignement du français avec TV5, tout comme RFI dans sa rubrique Enseigner avec RFI en français (RFI propose également un concours de fiches pédagogiques autour de ses émissions de radio), ou encore France 5, qui dans "Côté profs" propose des fiches pédagogiques autour des programmes diffusés sur la chaîne. Les journaux français accordent également une part importante à l'éducation sur leur site, à l'image du journal SudOuest, de Ouest-France - journal régional à très forte diffusion, qui se propose de faire découvrir le journal aux enseignants et aux élèves - ou encore du Télégramme de Brest, autre journal régional français, qui présente des fiches pédagogiques pour analyser et comprendre la presse, étudier la "une", faire un journal scolaire, etc. Enfin, nous vous invitons à parcourir le document réalisé par des enseignants de langue de l'académie de Nancy-Metz autour du thème "La presse écrite comme outil de remédiation en français et en langues" : une partie des actions

La réalisation d'un journal scolaire en classe de FLE pourra constituer un moyen particulièrement riche de faire travailler vos apprenants autour de la lecture, de l'expression écrite et orale (comité de rédaction, travaux de groupe), de la culture francophone ou de la civilisation française. Pour bien comprendre les intérêts pédagogiques d'un tel projet, nous vous invitons à lire le mémoire de CAPE de Lionel Taverne, qui propose une réflexion pédagogique sur l'élaboration d'un journal en classe, ainsi que les réflexions pédagogiques d'Abel Dupuy, conseiller pédagogique, sur le même thème.

Initier ses apprenants à l'écriture journalistique Avant de vous lancer dans la création d'un journal, vous pourrez commencer par initier vos apprenants aux spécificités de l'écriture journalistique. Le site Rédaction de Rescol propose ainsi un cours de journalisme électronique en ligne pour les jeunes reporters francophones. Pour sensibiliser vos élèves au vocabulaire propre à la presse, consultez le glossaire des termes de la presse écrite réalisé par le Centre de liaison de l'enseignement et des moyens d'information (CLEMI), ou encore les documents pédagogiques proposés par le ministère français de la Culture et de la Communication autour du jargon de la presse, des mots des médias et des titres de presse. Enfin, si vous souhaitez

sensibiliser plus particulièrement vos élèves à l'écriture radiophonique, consultez l'article que Le français dans le monde consacre à ce thème ainsi que le court manuel "Écrire des textes radiophoniques", réalisé par Nancy Bennett, directrice du réseau des radios locales des pays en développement.

Concevoir un journal scolaire Vous trouverez sur le site du CLEMI de précieux conseils et outils pour faire un journal en classe (documents pédagogiques, documents pour les élèves, informations juridiques, exemples de journaux, etc.). Vous pourrez également consulter sur EduFLE l'article consacré à la réalisation d'un journal scolaire en classe de FLE ainsi que les conseils proposés sur le site de l'Institut français de Rabat.

Créer un journal sur Internet Vous souhaitez publier votre journal sur Internet mais vous n'êtes pas un expert en TICE ? Journal-FLE est l'outil qu'il vous faut ! Conçu pour les enseignants qui souhaitent mettre en place un journal de classe sur Internet dans le cadre de leurs cours, cette solution gratuite clé en main possède de nombreuses fonctionnalités didactiques : suivi des révisions, vérificateur d'orthographe, encyclopédie libre... Vous pourrez également choisir d'utiliser le logiciel Webzinemaker qui permet de faire un journal en ligne et de constituer une équipe de rédaction, grâce à un système de publication en réseau. Les enseignants qui maîtrisent mieux les TICE pourront décider de créer leur propre site : ils trouveront sur le site de l'IUFM de Versailles quelques conseils utiles sur la manière de monter un journal et de le publier sur Internet.

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27 Participer à la rédaction de journaux en ligne Si vous souhaitez faire participer vos apprenants à des journaux déjà existants, vous pourrez rejoindre un des nombreux projets de journaux francophones en ligne, comme le programme Fax ! du CLEMI, celui d'Omar le Chéri autour de la Méditerranée, de Mosaïque du Monde ou encore du Marque page, un cyberjournal scolaire francophone soutenu par l'Institut français d'Istanbul. Autre projet intéressant, le site CyberScol propose de faire produire des enquêtes

journalistiques à de jeunes francophones de 12 à 17 ans. Ce projet permet de mettre en relation des classes d'établissements situés dans des pays différents grâce à Internet mais aussi de proposer "un contexte d'apprentissage authentique où les élèves assument les différents rôles nécessaires à la production d'un document hypermédia sur Internet dans un contexte de collaboration internationale".

Pour une éducation aux médias Comme nous l'avons vu, les

JT France2 : http://jt.france2.fr/ JT France3 : http://jt.france3.fr/ TV5- Actualité panafricaine : http://www.tv5.org/TV5Site/info/accueil.php TV5 - Actualité internationale : http://www.tv5.org/TV5Site/info/actualite_internationale.php Journal de RFO : http://www.rfo.fr/ Radio France : http://www.radiofrance.fr/ AFP : http://www.afp.com/francais/home/ Portail-medias.com : http://www.portail-media.com/ Portail presse : http://www.portail-presse.com/ Portail de l'Union de la presse francophone : http://www.presse-francophone.org/ Portail jeunesse : http://jeunesse.francophonie.org/liens/section.cfm?id=13 Agence intergouvernementale de la francophonie : http://agence.francophonie.org/ Les Clés de l'actualité Junior : http://www.lesclesjunior.com/ France Jeunes : http://www1.france-jeunes.net/ Journal de Victor : http://www.recre-action.net/ Le Télégramme de Brest : http://www.presse-ecole.com/ Séquences pédagogiques à partir de la presse Weblettres - Presse : http://www.weblettres.net/index2.php?entree=29 FDLM - Avec vos journaux et les nôtres : http://www.fdlm.org/fle/article/309/fleig-hamm.php FDLM - Les médias sur Internet : http://www.fdlm.org/fle/article/337/mediasinternet.php FDLM - La radio, un trésor à exploiter pour la compréhension orale… : http://www.fdlm.org/fle/article/335/rfi335.php Activités pour travailler avec la presse : http://bjay.club.fr/travpress.htm Académie de Versailles - séquences pédagogiques autour de la presse: http://www.presse.ac-versailles.fr/ Newsmuseum : http://www.newseum.org/todaysfrontpages/ Parcours Franc-parler - L'interculturel en classe de français : http://www.francparler.org/parcours/interculturel.htm The World Press : http://www.theworldpress.com/ Kiosk : http://www.esperanto.se/kiosk/enplena.html Vianetinfo : http://www.vianetinfo.com/index.php4 Google News : http://news.google.fr/ CRDP Versailles - l'image de presse : http://www.crdp.acversailles.fr/cddp92/cddpnew/mediatheque/Presse% 20et%20medias%20SITO.htm Clicnet : http://clicnet.swarthmore.edu/pedagogie/miss/ecriture/titre.insolite.html Concours de Unes : http://www.crdp.ac-creteil.fr/crdp/anim_peda/une/index.html Apprentissage et enseigner le français avec TV5 : http://www.tv5.org/TV5Site/enseigner-apprendrefrancais/accueil_apprendre.php Enseigner avec RFI en français : http://www.rfi.fr/lffr/articles/001/fiche_qui_sommes_nous.asp RFI - concours de fiches pédagogiques : http://www.rfi.fr/lffr/pages/001/page_monde_en_francais.asp France 5 - Côté profs : http://education.france5.fr/ Sud-Ouest : http://www.sudouest.com/ Ouest-France : http://www.ouestfranceecole.com/commun/scripts/blocsmetiers/com_frame.asp? lien=/ accueil.asp Le Télégramme de Brest : http://www.presse-ecole.com/page.cfm?R=5&page=index

médias peuvent servir de support à des activités classiques d'apprentissage du français, mais ils peuvent également aider les apprenants à développer leur esprit civique et critique. Le CLEMI, qui coordonne la Semaine de la presse à l'école, est l'organisme de référence en France dans le domaine de l'éducation aux médias. Son site donne de nombreuses idées d'activités pour les élèves et des liens vers des exemples de journaux scolaires et lycéens. Son équivalent québécois, le Réseau Education Médias, propose également des ressources pédagogiques pour utiliser les

médias en classe. Au Québec toujours, l'Actualité en classe offre des fiches multimédias interactives qui permettent à l'enseignant de présenter des faits d'actualité aux élèves de 10 à 14 ans sous un angle qui les amène à devenir des citoyens avertis capables de "lire" et d'interpréter judicieusement les messages médiatiques traitant des actualités. Une enquête dans la presse électronique, réalisée par des enseignants québécois, permettra aux jeunes de découvrir si les reportages traitant d'un même sujet contiennent ou non les mêmes informations.

La presse écrite comme outil de remédiation en français et en langues: http://www.ac-nancymetz.fr/MIVR/PNI4/EcritsDefinitifsAout2003/Axe3/88CEpinalStExupery K.pdf Franc-parler - Fiches pratiques presse : http://www.francparler.org/fiches/presse_etudier.htm Créer ou participer à un journal scolaire Lionel Taverne - mémoire de CAPE : http://members.aol.com/magaliburgnies/memoire.html Abel Dupuy - Le journal scolaire : http://www.ac-bordeaux.fr/Primaire/Baseprim/doc64/Journal.htm Rédaction de Rescol : http://www.snn-rdr.ca/rdr/ CLEMI - glossaire de la presse écrite : http://www.clemi.org/formation/outils/glossaire_presse.html Ministère de la Culture et de la Communication - jargon de la presse: http://www.culture.gouv.fr/culture/dglf/clemi/intro-recit.htm Ministère de la Culture et de la Communication - mots des médias : http://www.culture.gouv.fr/culture/dglf/clemi/mots_journalistes.htm Ministère de la Culture et de la Communication - titres de presse : http://www.culture.gouv.fr/culture/dglf/clemi/intro-titres.htm FDLM - Atelier d'écriture radiophonique : http://www.fdlm.org/fle/article/321/radiophonique.php Ecrire des textes radiophoniques : http://farmradio.org/francais/publications/creating-content.asp CLEMI - conseils et outils pour faire un journal en classe : http://www.clemi.org/mediasscolaires.html EduFLE - Réaliser un journal scolaire en classe de FLE : http://www.edufle.net/article-imprim138.html Institut français de Rabat : http://www.ambafrance-ma.org/institut/rabat/ntic-scolaire/cyber_journal/ Journal-FLE : http://www.journal-fle.net/ Webzinemaker : http://www.webzinemaker.com/admi/creation/etape1.php3?lg=fr IUFM de Versailles - Monter un journal et le publier sur Internet : http://pedagene.creteil.iufm.fr/internet/publi.html#Créer%20son %20site%20Web Programme Fax ! : http://www.clemi.org/fax.html Omar le Chéri : http://www.omarlecheri.net/ Mosaïque du Monde : http://www.mosaiquedumonde.org Le Marque page : http://membres.lycos.fr/lemarquepage/ CyberScol : http://presse.cyberscol.qc.ca/ijp/produire/enquete.html Pour une éducation aux médias CLEMI : http://www.clemi.org CLEMI - idées d'activités pour les élèves : http://www.clemi.org/formation/fiches/fichespedago.html CLEMI - Journaux scolaires et lycéens : http://www.clemi.org/medias_scolaires/journauxscolaires.html Réseau Education Médias : http://www.media-awareness.ca/francais/index.cfm L'Actualité en classe : http://www.actualiteenclasse.com/educat.html Enquête dans la presse électronique : http://www.csaffluents.qc.ca/rmi/projets/Presse1/ CREDAM : http://www.clemi.org/credam/ressources.html#sites Décrypt'ACTU : http://education.france5.fr Thot - Éducation aux médias : Panorama des ressources pour cliquer futé : http://thot.cursus.edu/rubrique.asp?no=20683 Source: www.francparler.org

Autre ressource intéressante, le CREDAM (Centre de recherche sur l'éducation aux médias) met en ligne sur son site des ressources et une sélection de sites consacrés à l'éducation aux médias. Réalisé en partenariat avec Radio France, Le Monde, l'éditeur Hatier, le Centre national de documentation pédagogique (SCEREN/CNDP), le CLEMI, Le Café pédagogique et avec le soutien du ministère français de l'Éducation nationale, de l'Enseignement supérieur et de la Recherche, Décrypt'ACTU est dédié au décryptage des médias et de l'actualité. Ce site poursuit un double objectif : fournir des ressources multimédias brutes aux enseignants, aux documentalistes et aux élèves et permettre aux enseignants et aux documentalistes d'appréhender avec les élèves la manière dont les médias traitent d'un sujet d'actualité. Pour compléter ces ressources, nous vous invitons à consulter le très intéressant parcours que Thot consacre à l'éducation aux médias. Récapitulatif des liens cités Les médias sur Internet

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also feature a warm-air dryer, heated seats and even massage capabilities or an integral sound system. Automatic lid closure and hands-free flushing are also popular. These features are usually controlled by means of an elaborate electronic control panel, and a remote control may also be provided for your convenience. The term 'washlet' is also used to refer to adaptor units that improve the operation of a conventional lavatory; indeed, 'travel washlets' are also available for those who become particularly attached to their luxury loos. Unfortunately, the recent international interest in washlets has been sparked by reports that electrical faults have caused products from the two major Japanese manufacturers to catch fire. Perhaps paper isn't so pass? after all.