Lingua Franca 5 May-jun 2006

K.E.M.¶.A£. 4687 ENTY¶O K§EI™TO AP. A¢EIA™ 2013 K.E.M.¶.A£.

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ÂÚÈÔ¯‹˜. TËÓ TÂÙ¿ÚÙË 19/07 ÔÈ BÔ˘ÏÂ˘Ù¤˜ N¢ Aı·Ó¿ÛÈÔ˜ K·ÙÛÈÁÈ¿ÓÓ˘ Î·È BÏ¿¯Ô˜ °ÂÒÚÁÈÔ˜ η٤ıÂÛ·Ó ÙÚÔÔÏÔÁ›· ÚÔÙ›ÓÔÓÙ·˜ Ó· Û˘ÌÂÚÈÏËÊıÔ‡Ó Ù· K¤ÓÙÚ· •¤ÓˆÓ °ÏˆÛÛÒÓ ÛÙȘ

ÂȯÂÈÚ‹ÛÂȘ Ô˘ ÂÈÙÚ¤ÔÓÙ·È Ó· ÏÂÈÙÔ˘ÚÁÔ‡Ó Û ÂÚÈÔ¯¤˜ ·ÌÈÁÔ‡˜ ηÙÔÈΛ·˜. H ÙÚÔÔÏÔÁ›· ‰ÂÓ ¤Ù˘¯Â Ù˘ ÛÙ‹ÚÈ͢ ÙÔ˘ ˘Ô˘ÚÁÔ‡ ÎÔ˘ ™Ô˘ÊÏÈ¿. ¶ËÁ¤˜ ÙÔ˘ Y¶EXø¢E Ì·˜ ·Ó¤ÊÂÚ·Ó ˆ˜ ‰ÂÓ ˘¿Ú¯ÂÈ ÚfiıÂÛË ·Ô ÙËÓ ‰ÈÔ›ÎËÛË Ó· ÚÔÛı¤ÛÂÈ ÂȯÂÈÚ‹ÛÂȘ ÛÙÔÓ Î·Ù¿ÏÔÁÔ ÙˆÓ ÂÈÙÚÂÔ̤ӈÓ, Ì¿ÏÏÔÓ Ó· ·Ê·ÈÚ¤ÛÂÈ ÚÔÙ›ıÂÙ·È. TÔ ı¤Ì· ϤÔÓ ÂÓ·fiÎÂÈÙ·È ÛÙ· ·ÚÌfi‰È· Û˘Ó‰ÈηÏÈÛÙÈο fiÚÁ·Ó· Ù· ÔÔ›· ı· ÚÔ¯ˆÚ‹ÛÔ˘Ó Û ‰È·‚Ô˘Ï‡ÛÂȘ Ì ٷ ·ÚÌfi‰È· ˘Ô˘ÚÁ›· ÚÔ˜ ÙËÓ Â͇ÚÂÛË Ï‡Û˘ Ë ÔÔ›· ı· Û¤‚ÂÙ·È Ì ÙÔ ÂÚÈ‚¿ÏÏÔÓ ·ÏÏ¿ ı· Ï·Ì‚¿ÓÂÈ ˘’fi„ÈÓ Î·È ÙËÓ ÂÏÏËÓÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·. * Œˆ˜ ÙÚËÓ ¤Î‰ÔÛË ÙÔ˘ ·ÚfiÓÙÔ˜

KOSMOS BOOK EXHIBITIONS ™˘Ó¿ÓÙËÛË ∫ÔÚ˘Ê‹˜ ∞ı‹Ó·: ™¿‚‚·ÙÔ Î·È ∫˘Úȷ΋ 26-27 ∞˘ÁÔ‡ÛÙÔ˘ 2006 HOLIDAY INN ñ flÚ˜ ÏÂÈÙÔ˘ÚÁ›·˜: 10.00-18.00 £ÂÛÛ·ÏÔÓ›ÎË: ∫˘Úȷ΋ 3 ™ÂÙÂÌ‚Ú›Ô˘ 2006 MAKEDONIA PALACE ñ flÚ˜ ÏÂÈÙÔ˘ÚÁ›·˜: 10.00-17.00

¶·‡ÏÔ˘ ªÂÏ¿ 24 & ∆ÛÈÌÈÛ΋ ÔÈÎÔÁ¤ÓÂÈ· ÙˆÓ µÈ‚ÏÈÔˆÏ›ˆÓ ºÏˆÚ¿˜ ÌÂÁ¿ÏˆÛÂ Î·È Ê¤ÙÔ˜ ·ÔÎÙÒÓÙ·˜ ¤Ó· ·È‰› ·ÎfiÌ· ! ŒÓ· Ó¤Ô ‚È‚ÏÈÔˆÏÂ›Ô Ô˘ ı· ʤÚÂÈ ·ÎfiÌ· ÈÔ ÎÔÓÙ¿ ÛÙÔ˘˜ ÂÏ¿Ù˜ Ì·˜ ÙËÓ Â͢ËÚ¤ÙËÛË Î·È ÙȘ ÙÈ̤˜ ÙˆÓ ‚È‚ÏÈÔˆÏ›ˆÓ ºÏˆÚ¿˜. ∆Ô ÌÂÁ·Ï‡ÙÂÚÔ ‚È‚ÏÈÔˆÏÂ›Ô ºÏˆÚ¿˜ ·ÓÔ›ÁÂÈ ÛÙË £ÂÛÛ·ÏÔÓ›ÎË £∂™™∞§√¡π∫∏ ¶·‡ÏÔ˘ ªÂÏ¿ 24 Î·È ∆ÛÈÌÈÛ΋ ™ÙËÓ Î·Ú‰È¿ Ù˘ £ÂÛÛ·ÏÔӛ΢ ÙÔ Ó¤Ô ·fiÎÙËÌ· Ù˘ ÔÈÎÔÁ¤ÓÂÈ·˜ ºÏˆÚ¿, Û' ¤Ó· ÌÔÓÙ¤ÚÓÔ Î·È ¿ÓÂÙÔ ÂÚÈ‚¿ÏÏÔÓ, ( 400 Ù.Ì.) ¤Ú¯ÂÙ·È Ó· ÈηÓÔÔÈ‹ÛÂÈ ÙȘ ··ÈÙ‹ÛÂȘ ÙˆÓ Â·ÁÁÂÏÌ·ÙÈÒÓ Ù˘ ÍÂÓfiÁψÛÛ˘ ÂÎ·›‰Â˘Û˘ ÚÔÛʤÚÔÓÙ·˜ ˘ËÚÂۛ˜ ˘„ËÏ‹˜ ÔÈfiÙËÙ·˜, ÂÍ·ÈÚÂÙÈΤ˜ ÙÈ̤˜, ·Û˘Ó·ÁÒÓÈÛÙË Û˘ÏÏÔÁ‹ Û ÍÂÓfiÁψÛÛ· ‚È‚Ï›·, ÌÔÓ·‰ÈΤ˜ ÚÔÛÊÔÚ¤˜ Î·È ·ÔÎÏÂÈÛÙÈÎfiÙËÙ˜. ™ÙÔ ¡∂√ ‚È‚ÏÈÔˆÏÂ›Ô ı· ‚Ú›ÙÂ, ÂÛ›˜ Î·È ÔÈ Ì·ıËÙ¤˜ Û·˜, Ï‹ÚË Û˘ÏÏÔÁ‹ Û ÍÂÓfiÁψÛÛ· ‚È‚Ï›·, fiÏ· Ù· best sellers Ù˘ ÂÏÏËÓÈ΋˜

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ÏÔÁÔÙ¯ӛ·˜, ·Ì¤ÙÚËÙÔ˘˜ Ù›ÙÏÔ˘˜ ·È‰ÈÎÒÓ ‚È‚Ï›ˆÓ Î·È fiÙÈ ¯ÚÂÈ¿˙ÂÙ·È ÙÔ ÁÚ·ÊÂ›Ô Û·˜ Î·È Ù· ·È‰È¿ ·fi ¯·ÚÙÔÛ¯ÔÏÈο ›‰Ë. £· ‰È·ÈÛÙÒÛÂÙ ‡ÎÔÏ· ÁÈ·Ù› ÙÔ 2005, 8,000 ηıËÁËÙ¤˜ Í¤ÓˆÓ ÁψÛÛÒÓ Î·È 2,000 ȉÈÔÎً٘ ΤÓÙÚˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ ÂÈÛΤÊıËÎ·Ó 49,000 ÊÔÚ¤˜ Ù· ‚È‚ÏÈÔˆÏ›· ºÏˆÚ¿˜ ÁÈ· Ó· Ú·ÁÌ·ÙÔÔÈ‹ÛÔ˘Ó ÙȘ ·ÁÔÚ¤˜ ÙÔ˘˜.

∂¶π ∆OÀ ¶π∂™∆∏ƒπOY ¶Ï‹Ú˘ ·Ó·ÁÓÒÚÈÛË ÙˆÓ ÂÍÂÙ¿ÛÂˆÓ ÙÔ˘ University of Central Lancashire ™Â Ï‹ÚË ·Ó·ÁÓÒÚÈÛË fiÏˆÓ ÙˆÓ ÂÈ¤‰ˆÓ ÙˆÓ ÂÍÂÙ¿ÛÂˆÓ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ ÙÔ˘ Central Lancashire ÚÔ¯ÒÚËÛ ÙÔ A™E¶. H Û¯ÂÙÈ΋ ·Ó·ÁÓÒÚÈÛË Û˘ÌÂÚÈÏ·Ì‚¿ÓÂÈ Ù· Â›‰· B1, B2 (Level 2- Independent User), C1 (Level 3 – Proficient User) Î·È C2 (Certificate of Proficiency) – ÙÔ ÙÂÏÂ˘Ù·›Ô Â›Ó·È ·Ó·ÁÓˆÚÈṲ̂ÓÔ ·fi ÙÔÓ M·›Ô ÙÔ˘ 2005. O ÂÍÂÙ¿ÛÂȘ ÙÔ˘ University of Central Lancashire ‰ÈÂÍ¿ÁÔÓÙ·È ·Ô ÙÔÓ ¶·ÓÂÏÏ‹ÓÈÔ ™‡Ó‰ÂÛÌÔ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ, Û ‰‡Ô ÂÍÂÙ·ÛÙÈΤ˜ ÂÚÈfi‰Ô˘˜ – ¢ÂÎÂÌ‚Ú›Ô˘ Î·È M·›Ô˘.

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MNHMONIO ™YNEP°A™IA™ ¶ANE§§HNIOY-EAOM-AMEA MÈ· Û˘ÁÎÏÔÓÈÛÙÈ΋ ÂÌÂÈÚ›· ¤˙ËÛ·Ó ÂÚ›Ô˘ 100 ȉÈÔÎً٘ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ, ̤ÏË ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ÙËÓ K˘Úȷ΋ 5 IÔ˘Ó›Ô˘ ÛÙÔ Hotel Titania ηٿ ÙËÓ ·ÓËÁ˘ÚÈ΋ ÂΉ‹ÏˆÛË ˘ÔÁÚ·Ê‹˜ MÓËÌÔÓ›Ô˘ ™˘ÓÂÚÁ·Û›·˜ ÌÂٷ͇ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ™˘Ó‰¤ÛÌÔ˘ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ Î·È Ù˘ EAOM AMEA ( EıÓÈ΋˜ AıÏËÙÈ΋˜ OÌÔÛÔÓ‰›·˜ AÙfiÌˆÓ Ì AÓ·Ëڛ˜) ÂÎÚÔÛˆÔ‡ÌÂÓ˘ ·Ô ÙÔÓ Úfi‰ÚÔ Î. K˘ÚÈ¿ÎÔ °ÚÈ‚¤· MÈ· ÂÍ·ÈÚÂÙÈ΋ ÚˆÙÔ‚Ô˘Ï›· ÙÔ˘ ̤ÏÔ˘˜ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ η˜ AÓ·ÛÙ·Û›·˜ ™Ô˘Ú›‰Ë Î·È Ù˘ η˜ Iˆ¿ÓÓ·˜ K·ÚÈÔʇÏË, ÚÔ¤‰ÚÔ˘ ¶·Ú·ÔÏ˘ÌÈ·ÎÒÓ Aı‹Ó· 2004 Î·È Ì¤ÏÔ˘˜ Ù˘ E˘Úˆ-

·È΋˜ ¶·Ú·ÔÏ˘Ìȷ΋˜ EÈÙÚÔ‹˜, ÙÔ ÌÓËÌfiÓÈÔ ÂÚÈÏ·Ì‚¿ÓÂÈ Û˘Ìʈӛ· ÂıÂÏÔÓÙÈ΋˜ ÚÔÛÊÔÚ¿˜ ÂΠ̤ÚÔ˘˜ ÙˆÓ ÌÂÏÒÓ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ÚÔ˜ Ù· ̤ÏË Ù˘ EAOM-AMEA ΢ڛˆ˜ Û ı¤Ì·Ù· ÌÂÙ¿ÊÚ·Û˘ Î·È ‰ÈÂÚÌËÓ›·˜.

K·Ù¿ ÙËÓ ‰È¿ÚÎÂÈ· Ù˘ ÂΉ‹ÏˆÛ˘ ·ÚÔ˘ÛÈ¿ÛÙËΠ¤Ó· ¯ÔÚ¢ÙÈÎfi ÌÔÓfiÚ·ÎÙÔ ·Ô ÙÔÓ ÎÔ XÚÈÛÙ¿ÎË, ¯ÔÚÂ˘Ù‹ Û ·Ó·ËÚÈÎfi ηÚÔÙÛ¿ÎÈ Î·È ‰‡Ô ÂıÂÏfiÓÙÚȘ ¯ÔÚ‡ÙÚȘ. TÔ ı¤·Ì· Ô˘ ·ÚÔ˘ÛÈ¿ÛÙËΠ‹Ù·Ó ÂÍ·ÈÚÂÙÈÎfi, Î·È È‰È·›ÙÂÚ· Û˘ÁÎÈÓËÙÈÎfi.

∂ÍÂÙ¿ÛÂȘ ÈÛÙÔÔ›ËÛ˘ ÁÓÒÛ˘ Ù˘ ÙÔ˘ÚÎÈ΋˜ ÁÏÒÛÛ·˜ Ô ¶·ÓÂÈı¤ÛÂȘ ÙÔ˘ European Û Ù ‹ Ì È Ô Portfolio. ÕÁ΢ڷ˜ ∆ËÓ ÔÚÁ¿ÓˆÛË ÙˆÓ (∫¤ÓÙÚÔ Tömer) ÂÍÂÙ¿ÛÂˆÓ ‰ÈÂÎ‰ÈÂÍ‹Á·Á Ì ·fiÚ·›ˆÛ ÙÔ ∂ÏÏËÓÔÏ˘ÙË ÂÈÙ˘¯›· ÛÙËÓ ÙÔ˘ÚÎÈÎfi ∫¤ÓÙÚÔ ∞ı‹Ó·, ÛÙȘ 3 Î·È 4 °ÏÒÛÛ·˜ Î·È ∫Ô˘ÏπÔ˘Ó›Ô˘ 2006, ÂÍÂÙÔ‡Ú·˜ Ù˘ ∆›Ó·˜ ∑ˆÙ¿ÛÂȘ ÁÈ· ÙËÓ ·fiÁÔÔ‡ÏÔ˘, ˆ˜ ·ÔÎÙËÛË ·Î·‰ËÌ·˚ÎÏÂÈÛÙÈÎfi˜ Û˘ÓÂÚÁ¿Î‹˜ ÈÛÙÔÔ›Û˘ Ù˘ ÙÔ˘ ∫¤ÓÙÚÔ˘ ÁÓÒÛ˘ Ù˘ ∆Ô˘ÚTömer ÙÔ˘ ¶·ÓÂÈÎÈ΋˜ ˆ˜ •¤Ó˘ ÛÙËÌ›Ô˘ Ù˘ ÕÁ΢ڷ˜ °ÏÒÛÛ·˜. ÛÙËÓ ∂ÏÏ¿‰·. ∆›Ó· ∑ˆÁÔÔ‡ÏÔ˘ OÈ ÂÍÂÙ¿ÛÂȘ ¤ÁÈ∆Ô ∫¤ÓÙÚÔ Tömer, ([email protected]) Ó·Ó ÁÈ· Ù· Â›‰· ¿ÓÙ· ÛÙ· Ï·›ÛÈ· ‚·ÛÈÎfi (Temel), ÌÂÛ·›Ô (Orta) Î·È Ù˘ Û˘ÓÂÚÁ·Û›·˜ ÙÔ˘ Ì ÙÔ ∂ÏÏËÓÔ·ÓÒÙÂÚÔ (Yükesek) Î·È ¤Ï·‚·Ó ̤- ÙÔ˘ÚÎÈÎfi ∫¤ÓÙÚÔ °ÏÒÛÛ·˜ Î·È ÚÔ˜ 80 Û˘ÓÔÏÈο ˘Ô„‹ÊÈÔÈ ·’ fiÏË ∫Ô˘ÏÙÔ‡Ú·˜ Î·È ÏfiÁˆ Ù˘ ·˘ÍË̤ÙË ¯ÒÚ·. Ó˘ Û¯ÂÙÈ΋˜ ··›ÙËÛ˘ ÙÔ˘ ÂӉȷø˜ ÁÓˆÛÙfiÓ ÙÔ ∫¤ÓÙÚÔ Tömer ÙÔ˘ ÊÂÚfiÌÂÓÔ˘ ÎÔÈÓÔ‡, ÚÔÁÚ·ÌÌ·Ù›˙ÂÈ ¶·ÓÂÈÛÙËÌ›Ô˘ Ù˘ ÕÁ΢ڷ˜ Â›Ó·È Ó¤· ÂÍÂÙ·ÛÙÈ΋ ÂÚ›Ô‰Ô ÈÛÙÔÔ›ËÔ Â›ÛËÌÔ˜ ÙÔ˘ÚÎÈÎfi˜ ÎÚ·ÙÈÎfi˜ ÊÔ- Û˘ ÙÔÓ ÂÚ¯fiÌÂÓÔ ¡Ô¤Ì‚ÚÈÔ 2006 Ú¤·˜ Ô˘ ¯ÔÚËÁ› ·Ó¿ ÙÔÓ ÎfiÛÌÔ È- Û ÙÚÂȘ fiÏÂȘ ÛÙËÓ ∂ÏÏ¿‰·: ÛÙÔÔ›ËÛË ÁÓÒÛ˘ Ù˘ ÙÔ˘ÚÎÈ΋˜ ∞ı‹Ó·, £ÂÛÛ·ÏÔÓ›ÎË Î·È ∫ÔÌÔÁÏÒÛÛ·˜, Û‡Ìʈӷ Ì ÙȘ ÚÔ¸Ô- ÙËÓ‹.

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ŒÓ· ÔÏfiÎÏËÚÔ ‚È‚ÏÈÔˆÏÂ›Ô ÛÙÔ... ·ÎÔ˘ÛÙÈÎfi Û·˜!

ñ °È· ÙȘ ·ÎÚÈÙÈΤ˜ ÂÚÈÔ¯¤˜ Î·È Ù· ÓËÛÈ¿ ·Ú¿‰ÔÛË Û 2 ̤Ú˜ ñ ∞·Ú·›ÙËÙË ÚÔ¸fiıÂÛË Ó· Â›Ó·È ‰È·ı¤ÛÈÌ· Ù· ‚È‚Ï›· ñ ∫fiÛÙÔ˜ ·ÔÛÙÔÏ‹˜ Ì courier ÁÈ· ·ÁÔÚ¤˜ οو ÙˆÓ 80 0-1 ÎÈÏ¿: 5,91ÂÂ, 1-2 ÎÈÏ¿: 6.43ÂÂ

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Happy Trails Paul Change of Guard at the British Council Examinations Department

Welcome Mark ➊

1. ∞fi ·ÚÈÛÙÂÚ¿ Mark Walker, ¡. ∆ÛÂÚfiÏ·˜, Paul Sellers, ™Ù¤ÏÏ· ºÏˆÚ¿, ÕÓÓ· ªÔ˘ÏÓÙÔ‡ÌË 2. ∞ÁÓ‹ ∫·ÙÛÈ¿ÓÔ˘, ∫È΋ ∫ÔÛÌ·ÙÔÔ‡ÏÔ˘ Î·È §›ÓÙ· ∑ÂÚ‚ÔÁÈ¿ÓÓË ÛÙË ‰ÂÍ›ˆÛË ÙÔ˘ British Counsil

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Happy Trails Paul !! It is with great sadness that the ELT world in Athens says good bye to Deputy Director of Examinations Paul Sellers who has been promoted to director and will be leaving Athens soon for Abu Dhabi in the United Arabic Emirates. During his 4 year stay at the British Council Athens, Paul has made a great number of friends and has contributed immensely to the British Council retaining a leading position in the Greek examination market.

Welcome Mark As Head Examinations British Council India, over the past four years, Mark Walker traversed the length and breadth of the India to oversee the administration of thousands of British examinations taken by young Indians – so we guess that now at least distances will seem .. well small, to say the least. Hopefully in the next issue of Lingua Franca we will have the opportunity to get to know Mark a little better. In the meantime a warm welcome from all of us and “Siderokefalos” as we say in greek.

£¤Ïˆ Ó· ¢¯·ÚÈÛÙ‹Ûˆ Ôχ Ù· ̤ÏË ÙÔ˘ ∂·ÁÁÂÏÌ·ÙÈÎÔ‡ ∂ÈÌÂÏËÙËÚ›Ô˘ ∞ıËÓÒÓ Ô˘ Ì ˘ÔÛÙ‹ÚÈÍ·Ó Ì ÙËÓ „‹ÊÔ ÙÔ˘˜ Î·È Ì ÂͤÏÂÍ·Ó Ì¤ÏÔ˜ ÙÔ˘ ¢ÈÔÈÎËÙÈÎÔ‡ ™˘Ì‚Ô˘Ï›Ô˘ ÙÔ˘ ÌÂÁ·Ï‡ÙÂÚÔ˘ ∂ÈÌÂÏËÙËÚ›Ô˘ Ù˘ ∂ÏÏ¿‰Ô˜. £¤Ïˆ Ó· ‰È·‚‚·ÈÒÛˆ Ù· ̤ÏË ÙÔ˘ ∂ÈÌÂÏËÙËÚ›Ô˘ Î·È ÂȉÈο ÙÔ˘˜ ȉÈÔÎً٘ ∫¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ, fiÙÈ ·fi ÙË ı¤ÛË ·˘Ù‹ ı· ڿ͈ ÔÙȉ‹ÔÙÂ Â›Ó·È ‰˘Ó·Ùfi Î·È ı· ÚÔÛ·ı‹Ûˆ ÁÈ· ÔÙȉ‹ÔÙ ‰Â›¯ÓÂÈ ·‰‡Ó·ÙÔ Ì ÛÙfi¯Ô ÙÔ Î·Ï‡ÙÂÚÔ Ì¤ÏÏÔÓ ÁÈ· οı Â·ÁÁÂÏÌ·Ù›·. ªÂ ÂÎÙ›ÌËÛË ºÏˆÚ¿˜ °ÈÒÚÁÔ˜ ª¤ÏÔ˜ ÙÔ˘ ¢.™. ÙÔ˘ ∂·ÁÁÂÏÌ·ÙÈÎÔ‡ ∂ÈÌÂÏËÙËÚ›Ô˘ ∞ıËÓÒÓ

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∂Ή‹ÏˆÛË Ì ȉȷ›ÙÂÚË ∞π°§∏ Ô ™¿‚‚·ÙÔ ÛÙȘ 06.05.2006 Ú·ÁÌ·ÙÔÔÈ‹ıËΠÁÈ· ÚÒÙË ÊÔÚ¿ ÛÙËÓ A›ÁÏË ÙÔ˘ Z·›Ԣ ÌÈ· ȉȷ›ÙÂÚ· ͯˆÚÈÛÙ‹ ÂΉ‹ÏˆÛË Ì ı¤Ì· ÙË ‰È‰·Ûηϛ· ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ ÛÙËÓ EÏÏ¿‰· (°·ÏÏÈο, °ÂÚÌ·ÓÈο, IÛ·ÓÈο). H ÂΉ‹ÏˆÛË Û˘Ó‰ÈÔÚÁ·ÓÒıËΠ·fi ÙȘ EΉfiÛÂȘ °Ú›‚·, ÙË ÁÂÚÌ·ÓÈ΋ ÂΉÔÙÈ΋ ÂÙ·ÈÚ›· Klett International, fiˆ˜ Â›Û˘ Î·È ÙË Á¿ÏÏÔ-ÈÛ·ÓÈ΋ ÂÙ·ÈÚ›· Difusion-PUG. OÈ ÂΉfiÛÂȘ °Ú›‚· ¤¯Ô˘Ó ÂÂÎÙ›ÓÂÈ ·fi ÙÔ 1999 ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ¤˜ ÙÔ˘˜ -¤Ú· ·fi ÙËÓ ¤Î‰ÔÛË ·ÁÁÏÈÎÒÓ ‚È‚Ï›ˆÓ- Î·È ÛÙËÓ ¤Î‰ÔÛË ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈÎÔ‡ ÁÈ· ÙȘ ÚÔ·Ó·ÊÂÚfiÌÂÓ˜ ÁÏÒÛÛ˜. ™ÎÔfi˜ ·˘-

T

ÙÒÓ ÙˆÓ ÂΉfiÛÂˆÓ Â›Ó·È Ë ˘ÔÛÙ‹ÚÈÍË ÙˆÓ Î·ıËÁËÙÒÓ Î·È ÙˆÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ Ì ӤÔ, Û‡Á¯ÚÔÓÔ ‰È‰·ÎÙÈÎfi ˘ÏÈÎfi. ™ÙËÓ ÂΉ‹ÏˆÛË Û˘ÌÌÂÙ›¯·Ó ÂηÙÔÓÙ¿‰Â˜ ηıËÁËÙ¤˜ Ù˘ Á·ÏÏÈ΋˜, ÁÂÚÌ·ÓÈ΋˜ Î·È ÈÛ·ÓÈ΋˜ ÁÏÒÛÛ·˜, ÔÈ ÔÔ›ÔÈ Â›¯·Ó ÙË ‰˘Ó·ÙfiÙËÙ· Ó· ·Ú·ÎÔÏÔ˘ı‹ÛÔ˘Ó Ù· ÌÂÙÂÎ·È‰Â˘ÙÈο ÛÂÌÈÓ¿ÚÈ·, Ù· ÔÔ›· Û˘Ó‰ÈÔÚÁ·ÓÒıËÎ·Ó ·fi ÙȘ EΉfiÛÂȘ °Ú›‚·, ÙȘ ÂÙ·ÈÚ›˜ Klett Î·È Difusion fiˆ˜ Â›Û˘ Î·È ·fi ÙÔ Î¤ÓÙÚÔ ÌÂÙÂÎ·›‰Â˘Û˘ ηıËÁËÙÒÓ °·ÏÏÈ΋˜ ÁÏÒÛÛ·˜ CAVILAM Ù˘ Vichy. O ·ÚÈÔ˜ KÒÛÙ·˜ °Ú›‚·˜ ·ˇı˘Ó ÙÔÓ ¯·ÈÚÂÙÈÛÌfi ÙÔ˘ Û fiÏÔ˘˜ ÙÔ˘˜ ·Ú¢ÚÈÛÎÔ-

̤ÓÔ˘˜ Î·È ·ÎÔÏÔ‡ıËÛÂ Ô ¯·ÈÚÂÙÈÛÌfi˜ ÙˆÓ ‰È¢ı˘ÓÙÒÓ ÙˆÓ ÂÙ·ÈÚÂÈÒÓ Klett International Î·È Difusion, AÌ·ÓÙ¤Ô˘˜ °Î¤ÚÏ·¯ Î·È NÙ¤ÙÏÂÊ B¿ÁÎÓÂÚ ·ÓÙ›ÛÙÔȯ·. K·Ù¿ ÙË ‰È¿ÚÎÂÈ· Ù˘ ÂΉ‹ÏˆÛ˘ ÔÈ ÂΉfiÛÂȘ °Ú›‚· Î·È Difusion ·Ó·ÎÔ›ÓˆÛ·Ó Î·È ÂÈۋ̈˜ ÙË Û˘ÓÂÚÁ·Û›· ÙÔ˘˜ ÛÙÔÓ ÙÔ̤· ÙˆÓ Á·ÏÏÈÎÒÓ ÂΉfiÛÂˆÓ Î·È ÂÂÛ‹Ì·Ó·Ó È‰È·›ÙÂÚ· ÙË ÛËÌ·Û›· Û˘Ó¤Î‰ÔÛ˘ Ó¤Ô˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ ˘ÏÈÎÔ‡, ÂȉÈο ÚÔÛ·ÚÌÔṲ̂ÓÔ ÛÙȘ ·Ó¿ÁΘ ÙˆÓ ÂÏÏ‹ÓˆÓ Ì·ıËÙÒÓ. OÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ ›¯·Ó ÙË ‰˘-

* If you order more than 15 subscriptions

To order contact: 55-59 Deligiorgi Str. 104 37 Athens. Tel. 210-5232261, Fax. 210-5236026, e-mail: [email protected]

Ó·ÙfiÙËÙ· Ó· ÂÈÛÎÂÊÙÔ‡Ó ÙËÓ ¤ÎıÂÛË ‚È‚Ï›Ô˘ Î·È Ó· ÂÓËÌÂÚˆıÔ‡Ó ÁÈ· ÙȘ Ӥ˜ ÂΉfiÛÂȘ. ™ÙÔ Ù¤ÏÔ˜ Ù˘ ÂΉ‹ÏˆÛ˘ ·ÎÔÏÔ‡ıËÛ ÎÏ‹ÚˆÛË fiÔ˘ ·Ó·‰Â›¯ıËÎ·Ó Ù˘¯ÂÚÔ›, ÔÈ ÔÔ›ÔÈ Î¤Ú‰ÈÛ·Ó ÌÂٷ͇ ¿ÏÏˆÓ ¤Ó· Ù·Í›‰È ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙÔ MfiÓ·¯Ô, ¤Ó· Ù·Í›‰È ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙËÓ K‡ÚÔ Î·È ¤Ó· ‰Â›ÓÔ ÁÈ· ‰‡Ô ¿ÙÔÌ· ÛÙËÓ A›ÁÏË Z·›Ԣ. T¤ÏÔ˜, ηٿ ÎÔÈÓ‹ ÔÌÔÏÔÁ›·, Ú·ÁÌ·ÙÔÔÈ‹ıËΠ̛· Ôχ ÂӉȷʤÚÔ˘Û· ÂΉ‹ÏˆÛË Ì Ôχ ıÂÙÈο Û¯fiÏÈ· ·fi fiÏÔ˘˜.

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

N¤· ¢ÈÔÈÎËÙÈο ™˘Ì‚Ô‡ÏÈ· ÚԤ΢„·Ó ·Ô ÙȘ ·Ú¯·ÈÚÂۛ˜ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ™˘Ó‰¤ÛÌÔ˘ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ Î·È ÙÔ˘ T·Ì›Ԣ AÚˆÁ‹˜ Î·È AÏÏËÏÔ‚ÔËı›·˜ ÙˆÓ ÌÂÏÒÓ ÙÔ˘. T· Ó¤· ¢™ ¤¯Ô˘Ó ˆ˜ ÂÍ‹˜: ¶ANE§§HNIO™ ¶Úfi‰ÚÔ˜: AÓÓ· MÔ˘ÏÓÙÔ‡ÌË AÓÙÈÚfi‰ÚÔ˜ : ™ÔÊ›· OÈÎÔÓÔÌ¿ÎÔ˘ °ÂÓÈ΋ °Ú·ÌÌ·Ù¤·˜ : AÏ›ÎË ¢ÂÓ‰ÚÈÓÔ‡ T·Ì›·˜ : ™‡ÚÔ˜ K·ÙÛÔ‡Ï˘ EÊÔÚÔ˜ EΉËÏÒÛˆÓ: AÓÓ· ¢·ÏÈ¿ÓË EÊÔÚÔ˜ EÍÂÙ¿ÛˆÓ: ™Ù¤ÏÏ· ºÏˆÚ¿

TESOL Greece Board 2006 - 2007

M¤ÏË: M·›ÚË M¤ÙÛË, AÓÙÒÓ˘ AÌÔ˘ÚÁÈ·Ófi˜ TAMEIO APø°H™ ¶Úfi‰ÚÔ˜: ™‡ÚÔ˜ K·ÙÛÔ‡Ï˘ AÓÙÈÚfi‰ÚÔ˜ : ¶·Ó·ÁÈÒÙ˘ M·ÓˆÏ¿ÎÔ˜ °ÂÓÈÎfi˜ °Ú·ÌÌ·Ù¤·˜ : ¢ËÌ‹ÙÚ˘ TÛ·Ú·˙Ï‹˜ T·Ì›·˜ : ™Ù¤ÏÏ· ™ÎÔΤ·-K·Ï‰‹ EÊÔÚÔ˜ EΉËÏÒÛˆÓ: EÌÌ·ÓÔ˘¤Ï· XÚÈÛÙÔ‰Ô‡ÏÔ˘ M¤ÏË: AÓ·ÛÙ·Û›·(™Ô‡ÏË) ™Ô˘Ú›‰ËAÔÛÙÔÏÔÔ‡ÏÔ˘, Iˆ¿ÓÓ· M·ÓˆÏ¿ÎÔ˘ Î·È B·ÛÈÏÈ΋ MÔ˘ÏÓÙÔ‡ÌË

Chairperson, Lilika Couri Vice-Chair, Jenny Zimianitou Secretary General, Ansa Lakioti Treasurer, Danae Kozanoglou Members: Anne Makris Michael Robbs George Kormpas Tina Migadaki Anna Zacharatou

Alternate Members: Eftichis Kantarakis, Newsletter Editor Mary Davou Joanna Dimitrakopoulou Evie Tsoutsoura Oversight Committee: Michele Crawford Costas Pitychoutis Fotini Manoli Alternate member: Sofia Panaghis

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°˘Ó·›Î˜ ÛÙËÓ ∆ÔÈ΋ ∞˘ÙÔ‰ÈÔ›ÎËÛË — ¶fiÛ· ¯ÚfiÓÈ· ·Û¯ÔÏÂ›Û·È Ì ٷ ÎÔÈÓ¿; ∞fi ÔȘ ı¤ÛÂȘ; «ªÂ Ù· ÎÔÈÓ¿ ·Û¯ÔÏÔ‡Ì·È ¿Óˆ ·fi 25 ¯ÚfiÓÈ·. ™ÙËÓ ·Ú¯‹ Û·Ó Ì¤ÏÔ˜ ÔÚÁ·ÓÒÛÂˆÓ Î·È Û˘ÏÏfiÁˆÓ Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ì ı¤Ì·Ù· Ù˘ ÙÔÈ΋˜ ÎÔÈÓˆÓ›·˜. ∆Ô 2002 ÂÎϤ¯ÙËη ¢ËÌÔÙÈ΋ ™‡Ì‚Ô˘ÏÔ˜ µ‡ÚˆÓ· Ì ÙÔ ¡›ÎÔ Ã·Ú‰·ÏÈ¿. ∂›Ì·È Úfi‰ÚÔ˜ ÙÔ˘ ¡ÔÌÈÎÔ‡ ¶ÚÔÛÒÔ˘ “∫¤ÓÙÚÔ ªÂϤÙ˘ ÃÔÚÔ‡ πÛȉÒÚ·˜ Î·È ƒ·¸ÌfiÓ‰Ô˘ ¡Ù¿ÓηӔ Î·È ∞ÓÙȉ‹Ì·Ú¯Ô˜ ∂ıÈÌÔÙ˘›·˜ Î·È ¢ËÌÔÛ›ˆÓ ™¯¤Ûˆӻ. — ∆È Û ¤Ûڈ͠ӷ ÍÂÎÈÓ‹ÛÂȘ ·Ú¯Èο; «™ÙËÓ ÔÈÎÔÁ¤ÓÂÈ¿ ÌÔ˘ ˘‹Ú¯Â Ë ·Ú¿‰ÔÛË Ù˘ ÂÓ·Û¯fiÏËÛ˘ Ì ٷ ÎÔÈÓ¿. ∂ÈÎÚ·ÙÔ‡Û Ó‡̷ ·ÏÏËÏÂÁÁ‡Ë˜ Î·È ÚÔÛÊÔÚ¿˜ Î·È Ë ÊÈÏÔÛÔÊ›· ‹Ù·Ó: Ë ˙ˆ‹ Â›Ó·È ÈÔ Ô˘ÛÈ·ÛÙÈ΋ fiÙ·Ó ÚÔÛʤÚÂȘ ÛÙÔ Û˘Ó¿ÓıÚˆfi ÛÔ˘ - ‰›ÓÔÓÙ·˜ Ï›Á· ·›ÚÓÂȘ ÔÏÏ¿». — ¶fiÛÔ ‰‡ÛÎÔÏÔ Â›Ó·È ÁÈ· ÌÈ· Á˘Ó·›Î· Ó· Û˘Ó‰˘¿ÛÂÈ Î·ÚȤڷ, ÔÈÎÔÁ¤ÓÂÈ· Î·È ÂÓÂÚÁ‹ Û˘ÌÌÂÙÔ-

¯‹ ÛÙ· ÎÔÈÓ¿; «•ÂΛÓËÛ· ÂÚÁ·Û›· Î·È ÔÈÎÔÁ¤ÓÂÈ· ÓˆÚ›˜, ۯ‰fiÓ ÌfiÏȘ ÙÂÏ›ˆÛ· ÙȘ ÛÔ˘‰¤˜ ÌÔ˘. OÈ ˘Ô¯ÚÂÒÛÂȘ ‹Ù·Ó ¿Ú· ÔÏϤ˜ Î·È ȤÛÙËη ·ÚÎÂÙ¿. ªfiÏȘ Ù· ·È‰È¿ ÌÔ˘ ÌÂÁ¿ÏˆÛ·Ó ›¯· ¿ÏÏË ¿ÓÂÛË ¯ÚfiÓÔ˘ Î·È ¤ÙÛÈ ¿Ú¯ÈÛ· Ó· ·Û¯ÔÏÔ‡Ì·È Ì ÂÚÈÛÛfiÙÂÚ· Ú¿ÁÌ·Ù·. ∆Ô Ó· Û˘Ó‰˘¿ÛÂȘ Û·Ó Á˘Ó·›Î· ηÚȤڷ, ÔÈÎÔÁ¤ÓÂÈ· Î·È Û˘ÌÌÂÙÔ¯‹ ÛÙ· ÎÔÈÓ¿ ÌÔÚ› Ó· Â›Ó·È ·fi ·Ïfi Î·È Â‡ÎÔÏÔ ¤ˆ˜ ÔχÏÔÎÔ Î·È ‰‡ÛÎÔÏÔ. ¶ÈÛÙ‡ˆ fiÙÈ Â›Ó·È ı¤Ì· ÙÚfiÔ˘ ˙ˆ‹˜ Î·È ÚÔ-

∞°°§IKA §∂•π∫A ¡∂√ ™À°Ãƒ√¡√ ∞°°§√∂§§∏¡π∫√ ∂§§∏¡√∞°°§π∫√ ª∞£∏∆π∫√ ∂∫¢√™∂π™ MANDESON

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10%

∞°°§√∂§§∏¡π∫√ & ∂§§∏¡√∞°°§π∫√ BIG ∂∫¢√™∂π™ ™π¢∂ƒ∏ KTC 23% A' ∆√ª√™ ∞°°§√∂§§∏¡π∫√ §∂•π∫√ µ' ∆√ª√™ ∂§§∏¡√∞°°§π∫√ §∂•π∫√ - ∂∫¢√™∂π™ MANDESON

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∏ Lingua Franca Û˘ÓÔÌÈÏ› Ì ÙË ƒ¤Ó· ª·ÚÙ˙Ô‡ÎÔ˘¶··ÁˆÚÁ›Ô˘, π‰ÈÔÎÙ‹ÙÚÈ· ∫¤ÓÙÚÔ˘ •¤ÓˆÓ °ÏˆÛÛÒÓ Î·È ¢ËÌÔÙÈ΋ ™‡Ì‚Ô˘ÏÔ ÛÙÔ ¢‹ÌÔ µ‡ÚˆÓ·

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∞Ó·ÙÚÔ‹ ¶›ÛÙ„· ˆ˜ Ô ÎfiÛÌÔ˜ fiÏÔ˜ ‹ÛÔ˘Ó ÂÛ‡ Î·È ˆ˜ Ë ˙ˆ‹ ‹Ù·Ó Ë Ô›ËÛË. ŒÊ˘Á˜... ÎÈ ¤ÂÛ ÙÔ ıÂ̤ÏÈÔ ·’ ÙÔÓ ‡ÚÁÔ ÙÔ˘ ·‡ÚÈÔ. ªÔ‡Û΄· Ì ‰¿ÎÚ˘· ÙȘ ÂÏ›‰Â˜ ÌÔ˘. ∆ÒÚ·, Ô ÎfiÛÌÔ˜ ı· ’Ì·È ÂÁÒ!

ƒ¤Ó· ¶··ÁˆÚÁ›Ô˘

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20%

20%

KTC 23% LE DICO CD ROM ∂∫¢√™∂π™ ∆∂°√™

KTC 35% +¢øƒ√

35%

CONSISE HYPER LEXICON KTC 23% ENGLISH-GREEK ∂∫¢√™∂π™ ™∆∞ºÀ§π¢∏ NOUVEAU +¢øƒ√ ∆√ CD ROM DICTIONNAIRE HERMES FRANÇAIS - GREC KTC 20% & GREC - FRANÇAIS ∂∫¢O™∂π™ T.ROSGOVAS KTC 20%

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

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20%

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10%

DIZIONARIO ITALIANO - GRECO & GRECO - ITALIANO EDIZIONI PRIMUS

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KTC 23% π∆∞§√∂§§∏¡π∫√ §∂•π∫√ ∂∫¢√™∂π™ MANDESON

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KTC 23%

KTC 23%

fi ÙËÓ È‰ÈfiÙËÙ¿ ÌÔ˘ ˆ˜ ÂÎÚÔÛÒÔ˘ ÙÔ˘ ¢‹ÌÔ˘, ·ÏÏ¿ Î·È ·˘Ù‹˜ Ù˘ ¶ÚÔ¤‰ÚÔ˘ Ù˘ ÌË Î˘‚ÂÚÓËÙÈ΋˜ ÔÚÁ¿ÓˆÛ˘ °˘Ó·ÈÎÒÓ “¶·Ó·ıËÓ·˚΋ µ‡ÚˆÓ·”. £· ηٷ‚¿Ïψ οı ÚÔÛ¿ıÂÈ· ÂÚÁ·˙fiÌÂÓË ÛÎÏËÚ¿, ÒÛÙ ӷ Û˘Ì‚¿Ïψ ÛÙÔ Ì¤ÙÚÔ ÙÔ˘ ‰˘Ó·ÙÔ‡ ÛÙÔ˘˜ ÙÔÌ›˜ Ù˘ ·È‰Â›·˜ Î·È ÙÔ˘ ÔÏÈÙÈÛÌÔ‡ ÁÈ· ÌÈ· ÔÈÔÙÈ΋ ˙ˆ‹ ÛÙËÓ fiÏË Ì·˜».

(∞fi ÙËÓ ÔÈËÙÈ΋ Û˘ÏÏÔÁ‹ Ù˘ ƒ¤Ó·˜ ª·ÚÙ˙Ô‡ÎÔ˘-¶··ÁˆÚÁ›Ô˘ «∆Ú·ÁÔ‡‰È· ÙÔ˘ ÊÂÁÁ·ÚÈÔ‡» - ‚’ ¤Î‰ÔÛË)

H ÔÈfiÙËÙ· Î·È ÔÈ ÙÈ̤˜ Ù˘ ™˘ÏÏÔÁ‹˜ §ÂÍÈÎÒÓ ºÏˆÚ¿˜... ‰ÂÓ ÌÂÙ·ÊÚ¿˙ÔÓÙ·È! ¢È·‰ÒÛÙ ÙÔ Î·È ÛÙÔ˘˜ Ì·ıËÙ¤˜!

∏§∂∫∆ƒ√¡π∫√ §∂•π∫√ ∞°°§√∂§§∏¡π∫√∂§§∏¡√∞°°§π∫√ ÃÀ™∏ ∂∫¢√™∏ MAGENTA LE PETIT ROBERT 2006 KTC 15%

∞°°§√∂§§∏¡π∫√ & ∂§§∏¡√∞°°§π∫√ §∂•π∫√ ∂∫¢√™∂π™ ¶∂§∂∫∞¡√™

— ¶ÔÈ· Â›Ó·È Ù· ÂfiÌÂÓ· Û¯¤‰È¿ ÛÔ˘, ÂÊfiÛÔÓ Ì ÙÔ Î·Ïfi Â·ÓÂÎÏÂÁ›˜; «∂¿Ó ÔÈ Û˘Ó‰ËÌfiÙ˜ ÌÔ˘ Ì ÙÈÌ‹ÛÔ˘Ó Î·È ·˘Ù‹ ÙË ÊÔÚ¿ Ì ÙËÓ „‹ÊÔ ÙÔ˘˜, Ê˘ÛÈο Î·È ı· Û˘Ó¯›Ûˆ Ó· ÚÔÛʤڈ ·fi ÔÔÈ·‰‹ÔÙ ηÈÓÔ‡ÚÈ· ı¤ÛË ÌÔ˘ ‰Ôı›. ∂Èı˘ÌÒ Ó· Â›Ì·È ¿ÓÙ· ÎÔÓÙ¿ ÛÙÔ ·È‰› Î·È ÙË Á˘Ó·›Î·, ̤۷ ·-

20%

KTC 10%

KTC 23%

+¢øƒ√

°EPMANIKA §∂•π∫A GRIECHISCH DEUTSCH & DEUTSCH GRIECHISCH LANGENSCHEIDTS

I™¶ANIKA §∂•π∫A

20%

15%

20%

20%

KTC 15%

KTC 20% ∞ãÙfiÌÔ˜ ∂§§∏¡√°∂ƒª∞¡π∫√ µãÙfiÌÔ˜ °∂ƒª∞¡√∂§§∏¡π∫√ ∂∫¢√™∂π™ MANDESON KTC 23% °∂ƒª∞¡√∂§§∏¡π∫√ & ∂§§∏¡√°∂ƒª∞¡π∫√ GROSS ∂∫¢√™∂π™ ™π¢∂ƒ∏

∂∫¶∆ø™∏ KOSMOS TEACHER’S CLUB

KTC 23%

∞’ ÙfiÌÔ˜ π™¶∞¡√∂§§∏¡π∫√ µã ÙfiÌÔ˜ ∂§§∏¡√´™¶∞¡π∫√ ∂∫¢√™∂π™ ª∂¢√À™∞ ™À°Ãƒ√¡√ ∂§§∏¡√´™¶∞¡π∫√ & π™¶∞¡√∂§§∏¡π∫√ §∂•π∫√ ∂∫¢√™∂π™ √§Àª¶π∞ KTC 23%

20%

35%

COLLINS SPANISH DICTIONARY BIG KTC 35%

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RAFTING - ¶ƒ∂µ∂∑∞ M ÌÂÁ¿ÏË ÂÈÙ˘¯›· ÔÏÔÎÏËÚÒıËÎÂ Ë 1Ë ŒÎıÂÛË ÍÂÓfiÁψÛÛÔ˘ ‚È‚Ï›Ô˘ Î·È ÂÔÙÈÎÒÓ Ì¤ÛˆÓ Ô˘ ‰ÈÔÚÁ¿ÓˆÛÂ Ô Û‡ÏÏÔÁÔ˜ PALSO ¶Ú¤‚Â˙·˜ - §Â˘Î¿‰·˜ ÛÙË ÁÚ·ÊÈ΋ ¶Ú¤‚Â˙· ÙËÓ K˘Úȷ΋ 4 IÔ˘Ó›Ô˘ 2006. ™ÙËÓ ÂÈÙ˘¯›· Ù˘ ¤ÎıÂÛ˘ Û˘Ó¤‚·ÏÏÂ Ë ÌÂÁ¿ÏË Û˘ÌÌÂÙÔ¯‹ ÂÈÛÎÂÙÒÓ – ÌÂÏÒÓ ÙÔ˘ ÙÔÈÎÔ‡ Û˘ÏÏfiÁÔ˘ ÌÂÏÒÓ Û˘ÏÏfiÁˆÓ ÙˆÓ ÁÂÈÙÔÓÈÎÒÓ ÓÔÌÒÓ. TÔ ‰È‹ÌÂÚÔ ÙˆÓ ÂΉËÏÒÛÂˆÓ ÏËÓ Ù˘ ¤ÎıÂÛ˘, ÂÚÈÂÏ¿Ì‚·Ó (ÙÔ ™¿‚‚·ÙÔ 4 IÔ˘Ó›Ô˘ 2006) Î·È ÂΉÚÔÌ‹ ÛÙ· T˙Ô˘Ì¤Úη Ì rafting ÛÙÔÓ ÕÚ·¯ıÔ ÔÙ·Ìfi (·’ fiÔ˘ Î·È Ù·

ÛÙÈÁÌÈfiÙ˘·) Ô˘ ‰ÈÔÚÁ¿ÓˆÛ Ì ÂÈÙ˘¯›· Ë ‰Ú·ÛÙ‹ÚÈ· Úfi‰ÚÔ˜ ÙÔ˘ Û˘ÏÏfiÁÔ˘ M·Ú›· ¶··‚·ÛÈÏ›Ԣ. OÈ Ù˘¯ÂÚÔ› Ù˘ ÂΉÚÔÌ‹˜ ‰È·Ó˘ÎÙ¤ÚÂ˘Û·Ó ÙËÓ ¶·Ú·Û΢‹ ÛÙÔÓ ·Ú·‰ÔÛÈ·Îfi ÍÂÓÒÓ· «M·ÚÔ˘ÛÈÒ» ÛÙË PÔ‰·˘Á‹ ÕÚÙ·˜ (800 ̤ÙÚ· ˘„fiÌÂÙÚÔ) ·’ fiÔ˘ fiÏÔÈ Ì·˙› ÙÔ ™¿‚‚·ÙÔ ÙÔ Úˆ› ÍÂΛÓËÛ·Ó ÁÈ· Ù· T˙Ô˘Ì¤Úη. H ˆÚ·›· ·˘Ù‹ ÂΉÚÔÌ‹ ¤ÎÏÂÈÛ Ì ‰Â›ÓÔ ÙÔ ™¿‚‚·ÙÔ ÙÔ ‚Ú¿‰˘ Û ·Ú·ÏÈ·Îfi ÂÛÙÈ·ÙfiÚÈÔ Ù˘ ¶Ú¤‚Â˙·˜ fiÔ˘ ̤ÏË ÙÔ˘ Û˘ÏÏfiÁÔ˘-ÂÎı¤Ù˜ Î·È Ê›ÏÔÈ Â›¯·Ó ÙËÓ Â˘Î·ÈÚ›· Ó· Á¢ÙÔ‡Ó ÊÚ¤ÛÎÔ „¿ÚÈ Î·È ÙÔÈÎÔ‡˜ ÌÂ˙¤‰Â˜.

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 !

Cybercide There is nothing particularly new about the idea of a suicide pact, but some recent reports from Japan have put a modern spin on the subject by drawing attention to the way that Internet chatrooms have been used to facilitate such arrangements. The reports talk about computer-arranged suicides as cybercide, using a word formed by combining the prefix cyber- (which denotes computers) with the suffix -cide (which denotes killing). Sticklers for consistency will immediately spot a problem with this coinage. If ‘regicide’ means ‘killing a king’ and ‘matricide’ means ‘killing one’s mother’, shouldn’t ‘cybercide’ mean ‘killing a computer’? And indeed it is possible to find the word ‘cybercide’ used in precisely this way, often by frustrated computer users threatening to hurl their malfunctioning PCs out of upper-floor windows. It might be more apposite to use the word cybersuicide to describe Internet-related suicides. However, language does not always conform to logical patterns, and it may be that the shorter, snappier word will find favour if such behaviour ever becomes a common subject of discussion.

Textonym When the sending of text messages first became popular, commentators noted with interest how the new medium discarded vowels and inessential consonants and embraced the use of numbers, abbreviations and acronyms. ‘Great’ became ‘GR8’, ‘text message’ became ‘txt msg’ and the traditional ‘RSVP’ became ‘tmb’ (text me back). Then came predictive text, a technology which enables users to hit a key on the phone’s keypad just once for each letter, with the phone predicting which word is intended. Hitting 228, for example, brings up the word ‘act’. Predictive text has meant the decline of hyperabbreviated txt spk and brought words back into vogue. However, many keycombinations correspond to several different words. The combination 228, for example, could also be used to text ‘cat’ or ‘bat’, while 86483 represents both ‘vogue’ and ‘unite’. These ‘text synonyms’ have been dubbed textonyms (or even txtonyms) and texters may have to work through a menu of them before alighting on the word they intended to write. Texters soon discovered that textonyms could be both

Source: Chambers Wordwatch Column Editor: Lawrence Mamas (Betsis ELT) [email protected] amusing and curiously apt. It has been pointed out that the key-combination 5477 leads to both ‘lips’ and ‘kiss’; 328 can be ‘eat’ and ‘fat’; 686 can be ‘mum’ and ‘nun’; and drinkers revel in the fact that ‘pint’, ‘shot’ and ‘riot’ are textonyms (all 7468). There have even been reports of teenagers now using the word ‘book’ as a synonym for ‘cool’ because phones suggest ‘book’ as the first choice for the combination 2665. How book is that?

Fratire By now, most people will have heard of ‘chick lit’, the umbrella term for those ubiquitous novels, dressed in showy jackets, whose themes of boyfriends and shopping

cater to the perceived obsessions of young women. However, the news from the front in the literary battle of the sexes is that the blokes have been fighting back. In the USA, guys are penning books that are just for guys, reflecting certain of their own interests in tales dominated by drunkenness and casual relationships, with liberal dashes of fighting added for good measure. The New York Times has recently put a name to the genre: fratire. A blend of ‘fraternity’ and ‘satire’, the term ‘fratire’ is unlikely to ring quite true in Britain, where images of drunken debauchery in college fraternity houses are familiar only from American movies. Although Britain has produced some attempts at ‘lad lit’, neither the idea nor the term have really caught the public imagination, possibly because when Nick Hornby and Tony Parsons write about the problems of being a man in modern Britain, their writing appeals just as readily to ‘chicks’ as ‘lads’. It is doubtful, however, whether women will find quite as much to interest them in fratire, a genre that boasts books with such titles such as The Modern Drunkard and I Hope They Serve Beer in Hell.

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M·ıËÙÔÎÂÓÙÚÈÛÌfi˜ ÛÙËÓ ‰È‰·Ûηϛ· ÙˆÓ IÙ·ÏÈÎÒÓ Î·È ÙˆÓ IÛ·ÓÈÎÒÓ °ÈÒÙ· K·¿ÙÔ˘, ÂΉfiÙÚÈ· Î·È ‰È¢ı‡ÓÙÚÈ· ÙÔ˘ ÂΉÔÙÈÎÔ‡ Ô›ÎÔ˘ Primus Ô˘ ‰Ú·ÛÙËÚÈÔÔÈÂ›Ù·È ÛÙÔ ¯ÒÚÔ ÙÔ˘ ÈÙ·ÏÈÎÔ‡ Î·È ÈÛ·ÓÈÎÔ‡ ‰È‰·ÎÙÈÎÔ‡ ‚È‚Ï›Ô˘, ÌÈÏ¿ÂÈ ÛÙËÓ Lingua Franca ÁÈ· ÙËÓ ÔÚ›· Ù˘ ÛÙÔÓ ¯ÒÚÔ ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ.

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K· K·¿ÙÔ˘, Â›Ó·È ÁÓˆÛÙfi fiÙÈ ¤¯ÂÙ ÌÈ· Ì·ÎÚfi¯ÚÔÓË Î·È ÂÈÙ˘¯Ë̤ÓË ·ÚÔ˘Û›· ÛÙÔ ¯ÒÚÔ Ù˘ ÂÎ·›‰Â˘Û˘, ˆ˜ ‰È¢ı‡ÓÙÚÈ· ÙˆÓ Û¯ÔÏÒÓ IÙ·ÏÈÎÒÓ-IÛ·ÓÈÎÒÓ K·¿ÙÔ˘. ¶Ò˜ ‚ϤÂÙ ÙËÓ ÂͤÏÈÍË ÙˆÓ «¿Ïψӻ ÁψÛÛÒÓ ÛÙËÓ ÂÏÏËÓÈ΋ ·ÁÔÚ¿, Û ۯ¤ÛË Ì ÙËÓ ÂÈÎÚ¿ÙËÛË Ù˘ ·ÁÁÏÈ΋˜; H ÚˆÙÔηı‰ڛ· Ù˘ ·ÁÁÏÈ΋˜ Â›Ó·È ‰Â‰Ô̤ÓË. ¶¿ÓÙ· ı· ˘¿Ú¯ÂÈ ¯ÒÚÔ˜ fï˜ Î·È ÁÈ· ¿ÏϘ ÁÏÒÛÛ˜ ÛÙËÓ ÂÏÏËÓÈ΋ Î·È Â˘Úˆ·˚΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·, fiˆ˜ ‰È·ÌÔÚÊÒÓÂÙ·È Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·. H ÈÙ·ÏÈ΋ ÁÏÒÛÛ· ÂÍ·ÎÔÏÔ˘ı› Ó· ÎÚ·Ù¿ÂÈ, ·Ú¿ ÙËÓ ÎÚ›ÛË, ÙË ı¤ÛË Ù˘ ˆ˜ ÁÏÒÛÛ· ÙÔ˘ ÂÌÔÚ›Ô˘, ÙÔ˘ ÙÔ˘ÚÈÛÌÔ‡, Ù˘ Ù¤¯Ó˘ Î·È ÙÔ˘ ÔÏÈÙÈÛÌÔ‡. A’ ÙËÓ ¿ÏÏË ÏÂ˘Ú¿ Â›Ó·È ·Ó·ÌÊÈÛ‚‹ÙËÙË Ë ·ÓÔ‰È΋ ÔÚ›·, ÙÔ Î‡ÚÔ˜ Î·È Ô ‰˘Ó·ÌÈÛÌfi˜ Ù˘ ÈÛ·ÓÈ΋˜ ÁÏÒÛÛ·˜ Û ‰ÈÂıÓ¤˜ Â›Â‰Ô Î·È Ë ·ÓÙ·Ó¿ÎÏ·Û‹ ÙÔ˘˜ ÛÙË ¯ÒÚ· Ì·˜. £ÂˆÚÒ, Ù¤ÏÔ˜, fiÙÈ ÛÙÔ ‚Ú·¯˘ÚfiıÂÛÌÔ Ì¤ÏÏÔÓ Î·È ÌÈ· ÌË Â˘Úˆ·˚΋ ÁÏÒÛÛ·, Ë ÎÈÓÂ˙È΋, ÚfiÎÂÈÙ·È Ó· ‰ÈÂΉÈ΋ÛÂÈ ‰˘Ó·ÌÈο ¤Ó·Ó ÈÛfiÙÈÌÔ ÚfiÏÔ ÛÙËÓ EÏÏ¿‰· Î·È ÙËÓ E˘ÚÒË. ŸÛÔÓ ·ÊÔÚ¿ ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ¤˜ Û·˜

™·˜ ¤¯Ô˘Ì ·ÎÔ‡ÛÂÈ Â·ÓÂÈÏËÌ̤ӈ˜ Ó· ·Ó·Ê¤ÚÂÛÙ ÛÙËÓ ·Ú¯‹ ÙÔ˘ «Ì·ıËÙÔÎÂÓÙÚÈÛÌÔ‡» ˆ˜ ‚¿ÛË Ù˘ ÊÈÏÔÛÔÊ›·˜ Û·˜. TÈ ·ÎÚÈ‚Ò˜ ÂÓÓÔ›Ù Ì ·˘Ùfi; K·Ù¿ ÙÔ Û¯Â‰È·ÛÌfi Î·È ÙËÓ ·Ú·ÁˆÁ‹ ÙˆÓ ‚È‚Ï›ˆÓ Ì·˜ ¤¯Ô˘Ì Ͽ‚ÂÈ Î˘Ú›ˆ˜ ˘fi„Ë ÙÔ ÚÔÊ›Ï ÙÔ˘ ¤ÏÏËÓ· Ì·ıËÙ‹ Ì ÙȘ ȉȷÈÙÂÚfiÙËÙ˜ Î·È ÙȘ ÂÈÎÔÈÓˆÓȷΤ˜ ·Ó¿ÁΘ ÙÔ˘ ¤¯ÔÓÙ·˜ ˆ˜ ΤÓÙÚÔ ÙÔ˘ ÂӉȷʤÚÔÓÙfi˜ Ì·˜ ÙÔÓ ›‰ÈÔ ÙÔ Ì·ıËÙ‹, ·ÎÔÏÔ˘ıԇ̠‰ËÏ·‰‹ ÙËÓ ·Ú¯‹ ÙÔ˘ ‘Ì·ıËÙÔÎÂÓÙÚÈÛÌÔ‡’. T·˘Ùfi¯ÚÔÓ·, Ï·Ì‚¿ÓÔ˘Ì ˘fi„Ë ÙȘ ÚԉȷÁڷʤ˜ ÁÈ· ÙȘ ÁÏÒÛÛ˜ ÙÔ˘ Û˘Ì‚Ô˘Ï›Ô˘ Ù˘ E˘ÚÒ˘, fiˆ˜ ηٷÁÚ¿ÊÔÓÙ·È ÛÙÔ ‰ËÌÔÛ›Â˘Ì¿ ÙÔ˘, ÁÓˆÛÙfi ‰ÈÂıÓÒ˜ ‰ÈÂıÓÒ˜ Ì ÙË Û˘ÓÙÔÌÔÁÚ·Ê›· CEF (Common European Framework). £ÂˆÚԇ̠ˆ˜ Â›Ó·È ÙÂÚ¿ÛÙÈÔ ÏÂÔÓ¤ÎÙËÌ· ÁÈ· ¤Ó· ‚È‚Ï›Ô Ó· ¤¯ÂÈ ‰ÔÎÈÌ·ÛÙ› ÚÈÓ ÂΉÔı› Û Ú·ÁÌ·ÙÈΤ˜ Û˘Óı‹Î˜, Ì Ú·ÁÌ·ÙÈÎÔ‡˜ Ì·ıËÙ¤˜ (Piloting), οÙÈ ÙÔ ÔÔ›Ô ·ÔÙÂÏ› ··Ú·›ÙËÙË ÚÔ˘fiıÂÛË Ù˘ ‰Ô˘ÏÂÈ¿˜ Ì·˜. M ¿ÏÏ· ÏfiÁÈ· ‰ÂÓ ·Ú¿ÁÔ˘Ì ÂÎ·È‰Â˘ÙÈÎfi ˘ÏÈÎfi ·ÔÎÔÌ̤ÓÔÈ ·fi ÙË ‰È‰·ÎÙÈ΋-Û¯ÔÏÈ΋

ÛÙÔÓ ÂΉÔÙÈÎfi ÙÔ̤·, ÙÈ Û·˜ Ô‰‹ÁËÛ ӷ ·Û¯ÔÏËı›ÙÂ Î·È Ì ÙÔ ·ÓÙÈΛÌÂÓÔ ·˘Ùfi; TÔ 1989 ‰ËÌÈÔ˘ÚÁ‹Û·Ì ÙÔÓ ÂΉÔÙÈÎfi Ô›ÎÔ Primus ÁÈ· Ó· ηχ„Ô˘Ì ¤Ó· ÌÂÁ¿ÏÔ ÎÂÓfi Ô˘ ˘‹Ú¯Â ÛÙËÓ ÂÏÏËÓÈ΋ Ú·ÁÌ·ÙÈÎfiÙËÙ·, fiÛÔÓ ·ÊÔÚ¿ ÙÔ ÈÙ·ÏÈÎfi ‰È‰·ÎÙÈÎfi ‚È‚Ï›Ô, Ì ٷ˘Ùfi¯ÚÔÓÔ ÛÙfi¯Ô Ó· Û˘Ì‚¿ÏÔ˘Ì ÛÙË ÌÂÁ·Ï‡ÙÂÚË ‰È¿‰ÔÛË Ù˘ ÈÙ·ÏÈ΋˜ ÁÏÒÛÛ·˜. MÂÙ¿ ·fi ÌÈÎÚfi ¯ÚÔÓÈÎfi ‰È¿ÛÙËÌ· ÎÚ›Ó·Ì ÛÎfiÈÌÔ Ó· ÍÂÎÈÓ‹ÛÔ˘Ì ÙËÓ ·Ú·ÁˆÁ‹ ‚È‚Ï›ˆÓ ÁÈ· ÙË ‰È‰·Ûηϛ· Î·È ÙË ‰È¿‰ÔÛË Î·È Ù˘ ÈÛ·ÓÈ΋˜ ÁÏÒÛÛ·˜ fiÔ˘ ˘‹Ú¯Â Ú·ÁÌ·ÙÈο ÙÂÚ¿ÛÙÈ· ·Ó¿ÁÎË ‰Â‰Ô̤Ó˘, Ú·ÎÙÈο, Ù˘ ·Ó˘·ÚÍ›·˜ Â·ÚÎÒÓ ÂÁ¯ÂÈÚȉ›ˆÓ.

Ú·ÁÌ·ÙÈÎfiÙËÙ·. ¶ÔÈÔÈ ·Ú¿ÁÔÓÙ˜ Û·˜ ˆıÔ‡Ó Î¿ı ÊÔÚ¿ ÛÙË ¤Î‰ÔÛË ÂÓfi˜ Ó¤Ô˘ ‚È‚Ï›Ô˘; ¶ÚÈÓ ·ÔÊ·Û›ÛÔ˘Ì ÙËÓ ¤Î‰ÔÛË Î¿ÔÈÔ˘ ηÈÓÔ‡ÚÁÈÔ˘ ‚È‚Ï›Ô˘ Ì·˜ ÌÂÏÂÙ¿Ì ÙȘ ÌÂÙ·‚·ÏÏfiÌÂÓ˜ ·Ó¿ÁΘ ηıËÁËÙÒÓ Î·È ÛÔ˘‰·ÛÙÒÓ. ¶ÚÔÛ·ıÔ‡ÌÂ, ¤ÙÛÈ, Ó· ·ÓÙ·ÔÎÚÈıԇ̠۠·˘Ù¤˜ Ì Ӥ˜ ÂΉfiÛÂȘ ‹ Î·È ÚÈ˙Èο ·Ó·Óˆ̤Ó˜ Â·ÓÂΉfiÛÂȘ ÙˆÓ ÛÂÈÚÒÓ Î˘Ú›ˆÓ Î·È ‚ÔËıËÙÈÎÒÓ ‚È‚Ï›ˆÓ, ÏÂÍÈÎÒÓ Î·È ˘ÔÛÙËÚÈÎÙÈÎÔ‡ ˘ÏÈÎÔ‡ ÙÔ˘ ÂΉÔÙÈÎÔ‡ Ì·˜ Ô›ÎÔ˘. N· ÙÔÓÈÛÙ› ÛÙÔ ÛËÌÂ›Ô ·˘Ùfi fiÙÈ ¤Ó·˜ ·fi ÙÔ˘˜ ·ÚÈÔ˘˜ ÛÙfi¯Ô˘˜ Ì·˜ Â›Ó·È Ë ÂÈÙ˘¯›· ÙˆÓ Ì·ıËÙÒÓ Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó Ù· ‚È‚Ï›· Ì·˜ ÛÙȘ ÂÍÂÙ¿ÛÂȘ ÙˆÓ ‰È¿ÊÔÚˆÓ

‰ÈÏˆÌ¿ÙˆÓ ÁψÛÛÔÌ¿ıÂÈ·˜ Î·È Ë ˘ÔÛÙ‹- Ú¤ÂÈ, fi¯È ÌfiÓÔ Ó· ·Ú·ÎÔÏÔ˘ıԇ̠ÙȘ ÂÚÈÍË ÙˆÓ Î·ıËÁËÙÒÓ ÁÈ· Ó· ʤÚÔ˘Ó ÂȘ ¤- ÍÂÏ›ÍÂȘ ÛÙÔ ¯ÒÚÔ Ì·˜, ·ÏÏ¿ Ó· ›̷ÛÙ ·ÚfiÓÙ˜ Ì ÚˆÙÔÔÚȷΤ˜ Ú·˜ ÙÔ ¤ÚÁÔ ÙÔ˘˜. ø˜ ÂÎ Î·È Î·ÈÓÔÙfi̘ ȉ¤Â˜, ÙÔ‡ÙÔ˘, ·Ú·ÎÔÏÔ˘ıԇ̠Ú·ÎÙÈο ÂÊ·ÚÌfiÛÈ̘. ÛÙÂÓ¿ fiϘ ÙȘ ÂÍÂÏ›ÍÂȘ H ÈÙ·ÏÈ΋ ÁÏÒÛÛ· O ÛÙfi¯Ô˜ Ì·˜ ·˘Ùfi˜ ·Î·È ÛÙÔ ¯ÒÚÔ Ù˘ ÈÛÙÔÂÍ·ÎÔÏÔ˘ı› Ó· ÎÚ·Ù¿ÂÈ, ÔÎÙ¿ Û¿Úη Î·È ÔÛÙ¿ ˆ˜ Ô›ËÛ˘ ÙˆÓ ÈÙ·ÏÈÎÒÓ Î·È ÛÎÏËÚ‹˜ Î·È ÙˆÓ ÈÛ·ÓÈÎÒÓ. ·Ú¿ ÙËÓ ÎÚ›ÛË, ÙË ı¤ÛË ·ÔÙ¤ÏÂÛÌ· ÌÂıÔ‰È΋˜ ÂÚÁ·Û›·˜ ÂÓfi˜ ŸÙ·Ó ۯ‰ȿ˙Ô˘ÌÂ, ÏÔÈÙ˘ ˆ˜ ÁÏÒÛÛ· ÙÔ˘ ¿ÚÙÈ· ÂÈÛÙËÌÔÓÈο ηfiÓ, ¤Ó· ‚È‚Ï›Ô ‰ÂÓ ¤¯Ô˘Ì η̛· ·ÌÊÈ‚ÔÏ›· ÁÈ· ÂÌÔÚ›Ô˘, ÙÔ˘ ÙÔ˘ÚÈÛÌÔ‡, Ù·ÚÙÈṲ̂ÓÔ˘ ÂÈÙÂÏ›Ԣ ηıËÁËÙÒÓ-Û˘ÁÁڷʤˆÓ ÙËÓ ·Ô‰Ô¯‹ ÙÔ˘ Î·È ÛÙËÓ Ù˘ Ù¤¯Ó˘ Î·È ÙÔ˘ ÙÔ˘ ÂΉÔÙÈÎÔ‡ Ô›ÎÔ˘ ÂÈÙ˘¯›· ÙÔ˘. ¶Ò˜ ‚ϤÂÙ ÙËÓ ÂͤÏÈPrimus, Ô˘ ‚·Û›˙ÂÙ·È ÛÙË ÔÏÈÙÈÛÌÔ‡. Í‹ Û·˜ ÛÙËÓ ‰‡ÛÎÔÏË ·ÁÔÛ˘Ó¯‹ ÂÓË̤ڈÛË Î·È ÂÚ¿ ÙÔ˘ Û‹ÌÂÚ· Î·È ÙÔ˘ ·‡ÈÌfiÚʈÛË, ÛÙË ¯Ú‹ÛË ÚÈÔ; ÙˆÓ ÈÔ Û‡Á¯ÚÔÓˆÓ ÌÂıfi‰ˆÓ Ù˘ ÁψÛÛԉșÎÔfi˜ Ì·˜ Â›Ó·È Ó· ‰È·ÙËÚԇ̠˘„ËÏ‹ ‰·ÎÙÈ΋˜ ηÈ, Ù·˘Ùfi¯ÚÔÓ·, ÛÙË ÌÂÁ¿ÏË ‰È‰·ÔÈfiÙËÙ· Û οı ÙÔ̤· Ù˘ ·Ú·ÁˆÁÈ΋˜ ÎÙÈ΋ ›ڷ Ô˘ ¤¯ÂÈ ·ÔÎÙËı› ÛÙȘ ™¯ÔϤ˜ ‰È·‰Èηۛ·˜. H ÊÈÏÔÛÔÊ›· Ì·˜ Â›Ó·È fiÙÈ K·¿ÙÔ˘.

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16 ood teachers are said to have an elusive quality called ‘presence’. But where to begin to develop this quality? This article suggests some ideas for building the kind of teacher skills that come across in the classroom as ‘presence’.. First of all, we can learn to develop our presence by reflecting on our own experience as teachers and, by becoming aware of our strengths and weaknesses, perhaps learn to build on the former. We can also learn from those teachers who seem to have relatively greater success with classes than other teachers. Here is what a teacher with a reputation for 'presence' said about discipline in her class: "I had to get their attention in the way I spoke, what I said, the way I moved and so on. The last thing I wanted was to be seen as just another boring old teacher. The thing was to create an atmosphere which said we’re having a good time together ... I didn’t claim to be perfect. If I didn’t know the answer to any of their questions, I’d admit it." (Teacher in a private language school) Research into teacher morale has shown that teachers working in supportive environments are far less

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Professional Development “I rush from one lesson to the next and I hardly ever get the chance to talk to other teachers. It’s a lonely job”

Luke Prodromou and Lindsay Cladfield likely to burn out. If you are finding it difficult to cope with your students, it might be time to start looking outside the classroom for help. Remember: you are not alone! You are not alone We make some suggestions on how you can deal with difficulties collaboratively: from the simplest to the more elaborate, from the immediate solution of a particular problem to the longer term investment in your own development. Read on! It is a pity to miss out on what others have thought about the problems you may be experiencing. Reading lessens our feeling of being alone and also begins to build the knowledge on which new skills can be built. So don't try and reinvent the wheel and, of course, don't believe that reading alone will solve

all the problems. But taking an interest in the subject, its theory, practice and development, is itself a form of teacher development. Books on ELT and language learning may just help you to see things from a different angle and make a fresh start. In the end, this interest in your work shines through and communicates itself to students as enthusiasm, which research has shown is a prime factor in successful teaching. Finally, reading about our teaching problems and the interesting research that has been done into these problems may even inspire us to engage in our own

classroom-based research. This is an excellent way of growing more confident, more professional and more enthusiastic – which in the long run are the best remedies for many of the difficulties we face in class. *** The long-term solution – if there is one – to the difficulties faced by many teachers lies in your hands, in your mind and in your own experience. This article is about building up your confidence and skills in collaboration with others in a similar situation and taking responsibility for your own development. When he was in his 80s, the great Spanish painter Goya said ‘I am still learning’. Perhaps we teachers can learn from great artists and by making learning and development a life-long process we can perhaps make our teaching just a little bit like a work of art.

Discuss the problem in the staff room One of the best places to start dealing with difficulties outside the classroom is the staffroom. Between classes or at the beginning of the day is a good time. ñ Ask other teachers informally how they deal with different problems. ñ Share techniques that have worked with your colleagues. ñ Listen to and be supportive of your colleagues, too. It is crucial to avoid the downward spiral into endlessly complaining about students – sadly all too common in staffrooms. Arrange a teacher meeting If you do find you are not alone in having trouble with a class or an aspect of teaching (large classes, homework never getting done, etc), a less informal exchange may be called for. ñ Organise a teacher meeting to discuss it more formally. ñ Draw up a new code of behaviour to be established in the school, or a set of suggestions on how to manage the problem. It is always best if you have support of management, and their participation, for this kind of initiative.

17 Set up a workshop Apart from encouraging teachers to get together for discussion, you can also: ñ Organise a workshop to address a particular difficulty. ñ Invite an outside teacher trainer or speaker to deliver the workshop. ñ Lead the workshop yourself. The outcome of a workshop should be a practical activity (or activities) that teachers can go and try out in their classes ‘tomorrow’ or ‘on Monday morning’. Set up a swapshop An alternative idea is a swapshop, where everybody brings ideas relating to a certain theme (e.g. "more speaking in English" or "judicious use of L1") and presents them to the group. ñ Bring up some ideas yourself to begin with to get things started. ñ Have the group appoint someone to take notes and to write up the main points of the meeting. This role, of course, should be rotated. The very fact of sharing makes the process of developing as a teacher less judgemental and threatening. The more teachers can be involved in this exchange the more

democratic it is and the less ‘competitive’. "Star teachers" are replaced by good members of a team, who note that outstanding teaching practice depends on the work done by others. Organise a teacher development group All of the ideas mentioned so far can be brought together and synthesised over a longer period of time by the formation of a Teacher Development Group. The aim of such a group is decidedly not to ‘train’ teachers and assess their abilities but to create a sharing, supportive context in which teachers can grow together. Here are some ideas to get you started: ñ Set up a teacher development group with the established aim of discussing and sharing teaching techniques. ñ Try to find a regular time and place to hold a get-together. ñ Focus on a different area each time. ñ Set the first theme yourself and do some background reading to get things started. ñ Find an article from a professional magazine or journal and distribute it a few days before the meeting.

ñ Discuss articles and issues brought up by the group in the light of what you have read and/or your own experience. The atmosphere and ethos of such a group is, by definition, nonjudgmental and exploratory.

excellent way of ‘not feeling alone’. Watch a colleague teach Do you have a colleague who is renowned for excellent classroom management or discipline? Have you always wondered how they do it? You’ll learn a lot from seeing another teacher in action – and it is something that teachers don’t get to do that often. ñ Ask to sit in on their class once. ñ Conduct an informal interview, before and after, and listen to how that teacher explains his or her success. But we don't have to limit ourselves to "good" teachers. It is often said that observing a bad lesson can teach us as much as observing a good lesson. This is a bit like saying ‘I didn’t like the film but it made me appreciate the films I do like’. ñ Get away from the idea that we watch other people at work, whether teachers or not, in order to judge them. ñ Change the framework and mind-set of observation to something like ‘I am observing in order to understand the mechanics of teaching, in all its rich and subtle variety; how one thing we do in class has an impact on another’.

Ask a colleague to watch you teach If you have been having trouble with a particular class, try asking a colleague you trust and respect to come and watch you teach (assuming of course this is possible, time-wise). ñ Tell your colleague what you would like them to look out for (e.g. opportunities to have students speak, transitions between activities, moments when ‘disruption’ or lack of attention occur). ñ Ask your colleague to make notes but not interrupt the class. ñ Find some time to share views and ideas about the class when it is over. For most teachers, being observed is one of the most nerve-wracking experiences we have to go through. This is a great pity as it is also one of the best ways of discovering what kind of teacher we are: it helps get away from the ‘lone ranger’ view of teaching – knowing ourselves is difficult without the fresh view an outside observer brings – and it is an

In observing other teachers we are learning to see more clearly what teaching is all about. Exchange classes Assuming always that this is possible, why not exchange classes one day with a colleague who is teaching at the same time as you? This tactic may also be useful in moments of stress with a particular class – it gives both sides a chance to calm down and reflect – and even appreciate the strong points of the other side. ñ Get together after the class and compare notes. How did the class go? ñ Make suggestions for each other. Suddenly having to face another group of students is another potentially refreshing process and a way of improving the way we see both teachers and learners. ––––––––––––––– Luke Prodromou has a PhD from the University of Nottingham. He is the author of Smash (A-D), published by Macmillan. Lindsay Clandfield is a teacher and teacher trainer in Spain. He is the author of Straightforward, published by Macmillan ™˘Ó¤¯ÂÈ· ÛÙÔ ÂfiÌÂÓÔ

COLLINS DICTIONARIES SUPER ¶ƒ√™º√ƒ∞! ∆· ÏÂÍÈο Collins ÚÔÛʤÚÔ˘Ó ÛÙÔ˘˜ ÛÔ˘‰·ÛÙ¤˜ Ù˘ Û‡Á¯ÚÔÓ˘ ∞ÁÁÏÈ΋˜ Ï‹ÚË Î·È ÏÂÙÔÌÂÚ‹ Î¿Ï˘„Ë Ù˘ ÁÏÒÛÛ·˜ Ì ۷ʋ Î·È Î·Ù·ÓÔËÙfi ÙÚfiÔ. Collins Gem Greek-English & Greek-English Pocket Dictionary

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18 his years EALTA conference, May 19-21, (European Association for Language Testing and Assessment) was held in Krakow, Poland and again, like last year, it was the perfect opportunity to combine learning with pleasure. Taking a week off was just what any doctor would have recommended for an overworked body and soul, and I did just that. The theme of the Conference and the presentations was “Bridging the Gap between theory and Practice”. In my opinion, a very practical and real problem. The Keynote speaker, Professor Charles Alderson, of

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Both an Academic and Tourist view of the EALTA Conference in Krakow Poland May 19-21, 2006 Sylvia Kar reports from Krakow Lancaster University very aptly posed questions concerning the gap between teaching and language testing. He questioned whether or not theory could learn from practice and if it were necessary for everything to be applicable to the realities of tomorrow and why couldn’t theory just help us to understand rather than be applicable?

Maybe the answer here is that theorists and practitioners are remote from everyday practice. This would mean that there is an enormous gap between language teaching and testing, but where? It is between theory and practice or the ideal and the real? My conclusion was that there is reality which means gaps between what we teach versus what is learned or tested. He also addressed the problem of how the element of a test takers culture, age, world knowledge and experience, his need for taking the specific test, and his experience in taking various types of tests all play a role in the final outcome meaning the test taker’s grade. Of equal importance are the level of education of the test taker and his social standing since all this adds to his experience and world knowledge. On the other side of the scale we

have the element of how well trained testing teachers really are. How many times have your students/candidates come out of an examination and told you that the examiner told us we couldn’t take notes in the listening section when we all know for a fact that this is allowed. Or, the examiner gave us 5 minutes less than the allotted time?

No less important is the relevance of available books to the level and needs of the students sitting any examination. Also of interest and very important to Greek reality was the presentation by Constance Tsangari of Lancaster University. Ms. Tsangari talked about “Linking Textbook Materials to Exam Specifications.” I could go on and give a short resume of all the presentations but I won’t. If you are interested it’s all on the net on the EALTA site. From a tourist’s point of view ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 30

READERS

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Graded Readers: a Great Way to Get Students Reading More Bill Bowler reminds us of the benefits of extensive reading and takes a fresh look at how to use graded readers both in and out of the classroom. Why Don’t We Do it? Extensive reading is a wonderful way for students to build up their confidence in English. It’s less stressful than listening, where often the words seem to whizz by on the cassette or CD. With reading, students can go at their own pace and they can go back to the start of a sentence or paragraph and read it again if they didn’t understand it the first time. Unlike the listener, the reader is in full control of the reading experience. Extensive reading is also an effective way for students to expand their vocabulary. Every story has its own core words which get recycled throughout. This means extensive reading is ideal for acquiring new lexis-words always appear in context, and there is a constant remeeting of core items as the story progresses, which helps consolidate vocabulary in the long-tern memory store. The third great advantage of extensive reading is to introduce an alernative reality into the classroom. This can be extremely useful with English classes whose members already know each other very well, for example secondary school classes. Getting students to take on a character from a story they’ve just read and ask and answer questions in role, is certainly more interesting than students asking and answering personalised questions to which they already know the answers. So, if extensive reading is such a good thing, why don’t we get our students to do more of it? There are two main reasons, in my experience: ñ We find it hard to choose authentic texts that are appropriate for our students to read. (Just because a book is right for native speakers of a certain age to read, it doesn’t follow that it will be right for EFL classes of the same age). ñ We find it hard to fit lots of extensive reading time into a week’s timetable. (After all, students must learn grammar, vocabulary and other skills during English classes too). Graded Readers The newest generation of fullcolour graded readers can certainly

help make reading a more build motivation before students read other vampire stories such as appealing proposition. These read: Dracula or seen any films or TV ñ A cover-based preview of the books have been specially written, programmes about vampires. In or specially adapted from existing book, particulary useful with an this way you can encourage stories, with the EFL, student in original reader, such as The Instudents to pool class knowledge mind. This means: Crown. Get students to look at the about the rules of vampire fiction ñ You can easily choose graded picture on the front cover, together (how people become vampires, texts which are appropriate to your with the back blurb (the teasing how to recognise a vampire, what student’s level and age. text on the back cover which vampires like or dislike and how to ñ Students can read graded describes the start of the story). kill one). Then ask students to predict —in readers without needing a lot of Good Reading Habits external support from the teacher pairs or small groups— what they or a dictionary in order to cope think is going to happen in the rest Apart from building up whith difficult new language. It’s of the story. motivation, there are a number of therefore easier to get students to ñ Introduce students —using artwork and brief descriptions— to other things the teacher can do to read independently outside class promote good reading habits. time. the main characters who will Naturally good readers usually: Some graded readers are appear in the story, and perhaps some story events and information ñ make predictions about story simplified versions of existing content from stories, many the word go. of which are ñ modify current film their or TV titles. predictions as For example, they go on the Scholastic ∆Ô Ó¤Ô ÂÚÈÔ‰ÈÎfi ÁÈ· ÙÔ˘˜ ∫·ıËÁËÙ¤˜ ∞ÁÁÏÈÎÒÓ ! reading the ELT readers ∫¿ı Ù‡¯Ô˜ ÙÔ˘ ÂÚÈÔ‰ÈÎÔ‡ New Standpoints Â›Ó·È ÁÂÌ¿ÙÔ story. series Ì ÏÔ‡ÛÈÔ ‰È‰·ÎÙÈÎfi ˘ÏÈÎfi Ô˘ Û·˜ ÁÏ˘ÙÒÓÂÈ ¯ÚfiÓÔ Î·È ñ skim over includes titles ÂÚÈÏ·Ì‚¿ÓÂÈ : new words such as Billy ñ¢Ú·ÛÙËÚÈfiÙËÙ˜ Î·È È‰¤Â˜ ÁÈ· fiϘ ÙȘ Ù¿ÍÂȘ ∞ÁÁÏÈÎÒÓ, they meet Elliot, fiÏˆÓ ÙˆÓ ÂÈ¤‰ˆÓ and are Batman ñ¶Ï‹ÚË lesson plans content to Begins, ñ20 ÛÂÏ›‰Â˜ ʈÙÔÙ˘‹ÛÈÌÔ˘ ˘ÏÈÎÔ‡ . understand Catwoman ñ12 ÂÍ·ÈÚÂÙÈο ¿ÚıÚ· Û οı Ù‡¯Ô˜ Û·˜ ‚ÔËıÔ‡Ó Ó· their general and Buffy the ›ÛÙ ¿ÓÙ· ÂÓËÌÂڈ̤ÓÔÈ ÁÈ· ÙȘ Û‡Á¯ÚÔÓ˜ ‰È‰·ÎÙÈΤ˜ meaning in Vampire ÌÂıfi‰Ô˘˜ Î·È Ù¿ÛÂȘ ÁÚ·Ì̤ӷ ·fi ÙÔ˘˜ Â·ÁÁÂÏ̷ٛ˜ context, in Slayer. The ÙÔ˘ ·ÁÎfiÛÌÈÔ˘ ELT . ñ∞Û΋ÛÂȘ Listening Ô˘ Û˘Óԉ‡ÔÓÙ·È ·fi cd . order to get advantage of ∞˘ıÂÓÙÈΤ˜ Û˘ÓÂÓÙ‡ÍÂȘ Î·È ·ÎÔ˘ÛÙÈÎfi ˘ÏÈÎfi Ô˘ on with the using a Û˘ÓÔ‰Â‡Ô˘Ó Ù· ¿ÚıÚ· Ô˘ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È. story. familiar We can use character or °›ÓÂÙÂ Û˘Ó‰ÚÔÌËÙ¤˜ ÙÒÚ· ! different story is clearclassroom students 4 Ù‡¯Ë ÌfiÓÔ c 37,00 ! techniques to know Super ¶ÚÔÛÊÔÚ¿ : ªÂ οıÂ Û˘Ó‰ÚÔÌ‹ Standpoints , encourage all something ÎÂÚ‰›˙ÂÙ ̛· Û˘Ó‰ÚÔÌ‹ ÛÙÔ ÂÚÈÔ‰ÈÎfi Current , ·Í›·˜ c 26,40 students, not about them just the most already in the ¶ÏËÚÔÊÔڛ˜ : ∆ËÏ. 210-5232621 apt, to do mother about the setting of the story too. these things. tongue, and so reading a whole This way the students have some book in English will not be such a basic orientation to the story from Breaking Things Down daunting experience. Also, if you the very start. Ask students to have a DVD of the film or TV predict what happens between the These days, for young learners, show in question, you can show a characters. (The “People and exposed to DVDs, CD-ROMs and scene from it to get students to Places” pages at the start of the colourful computer environments pool class knowledge about the Scholastic ELT readers offer from an early age, reading a blackmain character and to build up useful “before reading” material. and-white book can seem interest in the story before they Classroom exploitation tips and unattractive. Many younger read. It can also be an interesting students are losing the ability to task to get students to compare the background information are provided in the downloadable concentrate on a book for a long filmed version and the book teacher’s notes for each title, too). time. version of a selection of scenes. ñ Ask students to talk in a A good way to solve attention span Other graded readers are original, personalised way about the theme problems is to give all students in specially written stories, such as of the book. For example, before the class the same book to read The In-Crowd an DJ Ambition in students read the story DJ chapter by chapter. This breaks a the Scholastic ELT series. The Ambition, you could ask members daunting task into more advantage of an original graded managealbe “chunks”. reader is that the plot is comlpetely of the class to talk about their own Once students have finished unknown. The students are not just ambitions. ñ Ask students to talk about other reading the first chapter, bring rereading a familiar story in stories in the same genre. For them together in class to compare English. example, before reading a Butty impressions. Get them to look the Vampire Slayer book, you Motivating Students back at their earlier predictions, could ask students if they have Here are four top techniques to since their ideas may have changed

NEW STANDPOINTS

as the plot has developed. Weak students will find chapter three of a story very difficult to follow if they haven’t understood the general point of chapters one and two. They are likely to go progressively ”off track” as they work their way through a book, unless they are brought back “on track” in some way. It is therefore extremely useful for weaker students to pool their understanding of the story so far with stronger students in a class discussion at the end of every chapter. These kind of between-chapter discussions can be solely teacherled oral work, but they are in my view much more effective when based on written prompt questions. (The downloadable chapter-by-chapter resource sheet activities and the self-study activity questions which come at the back of the Scholastic ELT graded readers are ideal for this purpose). Vocabulary You can pre-teach some before students start a graded reader, or activate it at regular intervals between chapters. Vocabulary gapfill exercises (where you ask students to complete gapped sentences wiht the correct lexical items) are a good way to check students have grasped the meaning of new vocabulaty items. If necessary, allow them to use dictionaries for support as they do these exercises. However, it’s important also to encourage students to understand as much as possible without using a dictionary. Looking up every second word breaks the reading flow and can end up turning reading into a bore and a chore. Students should get used to a certain amount of fuzzy understanding when they read extensively in English. Encourage students to make a note of new words as they come up, but not to look up those words in the dictionary at that point. Instead ask them to try to work out possible meanings or translations of the new vocabulary items from context and to note these down before getting on with reading. When a student finishes a chapter, allow them to lool up in a dictionary one or two of the words they noted down to check if their guesses were correct. In this way, students soon realise they can often satisfactorily deduce ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 26

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La prepararación de exámenes de español como lengua extranjera Iñaki Tarrés, Sergio Prymak I.C. de Varsovia Part B’ En resumen, los dos factores más determinantes de todo el examen son el factor tiempo, y el factor soledad. Téngase en cuenta que una completa y actualizada información sobre el examen puede contribuir, entre otras cosas, a paliar las dificultades de tipo emocional, fundamentalmente el estrés generado por este tipo de situaciones, que se presentan a la hora de enfrentarse al examen. A continuación haremos un resumen de las pruebas y de sus dificultades más importantes. La primera prueba: Comprensión de lectura Esta prueba consiste en que el candidato demuestre que entiende textos de distinto tipo. Para ello se le presentan cuatro textos. Las características sintácticas de los textos, según los análisis realizados sobre cinco modelos, no supone una excesiva complejidad: hay pocas

apariciones del presente de subjuntivo, las oraciones de relativo se circunscriben a las adjetivas y sustantivas, los párrafos no son especialmente largos, el número de palabras no suele superar las 450. La dificultad léxica consiste sobre todo en términos específicos y en un nivel más o menos formal/escrito, pero no abundan los sustantivos abstractos ni la terminología técnicas del tema que trate el texto. Normalmente se trata de textos adaptados. La tipología de textos está definida por el Instituto Cervantes en su página Web. Para demostrar la comprensión de dichos textos el candidato tiene que responder a 12 preguntas que se refieren a aspectos más o menos generales del texto, 3 preguntas por texto, de dos tipos: de verdadero/falso, o de tres opciones para elegir la respuesta correcta según el texto. Considerando teóricamente un reparto equitativo de los 60 minutos disponibles, se puede

establecer que tiene 15 minutos para cada texto. Aunque la habilidad evaluada es la lectora, y para realizarla tendrá que leer los textos, en la práctica la tarea consiste en responder a unas preguntas concretas, y es ésa quizá la principal dificultad de la prueba, encontrar en el texto la información necesaria para saber si la pregunta es verdadera o falsa, o a cuál de las opciones corresponde lo que dice el texto. La transformación del texto en la pregunta puede pasar por un cambio de enfoque, una estructura sintáctica diferente o el uso de sinónimos. Esta transformación supone una serie de relecturas atentas tanto del texto como de las preguntas. Se puede dar el caso del candidato que, aunque entiende el texto, no consigue dar con la respuesta pues no est· acostumbrado a este tipo de transformaciones. La búsqueda de la frase o frases o el párrafo que contienen la información necesaria para

responder a las preguntas suponen una serie de lecturas y relecturas y tipos distintos de lectura que es importante practicar pues pueden llevar al candidato m·s tiempo del que el candidato dispone para esta prueba. La segunda prueba: Expresión escrita En esta prueba el candidato deberá escribir dos textos de entre 150 y 200 palabras cada uno: una carta personal y una composición de tono narrativo, descriptivo, o de opinión. Para ello, el candidato dispone de 60 minutos. Se le ofrecen dos situaciones para cada tipo de texto, de las que tiene que elegir una. Dispone de una hoja de borrador. Téngase en cuenta, en este sentido, que el uso de la hoja de borrador para escribir un primer texto que luego se pasa a limpio supone estar escribiendo cuatro textos. Un uso inapropiado de dicha hoja en relación con el tiempo disponible

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puede llevar a no poder entregar los textos definitivos. La dificultad principal de esta prueba pasa por dos factores. Por un lado, el candidato deberá seguir al pie de la letra todas y cada una de las instrucciones, es decir, que el tipo de texto en cuanto a registro, situación, relación con el remitente, funciones comunicativas que debe expresar (invitar, disculparse, describir un lugar, expresar opiniones, etcétera), est· muy definido previamente, y no debe salirse de esos límites. Por otro lado, no es una situación real, tiene que interiorizar las instrucciones pero crear un texto propio. Es decir, tiene que oscilar entre una situación muy reglamentada y una necesidad de creatividad para satisfacer una situación que se presenta como real (por ejemplo, escribir una carta de invitación). Existe un tercer factor asociado a los dos anteriores que puede contribuir a la dificultad de la tarea, o cuanto menos a realizarla de forma insatisfactoria, y que tiene mucho que ver con algo que afecta al examen en su totalidad: ya lo hemos t r a t a d o anteriormente, las creencias de los candidatos. Muchos candidatos tienen la tendencia a extralimitarse en esta prueba y a intentar hacer cosas que no se le piden, o a hacerlas desmesuradamente, o a intentar dar una imagen de originalidad, creatividad, inteligencia, que no es necesario dar. Es una tendencia que puede observarse también en la prueba de expresión oral, aunque menos, y que quiz· tienen que ver con la necesidad de garantizar un resultado exitoso, cuando en la práctica lo que puede suceder es lo contrario, pues escribir m·s de lo estrictamente necesario puede provocar situaciones arriesgadas en las que

se cometan más errores de los que se hubieran cometido manteniéndose en los límites de lo solicitado en la instrucción. Por ello, es importante leer bien las instrucciones y seguirlas tal cual aparecen. Es necesario hacer una aclaración en relación con los tiempo: aunque el tiempo disponible es de 60 minutos para cada una de las dos primeras pruebas, en la pr·ctica se administran juntas, con lo que el candidato puede organizarse en función de sus propias habilidades. Si es m·s diestro buscando información en un texto, puede reservar más tiempo a la escritura, y viceversa.

incompletos con 2 opciones, donde sólo una es la correcta (ejercicio de gramática); c) 20 diálogos incompletos con 4 opciones, donde sólo una es la correcta (ejercicio de gramática). Respecto al primer ejercicio, la dificultad es doble. El candidato no sólo deberá ser capaz de reconocer la opción correcta, sino de hacerlo en relación con el texto. Es decir, indirectamente es también una prueba de lectura. En el segundo ejercicio la dificultad se refiere al conocimiento lingfióstico del idioma.

La tercera prueba: Comprensión Auditiva En esta prueba la tarea es semejante a la de Comprensión de lectura en cuanto a número y tipo de textos –que suelen ser m·s cortos–, y en cuanto a las preguntas. La diferencia está en que los textos, de una tipología algo distinta, se escuchan, en concreto dos veces, y no se leen. Los procesos de transformación del texto en pregunta son semejantes. Se dispone de dos minutos para contestar. Es probablemente la prueba m·s estresante, en especial para candidatos de idiomas alejados del español fonéticamente. La audición no se puede detener en ningún momento ni se puede oír más de dos veces. En ese tiempo, y mientras suena el texto, el candidato tiene que ir leyendo las preguntas del cuadernillo de preguntas y seleccionando la respuesta correcta, comparando información, frases ligeramente diferente o sinónimos. El estrés de la prueba es la principal dificultad, la exigencia de concentración absoluta, la capacidad para representarse información transmitida por canal auditivo que no se puede retener, apresar, detener. Esta sensación se agudiza cuando encontrar la respuesta correcta depende de la capacidad para reconocer y aislar determinados fragmentos del texto, o más aún, determinadas palabras.

La quinta prueba: Expresión oral Esta prueba consiste en una conversación entre el candidato y una persona del tribunal (compuesto por dos personas). Tiene tres tareas: a) describir y contar una historia que se presenta en forma de dibujos, al final se representa (hay que improvisarlo) la última viñeta de esa historia; b) presentar un tema previamente preparado; c) una conversación con el entrevistador a propósito del tema presentado. La dificultad de esta prueba tiene que ver con la creatividad, en el mismo sentido de la prueba de Expresión escrita, pero también con un factor que hasta cierto punto es más de tipo personal que lingüístico: la improvisación. La creatividad la necesitará para desarrollar un tema impuesto del que a priori no tiene por qué tener alguna opinión formada ni experiencia previa. Téngase en cuenta que los temas se redactan dentro de una cultura y sociedad concretas, y que los temas de interés de esa sociedad no tienen por qué coincidir con los de otras sociedades, por lo que bien puede pasar que se trate de temas que social, e incluso personalmente, no supongan un estímulo para la conversación, cuyo objetivo es, sino al contrario un obstáculo. El candidato necesitará improvisar especialmente a la hora de representar una de las escenas que aparecen en el dibujo que previamente, y sin preparación, habrá tenido que describir.

La cuarta prueba: Gramática y vocabulario En esta prueba, el candidato tendrá que realizar dos ejercicios. En el primero encontrará un texto incompleto. Hay 20 huecos con tres opciones por cada hueco. Tiene que elegir la opción que completa correctamente el texto. El contenido es de vocabulario o gramatical. En el segundo ejercicio encontrar· una serie de diálogos breves que pueden tener tres tipos de mecánica: a) 10 diálogos con una palabra o expresión destacada para la que hay que elegir una opción entre tres (ejercicio de vocabulario); b) 10 diálogos

Conclusiones La pregunta clave puede formularse de esta manera: ¿qué tiene que hacer realmente el candidato en cada prueba para aprobar el examen? Esta pregunta deberá guiar toda la preparación, pues ésta no puede consistir en aumentar el nivel de lengua del candidato. Como decíamos más arriba, un examen de estas características pretende establecer si una persona dispone de un nivel concreto de lengua. Es decir, ya sabe leer ese tipo de textos, ya sabe escribir ese tipo de cartas y conoce las diferencias entre iniciar y empezar o

el uso de ser o de estar en determinados contextos, y se le va a pedir que haga una serie concreta de cosas, delimitadas en función de la manera de evaluar los resultados. Por tanto, la preparación deberá centrarse en todas aquellas tareas que tendrá que realizar durante el examen, o en las que puedan ayudarle a realizarlas mejor o más rápidamente. Este criterio parece fundamental a la hora de diseñar materiales o cursos de preparación. No es cuestión, probablemente, de leer muchos textos, sino de acostumbrarse a buscar información específica en textos, a trabajar con sinónimos, a interpretar o a definir ideas centrales en un texto, a través por ejemplo de resúmenes, y comprar todo eso con tres opciones propuestas. Otro criterio importante es el de intentar reproducir lo más fielmente posible las condiciones del examen, en cuanto a individualidad y temporización se refiere. A ser posible, las actividades durante los cursos de preparación deberán realizarse individualmente, excepto los que corresponden a la prueba oral, en los que se necesita a otra persona para realizar simulaciones de entrevistas, aunque se pueda compartir el análisis de cómo se ha realizado la actividad. Y por otro lado, será necesario tener muy en cuenta el tiempo necesario para realizarlas. Acostumbrarse a medir el tiempo, a establecer planes de acción, a calcular dificultades diferentes y proyectar un orden de realización de las tareas, son todas ellas estrategias de organización que pueden contribuir, al disminuir la tensión y el estrés, a realizar con éxito una tarea concreta, un examen. Y finalmente, el tercer criterio fundamental de la preparación tiene que ver con la información, con disponer de una información real, fiable y actualizada. Los ejercicios que se hagan durante las preparación tienen que reproducir fielmente los del examen, tanto en características morfosintácticas y léxicas como en nivel de dificultad, y para ello es necesario hacer un análisis objetivo y complejo del examen. Además, el candidato tiene que tener una visión real de sus propias posibilidades, para poder gestionar sus propios recursos lingüísticos, cognitivos y emocionales, con el fin de que el examen no se convierta en una tortura que al final pueda m·s que el propio candidato. El manual firmado por este autor junto con cuatro profesores del Instituto Cervantes, El Cronómetro, manual de preparación del DELE (Nivel Intermedio) sigue básicamente esos criterios, proponiendo un material útil tanto para el uso individual del candidato, como para el de cursos de preparación.

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“How does the geographical place and culture intervene in the way children acquire the foreign language?” Dr.Theodora Papadopoulou [email protected]

e all know what language is since we acquired it early in life. There are societies which do not have a written language, but there is no society which does not have a spoken language. A general definition characterizes language as a system of arbitrary vocal symbols by means of which members of a society interact with one another. ‘Language’ cannot be considered to exist alone, ‘in a vacuum’, [H.H + E.V. Clark (1977)]. It is influenced by other systems in the human mind; its structure and function must reflect ideas that are conveyed. According to H.H + E.V. Clark, every human language must be susceptible of: 1. Being learned by children. 2. Being spoken and understood by adults easily and efficiently. 3. Embodying the ideas people normally want to convey. 4. Functioning as a communication system in a social and cultural setting. Once language has been learned, it holds a power all its own. It would be true to say that it influences and shapes many aspects of our daily lives. There are two fields of study, linguistic universals and linguistic relativity . The principals of the terms can be explained as follows: If languages are moulded partly by the ideas, processing capacities and social factors everyone has in common, then the languages should have particulars features in common - i.e. linguistic universals, for example, as people in all cultures need to refer to objects, every language has nouns. However, languages are also moulded by features of thought, technology and culture. Therefore, there will be differences between languages. Considering that language moulds people’s ideas and culture, these language specific

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features ought to lead people who speak different languages to think differently. This is what is known as linguistic relativity. It is proved that language influences people’s very perception and organisation of the world. To understand how language may be connected with other cognitive abilities, it is necessary to examine language universals, which are specific not just to language, but are derived from the human capacity to perceive, categorise and socialise. As A. Wierzbicka states, what people ‘perceive’ is what their bodies tell them about the world. In other words, the language we speak possibly suggests or even determines the way we perceive the world. Knowing a language A language consists of sounds and words. Knowing a language means knowing that certain sound sequences signify certain meanings. While speaking in our first language comes to us in a natural manner, speaking in another language past our childhood often requires some conscious effort in recognizing, identifying, producing, combining, and using the sounds of that language. In order to learn the sounds of another language, the following three steps are highly useful: imitation, repetition, comparison and contrast of the sound or their combinations

being learned with the sound or sounds of your first language. How children learn the language It is interesting to consider how children build up semantic fields of words for various

conceptual domains. Semantic fields begin to be built from a child’s first words. They start over-extending their words at the age of 2-6 . The learning of words by a child is a natural process which is 'seeded' by the form of the elementary words that it first hears. The child is naturally programmed to develop a consistent language of some kind but the environment determines which language this should be. Every word in any language is a

product of history and culture. Words carry features of culture and a careful analysis and understanding of these features reveal how a society has built its own world view. Language learning strategies Language learning strategies are specific actions, behaviours, steps, or techniques that the students employ-often consciously-to improve their own progress in internalizing, storing, retrieving, and using the second language. The learning strategies are either direct strategies-memory, cognitive, and compensation – or indirect strategiesmetacognitive, affective, and social strategies -. The use of language learning strategies by students, however, is influenced by many factors such as motivation, gender, cultural background, type of task, age and learning style. Research proved that students of different culture have different learning behaviour. Body differences There are significant differences between races regarding the organs involved in speech. These organs are the tongue, the lips, the teeth, the palate or roof of the mouth, the nose, the glottis, the vocal cords, the lungs and chest muscles. Differences of these kinds lead to different range of sounds by different races. Conclusion The importance of social and cultural influences upon

learning cannot be underestimated. It is hard to separate the learning outcomes of an individual from his/her learning environment. Culture is represented, transmitted and perpetuated by language. Therefore the way children acquire their mother tongue in a specific learning environment determines the way they acquire new languages. All human brains are programmed to learn languages. People are born with millions of brain cells, including millions of them that control language. During the first years of life, the brain cells connect with other cells to form complex pathways. Most of the brain’s language connections are well-established by the age of ten. This is exactly the reason that makes it imperative for children to be exposed to foreign languages at a very early age. Learning a foreign language is a unique and exciting experience. Students should NOT learn only grammar and memorise vocabulary but also learn about the culture of the language they learn. After all language is highly connected to culture. To conclude, I would like to point out that there is no magic recipe for effective teaching. As mentioned before, teachers should bear in mind that learning is influenced by many factors including cultural background and environment. Therefore they should not risk imposing a methodology on students that is opposed to their culture. Despite the differences in the way children all over the world acquire languages one thing is for sure. All students, wherever they are, need teachers who are ready to provide them with unique experiences and introduce them to the culture of the new language. What students need is authenticity, motivation and support.

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Los usos culturales en el aprendizaje de lenguas F. Ernesto Puertas, Asesor did·ctico (EDELSA) n acercamiento didáctico al tratamiento de la cultura en el aula de lenguas extranjeras nos hace ver cada vez con mayor claridad que la necesidad de transmitir conocimientos culturales a la hora de enseñar una lengua facilita el proceso de aprendizaje y el interés del alumno, que de este modo se implica (no sólo desde el punto de vista cognitivo sino también desde su socio-afectividad) en la adquisición de contenidos gramaticales, sintácticos, léxicos, etc. La opción de un alumno al elegir una lengua determinada suele venir determinada en gran medida no sólo por la utilidad que espera dar en el uso a esas habilidades comunicativas que va a desarrollar, sino también al atractivo que siente por la cultura que representan las comunidades lingüísticas que la hablan; por este motivo, resulta imprescindible plantearse (como un incentivo útil para afrontar aspectos más áridos y difíciles) la utilización sistemática de temas culturales, mediante los que el alumno va familiarizándose con los aspectos más llamativos e interesantes de esa cultura en la que, tarde o temprano, va a tener que interactuar. Qué duda cabe de que hay unos conocimientos culturales que el alumno adquirirá a lo largo de su aprendizaje, pero no está tan claro que para los programas educativos los contenidos culturales sean objeto de atención preferente y sistemática, por los problemas que a veces se tienen para acceder a dichos contenidos a través de unidades didácticas en las que no se incluyen apartados específicos así como la carencia de materiales para el tratamiento de estos temas con textos adaptados para la exposición e introducción de temas culturales en las clases de segundas lenguas. Por este motivo, conviene recordar que en los manuales más recientes, pongamos por caso Nuevo Ven, el conocimiento sociocultural constituye un apartado concreto que se trata de forma continua y sistemática, en todos y cada uno de los temas, adaptándose el tema tanto al

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nivel en el que se encuentra el alumno como a la temática que sirve de referencia para la unidad didáctica. De este modo, se abordan aspectos como los hábitos alimenticios, la pintura española, celebraciones como el día de Reyes o el matrimonio, la incorporación femenina al mundo del trabajo, los hábitos de consumo, los programas de televisión, el sistema educativo español, las supersticiones, etc., hasta el punto de que, en algunos casos, se toma como punto de partida para hablar de los sentimientos y para describir estados de ánimo, usando oraciones exclamativas, comparativas condicionales además de repasar los usos y funciones del “se”. Cuando pensamos en cultura, inmediatamente nos inclinamos a referirnos a la literatura y al arte como manifestaciones claramente culturales que pertenecen a una comunidad idiomática, de ahí que a partir de las lecturas graduadas se pueda acceder en un primer momento y desde los niveles iniciales de aprendizaje a las producciones literarias de una lengua1. Del mismo modo, y gracias a su universalidad por tratarse de elementos iconográficos, la pintura y la arquitectura sirven también para facilitar un conocimiento gradual de la cultura o las culturas que representan al país o países en que se comparte la lengua meta que el alumno desea adquirir y en la que paulatinamente va a ir introduciéndose. Por su carácter mixto, icónico y lingüístico, el cine, así como la música, tienen la virtud de ser herramientas útiles para ayudar al estudiante a acelerar su proceso de adquisición de la lengua mediante la familiarización con una serie de elementos que trascienden lo meramente lingüístico para convertirse en elementos comunicativos gracias a la facilidad que a los procesos cognitivos suele propiciar la utilización de aspectos afectivos y sentimentales, habitualmente movilizados por las historias de vida y los entornos significativos en que se desarrollan los productos culturales, es decir, junto con otros conocimientos, históricos

por ejemplo, o gramaticales, léxicos, etc., el alumno va a ir conociendo usos y costumbres así como objetos cotidianos, que se encuentran en la vida de los hablantes diarios, lo que explica en gran medida el mundo mental en que se desenvuelven y viven. A través de la Cultura (con mayúscula) en que se pueden centrar los cursos de cultura y civilización, implícitamente se van a tratar aspectos aledaños que atienden a menudo a la psicología y al universo mental en que se va conformando el hablante como agente social. De ahí que sea recomendable para el profesor atender a esos elementos culturales que aparecen en la clase y que, representativos de lo que podríamos denominar cultura cotidiana (o con minúscula), acercan e introducen al aprendiente de lenguas en el universo cultural que cada lengua representa, sin olvidar que la propia lengua es un elemento cultural facilitador de la transmisión de la cultura. Por este motivo, la misma clase de lengua extranjera no es sino una clase de cultura y de civilización, en la que se atiende a aspectos múltiples y diversos y en la que la dinámica de aprendizaje no consiste en una mera adquisición cognitiva, intelectual o mental, sino que comporta la puesta en práctica de los elementos aprendidos. Una nueva o segunda lengua se aprende para ponerla en práctica, puesto que en caso contrario se convierte en un conocimiento inútil, propenso a ser olvidado y a perderse con enorme facilidad; si a ello sumamos la existencia de motivaciones2 para aprender una lengua frente a otro tipo de conocimientos y habilidades, nos encontramos con que en gran medida el aprendiente desea entrar en contacto con otras formas de entender la vida, con lo que ello supone para el profesor de plantearse la necesidad

de solventar mediante la transmisión de contenidos culturales sistematizados el afán de aprender que subyace a la elección realizada por el alumno. La lengua se aprende y se practica también con un fin lúdico, de diversión en un amplio sentido de la palabra, por lo que este componente de juego y entretenimiento no debe descuidarse al abordar una enseñanza integral y completa de la lengua. Para adquirir la competencia cultural en función de la cual el estudiante de una segunda lengua se sentirá plenamente integrado en el ámbito intercultural que le ofrece la nueva forma de expresarse, nada mejor que el conocimiento de los usos y costumbres sobre los que se estructura la vida cotidiana en aquel o aquellos países en que

va a integrarse para practicar la nueva habilidad comunicativa que ha adquirido mediante el aprendizaje. Habitualmente, el material al que se recurre para realizar una aproximación cultural a los hábitos y costumbres de un país adolece del defecto de haber sido redactado para turistas, viajeros de paso, personas interesadas en lo típico, en lo banal, en lo superficial, en lo falsa y llamativamente denominado folclórico para afianzar una imagen prototípica, tópica, prejuiciado y deformada del país que se visita, en función de intereses que en nada favorecen la comunicación y la comprensión intercultural, por lo que es preciso utilizar materiales didácticos adaptados que no caigan en estos defectos. ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 27

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What it feels like to be dyslexic “On a visit to China I felt outside society. I couldn't understand the written codes around me. Then I understood what it felt like to be severely dyslexic” Liz Brooks, formerly Executive Director, DI “It is a lonely existence to be a child with a disability which no-one can see or understand, you exasperate your teachers, you disappoint your parents, and worst of all you know that you are not just stupid.” Susan Hampshire Past President The Dyslexia Institute.

rhyme? Ages 12 - adult ñ Is s/he sometimes inaccurate in reading? ñ Is spelling poor? ñ Does s/he have difficulty taking notes or copying? ñ Does s/he have difficulty with planning and writing essays, letters or reports?

on purpose ñ S/he may be able to produce very good work one day and the next "trip up over every word". “Off days” are quite common and require extra encouragement and understanding.

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

ñ S/he may be able to arrange the furniture in the classroom very effectively. S/he's very imaginative and skilful with her/his hands ñ S/he may be able to make the best models. S/he's practical ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 30

Some common problems You may think: S/he's not listening ñ S/he may have difficulty in remembering a list of instructions. ñ S/he may have problems getting thoughts together coherently for story or essay writing. ñ S/he may have sequencing problems and may need to be taught strategies to cope/alternative ways of remembering.

Dyslexia Checklist If the answer to most of the following questions is 'Yes' it would be wise to seek advice: All ages ñ Is s/he bright in some ways with a 'block' in others? ñ Is there anyone else in the family with similar difficulties? ñ Does s/he have difficulty carrying out three instructions in sequence? ñ Was s/he late in learning to talk, or with speaking clearly? Ages 7-11 ñ Does s/he have particular difficulty with reading or spelling? ñ Does s/he put figures or letters

the wrong way e.g. 15 for 51, 6 for 9, b for d, was for saw? ñ Does s/he read a word then fail to recognise it further down the page? ñ Does s/he spell a word several different ways without recognising the correct version? Does s/he have a poor concentration span for ñ reading and writing? ñ Does s/he have difficulty understanding time and tense? ñ Does s/he confuse left and right? ñ Does s/he answer questions orally but have difficulty writing the answer? ñ Is s/he unusually clumsy? ñ Does s/he have trouble with sounds in words, e.g. poor sense of

S/he's lazy ñ S/he may have difficulty in organising work and need specific teaching to help her/him. ñ S/he may be able to answer the questions orally but can't write them down. ñ The child may have found that the less s/he writes, the less trouble s/he gets into for making mistakes S/he's not concentrating S/he may have difficulty in copying accurately. This is often because s/he cannot remember chunks but needs to look at each letter, write it, then look at the board again, find the place, and so on... S/he's careless ñ S/he may have very poor handwriting as s/he hasn't sufficient hand skills to control the pencil. S/he's not checking work ñ S/he may spell the same word several different ways if s/he doesn't have the visual memory to know what is right or the kinaesthetic memory for it to feel right as s/he is writing. S/he doesn't look carefully ñ S/he may have a visual memory deficiency and therefore experience difficulty when interpreting symbols. S/he's being awkward / impossible

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You want loyalty? Get a dog!! OÈ «¿ÈÛÙÔÈ» ÂÏ¿Ù˜ ÎÈ ÂÌ›˜ ÔÓ ÂÚ·Ṳ̂ÓÔ IÔ‡ÓÈÔ ‰ÈÂÍ‹¯ıÂÈ ¤Ú¢ӷ ·fi ÙÔ SAS Institute ÛÙËÓ BÚÂÙ·Ó›· ÁÈ· Ó· ‰ÈÂÚ¢ӋÛÂÈ ÙÔ ‚¿ıÔ˜ Ù˘ ÈÛÙfiÙËÙ·˜ ÙÔ˘ ÂÏ¿ÙË. ŒÓ· ÂÓÙ˘ˆÛÈ·Îfi ·ÔÙ¤ÏÂÛÌ· Ù˘ ¤Ú¢ӷ˜ ‹Ù·Ó ˆ˜ ÏÈÁfiÙÂÚÔÈ ·fi ÙÔ ÂÈÎÔÛÈ¤ÓÙ ÙÔȘ ÂηÙfi ÙˆÓ ÂÚˆÙËı¤ÓÙˆÓ Î·Ù·Ó·ÏˆÙÒÓ ‰‹ÏˆÛ·Ó ··Ú¤ÁÎÏÈÙ· ÈÛÙÔ› Û ̛· Âȯ›ÚËÛË ÔÔÈÔ˘‰‹ÔÙ ›‰Ô˘˜. OÈ Î‡ÚÈÔÈ ·Ú¿ÁÔÓÙ˜ Ô˘ ¤‰ÂÈÍ·Ó Ó· ÂËÚÚ¿˙Ô˘Ó ÙËÓ ÚÔÛÎfiÏËÛË Û ̛· Û˘ÁÎÂÎÚÈ̤ÓË Âȯ›ÚËÛË, ‚¿ÛÂÈ Ù˘ ¤Ú¢ӷ˜, ‹Ù·Ó ÔÈ ÂÍ‹˜ : Ë ÙÈÌ‹, Ë Â͢ËÚ¤ÙËÛË ÂÏ¿ÙË Î· Ë ÙÔÔıÂÛ›·.

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ÙÂÚ˜ - ‰˘ÛÙ˘¯Ò˜- ÊÔÚ¤˜ ÔÈ ÔÙÈΤ˜ ÁˆÓ›Â˜ ÂȯÂÈÚËÌ·Ù›·- ÙÔ˘ οı ÂÏ¿ÙË Í¯ˆÚÈÛÙ¿ ¤ÙÛÈ ÒÛÙ ӷ ›̷ÛÙ Û ı¤ÛË Ó· ÙÔ˘ ÚÔÛʤÚÔ˘Ì Â·ÎÚÈ‚Ò˜ ·˘Ùfi Ô˘ ¯ÚÂÈ¿˙ÂÙ·È. ÂÏ¿ÙË ‰È·Ê¤ÚÔ˘Ó. º˘ÛÈο Î·È fiÏÔÈ ÂÛÙÈ¿˙Ô˘Ì ÛÙËÓ ÈηÓÔÔ›ËÛË ÙÔ˘ Â- OÛÔ Î·Ï‡ÙÂÚ· ÚÔÛ·ÚÌÔṲ̂ÓË Â›Ó·È Ë ˘ËÚÂÛ›· Ì·˜ ÛÙȘ Ï¿ÙË. E‰Ò Ë Ï¤ÍË-ÎÏÂȉ› Â›Ó·È ÙÔ «fiÏÔÈ». ™ÙÔ ·ÓÙ·ÁˆÓÈÛÙÈ- ·ÙÔÌÈΤ˜ ·Ó¿ÁΘ ÙÔ˘ ÂÏ¿ÙË Ì·˜ ÙfiÛÔ Èfi ‰‡ÛÎÔÏÔ Â›Ó·È Îfi ÂÚÈ‚¿ÏÏÔÓ Ù˘ ·ÁÔÚ¿˜, Û‹ÌÂÚ· ,Ë Î¿ı Âȯ›ÚËÛË ·) Ó· ÛÙÚ·Ê› Û ·ÓÙ·ÁˆÓÈÛÙ‹ Î·È ‚) ÁÈ· ÙÔÓ ·ÓÙ·ÁˆÓÈÛÙ‹ Ó· ÙÔÓ ÚÔÛÂÏ·ÛÂÈ. ÚÔÛ·ı› Ó· ÈηÓÔÔÈ‹ÛÂÈ ÙÔÓ ÂÏ¿ÙË Ù˘, . MfiÓÔ ¤Ó·˜ fï˜ ·›ÚÓÂÈ ÙÔ «¯Ú˘For each finger Ûfi», ÎÔÈÓÒ˜ ÎÂÚ‰›˙ÂÈ ÙÔÓ ÂÏ¿ÙË. MÂÙ·ÙÚ¤ÔÓÙ·˜ ÙÔÓ ÂÏ¿ÙË ŸÙ·Ó ¯¿ÓÂÙ·È ¤Ó·˜ ÂÏ¿Ù˘ ( ‹ ÂÚÈÛpointed at others, Û AfiÛÙÔÏÔ ÛfiÙÂÚÔÈ), ÔÏϤ˜ ÊÔÚ¤˜ Ë ÚÒÙË ·ÓÙ›there are three more ‰Ú·ÛË Â›Ó·È Ó· ·Ó·˙ËÙËı› Ô ˘·›ÙÈÔ˜ Û EÓ·˜ ÂÏ¿Ù˘ ȉȷ›ÙÂÚ· ÛÙÂÓ¿ Û˘Ó‰Â‰È¿ÊÔÚ˜ ηÙ¢ı‡ÓÛÂȘ. ºÙ·›ÂÈ Ô ·ÓÙ·fingers pointing ‰Â̤ÓÔ˜ Ì ÙËÓ Âȯ›ÚËÛ‹ Ì·˜, ÙÔ˘ ÔÔ›ÁˆÓÈÛÙ‹˜, Ô ÂÏ¿Ù˘, Ô Î·ÈÚfi˜, Ë ÎÚ›ÛË back at you Ô˘ ÙȘ ÚÔÛ‰Ô˘ ··ÓÙ¿ÌÂ Î·È ÂÓ›ÔÙ ÛÙËÓ ·ÁÔÚ¿, Ô ·Ó¿‰ÚÔÌÔ˜ EÚÌ‹˜ Î.·. . ÍÂÂÚÓ¿Ì Á›ÓÂÙ·È ·˘Ùfi Ô˘ ·ÔηÏÔ‡¢ÂÓ ı· Ú¤ÂÈ fï˜ Ó· ͯӿÌ fiÙÈ Ì «AfiÛÙÔÏÔ˜» ( Apostle). H ‰ËÌÈÔ˘Ú“Every time you point a finger at Á›· «AÔÛÙfiψӻ ı· Ú¤ÂÈ Ó· Â›Ó·È Ë someone, there are three more fingers pointing back at you” E›Ó·È ÚÔÙÈÌfiÙÂÚÔ, ÏÔÈfiÓ, Ó· ÎÔÈ- ‚·ÛÈ΋ Ì·˜ ·ÔÛÙÔÏ‹ ˆ˜ ÂȯÂÈÚË̷ٛ˜. OÈ «AfiÛÙÔÏÔÈ» Ù¿ÍÔ˘Ì ÚÒÙ· Î·È Î‡ÚÈ· ̤۷ ÛÙË Âȯ›ÚËÛ‹ Ì·˜ ÚÔ- ı· οÓÔ˘Ó ÂÚÈÛÛfiÙÂÚ· ÁÈ· ÙËÓ Âȯ›ÚËÛ‹ Û·˜, Ì ÙËÓ Î·Û·ıÒÓÙ·˜ Ó· ÂÓÙÔ›ÛÔ˘Ì ٷ ·‰‡Ó·Ù· ÂΛӷ ÛËÌ›· Ù· Ï‹ ÙÔ˘˜ ı¤ÏËÛË Î·È ÙËÓ ÚÔÊÔÚÈ΋ ‰È·Ê‹ÌÈÛË ( word of ÔÔ›· ÌÔÚ› Ó· η٤ÛÙËÛ·Ó ÙÔÓ ÂÏ¿ÙË Ì·˜ ¢¿ÏˆÙÔ ÛÙȘ mouth) ·fi ÔÔÈ·‰‹ÔÙ ¿ÏÏË ÂÓ¤ÚÁÂÈ· marketing ™.º. ™ÂÈÚ‹Ó˜ ÙÔ˘ ·ÓÙ·ÁˆÓÈÛÌÔ‡.

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EÌ›˜ Î·È ÔÈ ÂÏ¿Ù˜ Ì·˜

“ If you watt loyalty - get a dog If you want loyalty and attention get a smart dog Grand Fairely

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EÓ· ¿ÏÏÔ ·ÓËÛ˘¯ËÙÈÎfi Û˘Ì¤Ú·ÛÌ· Ô˘ ÚԤ΢„ ·Ô ÙËÓ ›‰È· ¤Ú¢ӷ Â›Ó·È ˆ˜ Ô˘‰fiψ˜ Û˘Ó‰¤ÔÓÙ·È Ë ÈηÓÔÔ›ËÛË ÙÔ˘ ÂÏ¿ÙË Ì ÙËÓ ÈÛÙfiÙËÙ¿ ÙÔ˘. EÓ· 80 ÂÚ›Ô˘ ÙÔȘ ÂηÙfi ‰‹ÏˆÛ ˆ˜ ¿ÏÏ·Í ·Ó Î·È ‹Ù·Ó ÈηÓÔÔÈË̤ÓÔÈ ·fi ÙËÓ ÚÔËÁÔ‡ÌÂÓË Âȯ›ÚËÛË.

There are three more fingers °È· Ó· ‚ÂÏÙÈÒÛÔ˘Ì ÙË ÈÛÙfiÙËÙ· ÙˆÓ ÂÏ·ÙÒÓ Ì·˜ ¯ÚÂÈ¿˙ÂÙ·È Ó· ı¤ÛÔ˘Ì ÔÏÏ¿ ÂÚˆÙ‹Ì·Ù·, ΢ڛˆ˜ ÁÈ· ÙÔÓ ÙÚfiÔ Ì ÙÔÓ ÔÔ›Ô Ô ÂÏ¿Ù˘ ‚ϤÂÈ ÂÌ¿˜, ‰ÈfiÙÈ ÙȘ ÂÚÈÛÛfi-

O ¯Ú˘Ûfi˜ ηÓfiÓ·˜ Ù˘ ‰È·ÌfiÚʈÛ˘ Ù˘ ·fiÏ˘Ù˘ Û¯¤Û˘ Ì ÙÔÓ ÂÏ¿ÙË Ì·˜ Â›Ó·È Ô ·Ú·Î¿Ùˆ 1. M¿ı ÂÚÈÛÛfiÙÂÚ· ÁÈ· ÙÔÓ ÂÏ¿ÙË ÛÔ˘ ·fi ÔÔÈÔÓ‰‹ÔÙ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈÛÙ‹) 2. N· Â›Û·È ÈÔ ÎÔÓÙ¿ ÛÙÔÓ ÂÏ¿ÙË ÛÔ˘ ·Ô ÔÔÈÔÓ‰‹ÔÙ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈÛÙ‹) 3. N· Û˘Ó‰Âı›˜ Û˘Ó·ÈÛıËÌ·ÙÈο Ì ÙÔÓ ÂÏ¿ÙË ÛÔ˘ ÂÚÈÛÛfiÙÂÚÔ ·Ô ÔÔÈÔÓ‰‹ÔÙ ¿ÏÏÔÓ (·ÓÙ·ÁˆÓÈÛÙ‹) Joe Calloway Becoming a Category of One

¢IMHNIAIA EºHMEPI¢A °IA TON K§A¢O TH™ •ENO°§ø™™H™ EK¶AI¢EY™H™

I‰ÈÔÎÙËÛ›·: °. ¶·¯¿Î˘ - Œ„ÈÏÔÓ °Ú·ÊÈΤ˜ T¤¯Ó˜ EΉfiÙ˘: °. ¶·¯¿Î˘ ¢È¢ı˘ÓÙ‹˜: °. ¶·¯¿Î˘ AÙÂÏȤ: MEMºI™ AE, ™ˆÎÚ¿ÙÔ˘˜ 23, Aı‹Ó·, TËÏ.: 210-5240728 EÎÙ‡ˆÛË: MÔ˘ÎÔ˘‚¿Ï·˜ AE ∂ÈÙÚ¤ÂÙ·È Ë ÌÂÚÈ΋ ‹ ÔÏÈ΋ ·Ó·‰ËÌÔÛ›Â˘ÛË ‹ ÁÈ· ÔÔÈÔÓ‰‹ÔÙ ÏfiÁÔ ¯Ú‹ÛË Ì¤ÚÔ˘˜ ‹ fiÏ˘ Ù˘ ‡Ï˘ Ù˘ ÂÊËÌÂÚ›‰·˜ Ì ··Ú·›ÙËÙË ÚÔ¸fiıÂÛË ÙËÓ ¤ÁÁÚ·ÊË ¿‰ÂÈ· ÙÔ˘ ÂΉfiÙË.

¢ÈÂÚ‡ÓËÛË AÓ·ÁÎÒÓ ÂȘ B¿ıÔ˜ "Prescription before diagnosis is malpractice." ϤÓ ÔÈ ÁÎÔ˘ÚÔ‡ ÙÔ˘ marketing (Î·È ÔÚÈṲ̂ÓÔÈ ÁÈ·ÙÚÔ› ÂÏ›˙ˆ) Î·È Û˘ÓÈÛÙÔ‡Ó ÌÈ· Û ‚¿ıÔ˜ ‰ÈÂÚ‡ÓËÛË ÙˆÓ ·Ó·ÁÎÒÓ

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European Day of Languages 2006 Celebrating linguistic diversity, plurilingualism, lifelong language learning 26 September 2006 he European Day of Languages was created during the European Year of Languages in 2001, a Council of Europe initiative with the European Union. Throughout Europe, hundreds of activities celebrating language diversity and promoting language learning will be held on 26 September. In 2004 nearly 600 events were registered in our online calendar. Celebrating languages means celebrating diversity; speaking to other people in their language means opening yourself to them and breaking down linguistic and cultural barriers. Learning a language is something we can all do regardless of age or education - enthusiasm to communicate is the key to success and even a little knowledge can open doors to new cultures and opportunities. In the family, with friends and colleagues, let 26 September be an occasion for people throughout Europe to practise the hundreds of languages and dialects used on our continent both by Europeans and those of our citizens from other continents. Let us celebrate our diversity and may this special day be the first step towards learning a new language!

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The languages of Europe Estimates vary but there are about 225 spoken indigenous languages. The five languages spoken by most people in Europe are, by number of mother tongue speakers, Russian, German, English, French and Italian. But most European countries operate routinely with several languages. The exceptions are small states such as Liechtenstein and the Holy See (Vatican), and even in these places we find significant use of second languages. The 48 states parties to the European Cultural Convention have around 40 "state" languages and many accord special status to other languages. Most countries have a number of traditionally spoken minority or regional languages. The Russian Federation has by far the highest number of languages spoken on its territory; the number varies from 130 to 200 depending on the criteria. Some regional and minority languages have obtained official status, for example, Basque, Catalan and Galician in the regions of Spain in which they are spoken. Welsh has protective language rights in the United

“ Languages make sense, it is only people who sometimes don't Anonymus

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Kingdom, as does Frisian in the Netherlands and the S·mi languages in Norway, Sweden and Finland. Due to the influx of migrants and refugees from all over the world, Europe has become increasingly multilingual. London, for example, has more than 300 languages spoken as a home language. Most other larger cities, particularly in western Europe, easily have 100-200 languages spoken as mother tongues by their school populations. The

most common languages include Arabic, Berber Turkish, Kurdish, Hindi, Punjabi, and Chinese. However, many of these languages are spoken by small minorities, and their future is under threat. language. Experts have estimated that over this century at least half of the world's languages, and perhaps more, will die out. Within two generations all traces of a language can disappear when children are no longer raised in it. The reasons for giving up a language are manifold, and include the physical destruction (through environmental crisis and disease) of a community or its habitat, active antagonism by political groups, and - the commonest cause - economic and cultural domination by more powerful and prestigious languages. But whatever the reason, the result is the same: the loss to humanity of a unique resource. There is a need to increase popular knowledge and understanding of the diversity of the languages of Europe, and of the factors affecting their maintenance and growth. There is a need to generate a greater

interest in and curiosity about languages. There is a need to enhance linguistic tolerance within and between nations. These are just some of the aims of the European Year of Languages 2001 which is organised by the Council of Europe and the European Union. Internet links Language policy division, Council of Europe: www.coe.int/lang European Centre for Modern Languages of the Council of Europe, Graz: www.ecml.at European Bureau for Lesser Used Languages: www.eblul.org European Language Council: userpage.fu-berlin.de/~elc Ethnologue database (6,700 languages of the world): www.sil.org/ethnologue Eurolang: www.eurolang.net Tongue twisters, with 1842 entries in 75 languages: www.uebersetzung.at/twister Dictionaries (1500 in 230 languages): www.yourdictionary.com How to say "I love you" in various languages: www.worldpath.net/~hiker/ilove you.html

Graded Readers: a Great Way to Get Students Reading More ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 19

meanings of new words without needing to turn to a dictionary every time to check them. By setting a competition between students to see who can use the dictionary the fewest number of times per chapter you can keep dictionary use to a minimum. Reading Out of Class When students are familiar with good reading skills like reading to comfirm predictions and deducing the meaning of new words, they should be able to read more easily outside class time. A good structured way to set up reading out of class effectively is as follows: 1. Self-study: set students to read a chapter at home for homework. 2. Class check: ask students to discuss the story so far in class.

3. Class check/preparation: do some work on new vocabulary. 4. Class preparation: ask students to predict what they think will happen in the next chapter. 5. Self-study: set students to read the next chapter at home for homework. Once your students have got the reading habit, you can abandon the idea of one graded reader for the whole class. Instead, set up a library of different graded reader titles, and allow students to pick a route through it in their own time, according to personal tastes. (They can tick titles off on a graded reader checklist as they finish them so that you can keep track of individual reading speed and progress). Follow-yp Don’t forget to provide some kind

of follow-up tasks for students to do after finishing a graded reader. Here are four follow-up ideas, based on the Scholastic ELT readers series. (They can be adapted for use with other readers series too). ñ Get students to read the “Fact File” pages at the end of the readers. They offer extra thematicallylinked, factually-based reading of different teen-friendly text types, for example: problem pages, letter pages, quizzes, magazine articles giving cultural background to the story. These allow students to relate personally to story themes. ñ Get students working in different groups to write ten comprehension questions about different “Fact File” texts which they can then swap with other groups in order to test their

classmates.ñ Ask students to use the “Fact File” text types as a model for furher written work inspired by the story, for example a problem page with letters written by story characters. ñ Get students to make a record of the new words they have learnt from reading that particulary story. At lower levels this can be a bilingual dictionary - listing the new English words in aplhabetical order, together with parts of speech (n=noun, v=verb, adj=adjective, adv=adverb etc.) and giving the mother-tongue translation of each word. At higher levels, ask students to create their own monolingual English dictionary of the words from the story, giving a simple English definition of each new word, together with an example sentence in English to show the

word works in context. Useful Weblink Go to www.link2english.com for information about the Scholastic ELT readers series, together with downloadable sample chapters, resource sheet activities for students and resource sheet notes for teachers. The article first appeared in New Standpoints, by Mary Glasgow Magazines. Bill Bowler is the author of Pronunciation Activities an coauthor, with Lesley Thompson, of British History Highlights in the MGM/Scholastic Timesaver photocopiable series. He has been interested in graded readers for many years, and is coseries editor of Dominoes readers (Oxford University Press).

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European Language Label ∞ÔÙÂϤÛÌ·Ù· ¢È·ÁˆÓÈÛÌÔ‡ 2005 ÙÔ ¢È·ÁˆÓÈÛÌfi European Language Label 2005 Ô˘ ‰ÈÂÓÂÚÁ‹ıËΠÛÙË ¯ÒÚ· Ì·˜ ˘Ô‚Ï‹ıËÎ·Ó Û˘ÓÔÏÈο ‰ÂηÔÎÙÒ (18) ÚÔÁÚ¿ÌÌ·Ù· ÁÈ· ÎÚ›ÛË ·fi ÙËÓ EÈÙÚÔ‹ AÍÈÔÏfiÁËÛ˘. ŸÏ˜ ÔÈ ÚÔÙ¿ÛÂȘ ÎÚ›ıËÎ·Ó ˆ˜ ÂÍ·ÈÚÂÙÈο ÂӉȷʤÚÔ˘Û˜, ÁÂÁÔÓfi˜ Ô˘ ·Ô‰ÂÈÎÓ‡ÂÈ ÙÔ ÂӉȷʤÚÔÓ ÙÔ˘ ÎfiÛÌÔ˘ Ù˘ ÂÎ·›‰Â˘Û˘ ÁÈ· ‚ÂÏÙ›ˆÛË Î·È ÚÔÒıËÛË Ù˘ ‰È‰·Ûηϛ·˜ Î·È Ù˘ ÂÎÌ¿ıËÛ˘ ÙˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ ÛÙË ¯ÒÚ· Ì·˜. K·Ù¿ ÙËÓ ÙÂÏÂ˘Ù·›· Û˘Ó‰ڛ·ÛË Ù˘ ÂÙ·ÌÂÏÔ‡˜ EÈÙÚÔ‹ AÍÈÔÏfiÁËÛ˘ ÁÈ· ÙÔ ¢È·ÁˆÓÈÛÌfi European Language Label 2005, ·ÔÊ·Û›ÛÙËΠÔÌfiʈӷ fiÙÈ ÂÙ¿ (7) ·fi Ù· ˘Ô‚ÏËı¤ÓÙ· ÚÔÁÚ¿ÌÌ·Ù· ÏËÚÔ‡Ó Ù· ÎÚÈÙ‹ÚÈ· Ô˘ ÔÚ›˙ÔÓÙ·È ·fi ÙËÓ E˘Úˆ·˚΋ EÈÙÚÔ‹. T· ÂÈÏÂÁ̤ӷ ÚÔÁÚ¿ÌÌ·Ù· ı· ‚Ú·‚¢ıÔ‡Ó Ì ÙÔ «™‹Ì· °ÏˆÛÛÒÓ 2005» Û TÂÏÂÙ‹ AÔÓÔÌ‹˜ ÙË ¢Â˘Ù¤Ú· 29 M·˝Ô˘ 2006 Û ÎÂÓÙÚÈÎfi ÍÂÓÔ‰Ô¯Â›Ô Ù˘ Aı‹Ó·˜. O O.E.E.K., ˆ˜ ÊÔÚ¤·˜ ˘ÏÔÔ›ËÛ˘ Ù˘ ‰Ú¿Û˘ Label ÛÙË ¯ÒÚ· Ì·˜, Û˘Á¯·›ÚÂÈ ÙÔ˘˜ ÂÈÙ˘¯fiÓÙ˜, ¢¯·ÚÈÛÙ› ÙÔ˘˜ ÊÔÚ›˜ Î·È Ù· ¿ÙÔÌ· Ô˘ Û˘ÌÌÂÙ›¯·Ó ÛÙÔ ¢È·ÁˆÓÈÛÌfi LABEL 2005 Î·È ÙÔ˘˜ ÚÔÛηÏ› fiÏÔ˘˜ Ó· ˘Ô‚¿ÏÔ˘Ó ÂÎ Ó¤Ô˘ ÚfiÙ·ÛË Û˘ÌÌÂÙÔ¯‹˜ Û ¤Ó·Ó ·fi ÙÔ˘˜ ÌÂÏÏÔÓÙÈÎÔ‡˜ ‰È·ÁˆÓÈÛÌÔ‡˜ Label Ô˘ ı· ÚÔÎËÚ˘¯ıÔ‡Ó. 1. H ÂÎÌ¿ıËÛË Ù˘ Á·ÏÏÈ΋˜ ÁÏÒÛÛ·˜ Û ·È‰È¿ ËÏÈΛ·˜ 6-7 ÂÙÒÓ, ̤۷ ·fi ÙÔ ·È¯Ó›‰È °ÏÒÛÛ·: °·ÏÏÈο, ºÔÚ¤·˜: K¤ÓÙÚÔ °·ÏÏÈ΋˜ °ÏÒÛÛ·˜ «™ÙÂÊ·Ó›-

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‰Ô˘», ŸÓÔÌ· ™˘ÓÙÔÓÈÛÙ‹: KˆÓÛÙ·ÓÙÈÓ›· ™ÙÂÊ·Ó›‰Ô˘, A’ £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: EÎÌ¿ıËÛË ÁψÛÛÒÓ Û Ó·ڋ ËÏÈΛ· 2. M·ı·›ÓÔ˘Ì ‰È·ÛΉ¿˙ÔÓÙ·˜ / Learning through acting: Viens dancer and sing with us tonight °ÏÒÛÛ·: °·ÏÏÈο Î·È AÁÁÏȺÔÚ¤·˜: ο, EÏÏËÓÔÁ·ÏÏÈÎfi KÔÏϤÁÈÔ De La Salle (¢ËÌÔÙÈÎfi – NËÈ·ÁˆÁ›Ô) OÓfiÌ·Ù· Û˘ÓÙÔÓÈÛÙÒÓ: AÏÂÍ¿Ó‰Ú· §·Ô˘Ú›‰Ô˘ & ¶ËÓÂÏfiË ™Ù·˘Ú›‰Ô˘, A’ £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: EÎÌ¿ıËÛË ÁψÛÛÒÓ Û Ó·ڋ ËÏÈΛ· 3. ¶ÚfiÁÚ·ÌÌ· ÂÓ›Û¯˘Û˘ Ù˘ ‰È‰·Ûηϛ·˜ Ù˘ Á·ÏÏÈ΋˜ Ì ÙËÓ ·ÚˆÁ‹ Ù˘ ‰ËÌÈÔ˘ÚÁÈ΋˜ ÁÚ·Ê‹˜ °ÏÒÛÛ·: °·ÏÏÈο, ºÔÚ¤·˜: °˘ÌÓ¿ÛÈÔ T˙ÂÚÌÈ¿‰ˆÓ, §·Û›ıÈ KÚ‹Ù˘, ŸÓÔÌ· ™˘ÓÙÔÓÈÛÙ‹: ¶·Ó·ÁÈÒÙ· K·ÏÔÁÂÚÔÔ‡ÏÔ˘, B’ £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: OÏÔÎÏËڈ̤ÓË ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚȯÔ̤ÓÔ˘

4. TÔ ‚·ÛÈṲ̂ÓÔ Û ÂÚȯfiÌÂÓÔ ÚfiÁÚ·ÌÌ· ÂÈÏÔÁÒÓ ÛÙËÓ ·ÁÁÏÈ΋ ÁÏÒÛÛ· ÁÈ· ÙÂÏÂÈfiÊÔÈÙÔ˘˜ Ì·ıËÙ¤˜

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ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚȯÔ̤ÓÔ˘ 5. TÔ ÂÈÎÔÓÔÁÚ·ÊË̤ÓÔ ‚È‚Ï›Ô ÛÙË ‰È‰·Ûηϛ· Ù˘ ·ÁÁÏÈ΋˜ ˆ˜ ͤÓ˘ ÁÏÒÛÛ·˜: «¶ÂÚÛ¤ÔÏȘ» Ù˘ M¿Ú˙·Ó ™·ÙÚ·› °ÏÒÛÛ·: AÁÁÏÈο, ºÔÚ¤·˜: ¢È‰·ÛηÏÂ›Ô •¤ÓˆÓ °ÏˆÛÛÒÓ ¶·ÓÂÈÛÙËÌ›Ô˘ AıËÓÒÓ, ŸÓÔÌ· ™˘ÓÙÔÓÈÛÙ‹: ¶·Ó·ÁÈÒÙ· ¢ËÌÔÔ‡ÏÔ˘, Bã £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: OÏÔÎÏËڈ̤ÓË ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚȯÔ̤ÓÔ˘ 6. European Union and the Constitution °ÏÒÛÛ·: AÁÁÏÈο, ºÔÚ¤·˜: 4Ô EÓÈ·›Ô §‡ÎÂÈÔ HÚ·ÎÏ›Ԣ AÙÙÈ΋˜, ŸÓÔÌ· ™˘ÓÙÔÓÈÛÙ‹: ¶ÔÏ˘Í¤ÓË ¶··˚ˆ¿ÓÓÔ˘, B’ £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: OÏÔÎÏËڈ̤ÓË ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚȯÔ̤ÓÔ˘ 7. EÚ¢ÓÒÓÙ·˜ ÙË Ì¤ıÔ‰Ô Ù˘ ÔÏÔÎÏËڈ̤Ó˘ ÂÎÌ¿ıËÛ˘ ÂÚȯÔ̤ÓÔ˘ Î·È ÁÏÒÛÛ·˜ – ÔÈ Ì·ıËÙ¤˜ ‰ËÌÈÔ˘ÚÁÔ‡Ó Î·È Ì·ı·›ÓÔ˘Ó: ÏËÚÔ-

ÊÔڛ˜ Î·È Í¤ÓË ÁÏÒÛÛ· °ÏÒÛÛ·: AÁÁÏÈο, ºÔÚ¤·˜: Ionian K¤ÓÙÚÔ •¤ÓˆÓ °ÏˆÛÛÒÓ – K·ÙÛÈÌfiÎË, ŸÓÔÌ· ™˘ÓÙÔÓÈÛÙ‹: B›Î˘ K·ÙÛÈÌfiÎË, B’ £ÂÌ·ÙÈ΋ ¶ÚÔÙÂÚ·ÈfiÙËÙ·: OÏÔÎÏËڈ̤ÓË ÂÎÌ¿ıËÛË ÁÏÒÛÛ·˜ Î·È ÂÚȯÔ̤ÓÔ˘ K·ÙfiÈÓ Ù˘ ·Ó·ÎÔ›ÓˆÛ˘ ÙˆÓ AÔÙÂÏÂÛÌ¿ÙˆÓ ÙÔ˘ ¢È·ÁˆÓÈÛÌÔ‡ Label 2005, ¤ÁÈÓÂ Ë ¶ÚÔ΋ڢÍË ÁÈ· ÙÔ ¢È·ÁˆÓÈÛÌfi 2006. °È· ÙÔ ¤ÙÔ˜ 2006, Ë ıÂÌ·ÙÈ΋ ÚÔÙÂÚ·ÈfiÙËÙ· ÙÔ˘ ¢È·ÁˆÓÈÛÌÔ‡ LABEL Â›Ó·È Ë ·ÎfiÏÔ˘ıË: «AÚ¯È΋ Î·È ™˘Ó¯È˙fiÌÂÓË EÈÌfiÚʈÛË EÎ·È‰Â˘ÙÈÎÒÓ •¤ÓˆÓ °ÏˆÛÛÒÓ» (Initial and in service language teacher training) Î·È ·ÊÔÚ¿ fiÛÔ˘˜ ÂÊ·ÚÌfi˙Ô˘Ó Î·ÈÓÔÙfiÌ· ÚÔÁÚ¿ÌÌ·Ù· ÂÈÌfiÚʈÛ˘ ÂÎ·È‰Â˘ÙÈÎÒÓ Í¤ÓˆÓ ÁψÛÛÒÓ, fiˆ˜: ñ Û¯ÔÏÈÎÔ‡˜ Û˘Ì‚Ô‡ÏÔ˘˜ Î·È ÂÈÌÔÚʈ٤˜ ÚˆÙÔ‚¿ıÌÈ·˜ Î·È ‰Â˘ÙÂÚÔ‚¿ıÌÈ·˜ ÂÎ·›‰Â˘Û˘ ñ ÂÎ·È‰Â˘Ù¤˜ Û ΤÓÙÚ· ÂÈÌfiÚʈÛ˘ ÂÎ·È‰Â˘ÙÈÎÒÓ ‹ ȉڇ̷ٷ TÚÈÙÔ‚¿ıÌÈ·˜ EÎ·›‰Â˘Û˘ ñ ÂÈÌÔÚʈ٤˜ ÛÙËÓ Â·ÁÁÂÏÌ·ÙÈ΋ Î·È Û˘Ó¯È˙fiÌÂÓË ÂÎ·›‰Â˘ÛË ‹ Û ÊÔÚ›˜ ÂÎ·›‰Â˘Û˘ ÂÓËÏ›ÎˆÓ Î.Ï. OÈ ÂӉȷÊÂÚfiÌÂÓÔÈ ÌÔÚÔ‡Ó Ó· ‚ÚÔ˘Ó ÙËÓ A›ÙËÛË ™˘ÌÌÂÙÔ¯‹˜ ·fi ÙÔ ¢È·‰›ÎÙ˘Ô (‚Ï.AÚ¯ÂÈÔı‹ÎË ÛÙË ‰ÂÍÈ¿ ÛÙ‹ÏË) ‹ Ó· ÙËÓ ÚÔÌËı¢ÙÔ‡Ó ·fi ÙÔÓ O.E.E.K.. H Ï‹ÍË Ù˘ ÚÔıÂÛÌ›·˜ ÁÈ· ÙËÓ ˘Ô‚ÔÏ‹ ÙˆÓ ·ÈÙ‹ÛÂˆÓ ‹Ù·Ó ÙËÓ ¶¤ÌÙË 20 IÔ˘Ï›Ô˘ 2006.

Los usos culturales en el aprendizaje de lenguas F. Ernesto Puertas, Asesor did·ctico (EDELSA) ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 23

Las iniciativas de redactar materiales de cultura deben ser siempre bienvenidas puesto que se trata de elementos de apoyo en los que el profesor puede estructurar sus clases y ofrecer una visión actual, objetiva y útil de la cultura del país y la lengua meta. Desde esta perspectiva, materiales como Guía de usos y costumbres de España o España siglo XXI (ambos publicados por Edelsa) suponen un avance cualitativo para que el alumno conozca la realidad sociocultural de la España contemporánea y se pertreche de conocimientos que le permitan interactuar con la cultura española peninsular, propiciándose así un espacio para la reflexión y el debate en clase que ayuden a obtener una visión intercultural dinámica, abierta y

comprensiva, tolerante, reflejo de ese afán por conectar cultural que propicia toda enseñanza de segundas lenguas para facilitar el acercamiento y la comprensión entre las personas. Dejar de considerar los elementos y aspectos culturales como herramientas e instrumentos subsidiarios en la enseñanza lingfiüstica y devolverle un papel central en la fascinante tarea de aprender español se plantea como una pieza clave para facilitar el interés de los alumnos motivados en clase para agilizar su aprendizaje y asegurarnos su éxito. Un elenco de datos estructurados y sistematizados para su tratamiento en clase resulta de suma utilidad a la hora de incorporar la perspectiva cultural en la enseñanza-aprendizaje del español, por lo que para los alumnos interesados en conocer la realidad cultural española es conveniente y necesario abordar

aspectos como la vida cotidiana, pero también las tradiciones de la España moderna, incluyendo en este repaso asuntos tales como la gastronomía, las fiestas populares y los bailes regionales, sin olvidar los hábitos y costumbres, los horarios habituales, las normas de cortesía y las reglas en la mesa, las celebraciones, los saludos, las visitas protocolarias, el ocio y tiempo libre, por ejemplo, hasta llegar a cuestiones como los medios de comunicación y de transportes en el país, la organización de su sistema sanitario, político, educativo, los horarios de trabajo, los deportes que se practican o los juegos de azar existentes en España, sin dejar de lado las creencias que la comunidad española tiene sobre la pareja, la familia, la religión o cómo se comportan y piensan respecto del turismo, el problema de la vivienda y/o la ecología.

–––––––––––––– 1. En este sentido, son recomendables las colecciones Un paseo por la historia, Para que leas y Lecturas clásicas graduadas que ha publicado la editorial Edelsa en las que cada texto viene complementado con el vocabulario correspondiente, una serie de actividades para el alumno así como una adaptación a un nivel inicial, intermedio o avanzado que las hace aconsejables, en función de su temática, a diferentes grupos de alumnos. 2. Las motivaciones, al fin y al cabo, responden a una necesidad del alumno por conocer nuevas facetas del mundo y ampliar así sus experiencias y conocimientos del mundo, encontrándose en la base de una opción y elección como la del aprendizaje.

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“PORTFOLIOS: Can The European Language Portfolio Principle Enhance the Teaching of Young Learners?” n the past six years, the ELT "world" has been discussing, analyzing, "experimenting" with the European Language Portfolio (ELP) principle in an effort to become acquainted with the ELP guidelines, and to further develop teachers' and learners' competence as well as awareness of an international mobility, a "passport," among the "citizens" of the foreignlanguage-learning world. As continuing foreign language learners ourselves, and as teacher trainers, we have been studying the ELP guidelines, while, at the same time, experimenting with the idea of the Portfolio in the teaching of EFL learners, especially young learners. A brief overview of the ELP guidelines is needed before any partial application or adaptation of these guidelines is discussed: The European Language Portfolio was developed by the Language Policy Division of the Council of Europe, and research and piloting took place between 1998 and 2000. Since 2001, when it was first presented, the ELP is being used as a tool to support the development of plurilingualism and pluriculturalism, which are, in many ways, the aims of the COMMON EUROPEAN FRAMEWORK of REFERENCE for LANGUAGES (CEF): Learning, Teaching, Assessment.1 The ELP was developed and approved by the Council of Europe. The major principle is that the ELP is the property of the learner and represents his/her work. It reflects and assesses the full range of the learner's language and intercultural experience regardless of whether these have been acquired within or outside the classroom, etc., etc. Also, the ELP is based on the CEF with direct reference to the latter's common levels of competence. The ELP consists of:

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1. The Language Passport: certifications, self-assessments, etc. An overview of the learner's experience in language learning and his/her ability with different languages. 2. The Language Biography: a record of the learner's language learning history, objectives, etc. 3. The Dossier: a collection of representative pieces of work, as well as certificates, chosen by the learner

Suzanne Antonaros Lilika Couri, Teacher Trainers, EFL School Management Consultants, EDUCATIONAL & TRAINING CONSULTANTS himself/herself in order to document his/her language skills and achievements. Portfolios are validated by the Validation Committee of the Council of Europe. The Committee ascertains that the ELP models conform with the common European principles and Guidelines. To use the ELP one needs to understand the CEF as well as the CEF's six Levels of language proficiency below: A1: Breakthrough A2: Waystage B1: Threshold B2: Vantage C1: Competent C2: Good Thus, the ELP becomes a passport and, at the same time, a useful record of a learner's development, experience and work in foreign language (FL) learning. How can the ELP idea be applied to the teaching of FL young learners? As an introduction to the ELP, we have used the learner's Individual Portfolio idea, which is a selection of a number of classroom writing activities used for further revision, consolidation, and/or homework. The long-range purpose of these activities, as well as of the Portfolio, is to encourage learner creativity and independence, and to provide children with a sense of achievement. And, as the learners are guided by their teacher on how to select the work they will include in their Individual Portfolio, it becomes an excellent learning-to-learn tool, training young learners to practise self-assessment, and often peer assessment.2 The Individual Portfolio becomes a learner's record of work, and especially, of progress. In many ways, it resembles the Year Book idea, which a number of teachers of young learners have been

using for many years. In the Year Book, children were asked to select from among their best and/or favourite written work at the end of the year, and to then "bind" these activities together in a book which they presented to their parents on the last day of class. In the case of the Individual Portfolio, the teacher must first decide which specific classroom activity and/or language structure or function s/he wants to further revise, consolidate and, then, assign as creative homework. The classroom activity can be a song, a game, a chant, a listening task or a short reading text, which will be conducted in class. The teacher designs an original task, adapts a coursebook activity or chooses from Resource Books the writing task which may become part of the learner's Portfolio, if chosen by the learner. All Portfolio tasks are to be started in class, under the supervision of the teacher, after the classroom activities, described above, have been conducted. Then, the tasks are assigned as homework to be completed at home. In all cases, they emphasize the skill of writing in order to reinforce oral practice in class. As with all homework activities, the teacher should provide some "sharing time" during the following class meeting, either as a whole class activity or as pair work, where the children have the opportunity to report back, read, exchange and compare their completed work, and conduct peer assessment and/or self-assessment. Emphasis is given on peer assessment and self-assessment as they are two of the ways which help learners become aware of their progress and develop an awareness of their strengths and talents. In addition, they develop the learner's ability to detect and correct errors, as well as, become increasingly aware of elements such as tidiness, aesthetics, following instructions and overall effect, e.g. "Is it beautiful?

clever? complete?" And in the case of selfassessment, a learner is trained to reach an objective appreciation of one's own work and performance of task. In either case, it is the teacher who guides the learners, by asking specific questions as to the detection of errors, the completion of work, the tidiness, etc., so the learners can be able to assess their partner's work or their own. Peer assessment should precede self-assessment, and the children can be trained to use assessment phrases, such as, Great, Excellent, Bravo, O.K., or they can draw symbols, such as a "star," for very good work, a "flower" or a "tree" for beautiful, etc. Throughout the school year, the teacher asks the learners to look through their creative homework pages and select the ones they consider as their best work so they can include them in their Individual Portfolio, which can be a special folder or ring binder. The children can review the pages they have selected near the end of the year so they can make their final decision. And they can be encouraged to give their Individual Portfolio their own title. The use of an Individual Portfolio enables young learners to build self-esteem and self-confidence, as they develop an awareness of their own progress, skills and talents. At the same time, it gives teachers the opportunity to turn homework tasks into imaginative and creative assignments, as well as provide parents with tangible and continuous feedback on how their children are progressing in English. This is one more way for teachers to communicate with parents, and to bring the world of the classroom into the outside world. –––––––––– 1. For more information, see, Common European Framework of Reference for Languages. Council of Europe, Cambridge University Press, 2003, and Keith Morrow, ed., Insights from the Common European Framework. Oxford University Press, 2004. 2. For more discussion, guidelines and activities, see, S. Antonaros and L. Couri, Teaching Young Learners: Action Songs, Chants and Games, Teachers' Resource Book. Express Publishing, 2003.

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Approches pédagogiques de la chanson Apprendre une langue, c'est aborder une autre maniıre de voir le monde, découvrir un univers culturel et linguistique différent de sa culture d'origine. La perception des autres, la compréhension, les repères personnels sont remis en question par ce projet. Réduire l'apprentissage de la langue à l'assimilation de vocabulaire, de structures de phrases, de règles grammaticales et d'un contenu de civilisation préétabli, équivaut à enseigner... une langue morte. Il n'y a pas d' évidence. Pourquoi apprendre une langue, d'autres langues? Pourquoi apprendre le français? Pour crÈer le désir d'apprendre, pour révéler la pertinence de l'apprentissage, il faut mettre en place une stratÈgie d'enseignement: elle consiste à crÈer un affect positif entre l'apprenant et la langue cible. L'apprentissage d'une langue devrait se dÈfinir au sens large, comme une approche faisant appel à tous les sens: l'ouÔe, le toucher, le goût, l'odorat, la vue. Apprendre une langue étrangère, c'est d'abord revenir à la dÈfinition de base d'une langue vivante. La langue sert à communiquer. Elle permet à des personnes d'échanger des informations, de rÈagir, d'exprimer des dÈsirs, des sentiments, des opinions, elle permet d' interagir... Les évolutions pÈdagogiques liÈes aux développements technologiques des dernières années placent les apprenants - et les enseignants - en relation directe avec le présent, l'actualitÈ. Elles facilitent l'accès diversifié à l'information. et mènent logiquement à l'action et l'interaction immédiate en langue cible. Dans le futur, on apprendra et on utilisera de plus en plus la langue cible en temps réel. La chanson et la musique sont des sollicitations affectives et esthétiques non verbales. Bien prÈsentées, elles peuvent générer des accès fructueux à la langue. La chanson est un lien avec la culture de l'autre dans sa diversité. Elle est un lieu de découverte de la réalité multiculturelle française et francophone. Elle a aussi une mission de plaisir, de divertissement... Le français n'est pas uniquement fait pour travailler, pour faire des exercices. On peut rire, danser, s'amuser avec des chansons... en français. Apprendre le français, c'est s'ouvrir sur le monde, c'est dÈcouvrir de nouvelles possibilités d'expression, d'action et d'interactions, c'est aussi faire la fête, c'est découvrir le plaisir d'apprendre... Le choix des chansons. Les chansons le plus souvent utilisées en classe appartiennent à ce que l'on pourrait appeler le patrimoine collectif commun des Français. Sans éliminer ces chansons, nous voudrions ouvrir la classe à d'autres types d'œuvres qui mettent en évidence la richesse et la diversité de la création contemporaine en France et dans le monde francophone. Le choix de chansons très récentes renforce l'actualité de la langue apprise, son insertion

Quels sont les dans le monde instruments de d'aujourd'hui. Elles musique que vous peuvent contribuer à connaissez en français? consolider la complicité CAVILAM, Vichy (la guitare, le entre enseignants et [email protected] saxophone, etc.) apprenants dans le ñ Etablir en commun projet d'apprentissage. un champ sémantique sur le tèıme de la Quelques critères positifs pour choisir une chanson proposée. Exemple: A deux, en chanson: deux minutes, cherchez tous les mots que ñ elle est proposÈe par un/des élève/s; vous connaissez sur le thème "week-end". ñ elle passe à la radio, elle a du succès; Ecrivez un texte en utilisant le plus grand ñ elle plaît au professeur ; nombre de mots cités. ñ elle correspond aux habitudes d'écoute ñ Ecrire une phrase qui commence par les des élèves, à la mode; premiers mots de la chanson choisie. ñ elle surprend, elle est atypique; ñ ComplÈter un texte qui utilise des extraits ñ le thème de la chanson correspond au des paroles. thème abordé en cours; ñ Ecouter l'introduction musicale de la ñ il est possible de la chanter, de s'en servir chanson et faire des hypothèses sur la suite. pour danser, de l'utiliser pour un spectacle; - Débattre sur des aspects thématiques de la ñ etc. chanson avant de l'écouter. La chanson introduit fondamentalement un univers non linguistique dans la classe: la Découverte de la chanson musique. La compréhension du texte n'intervient que La première découverte est associée à une plus tard. Elle ne joue souvent, hors tâche. L'objectif est de rendre l'écoute contexte d'apprentissage linguistique, qu'un consciente. rôle secondaire. Par rapport à l'étape précédente, la chanson Une démarche dynamique centrée sur des apparaît comme déjà connue, familière. activités interactives

Michel Boiron

Comme professeurs de langue, la tentation est forte de se concentrer uniquement sur les paroles et leur analyse en termes d'acquisition linguistique. Sans oublier ces aspects, nous allons intégrer la chanson à notre enseignement comme lieu de fréquentation de la langue cible et de découverte de la culture de l'autre dans sa diversité. Elle sera support d'expression écrite et orale, déclencheur d'activités et point de départ d'une ouverture sur le monde... Enfin, elle sera utilisée comme élément de fête. Dès lés premières secondes du cours, l'apprenant est impliqué dans un processus de découverte. Il est sollicité en tant qu'individu. Nous faisons appel à son expérience du monde, à ses goûts. Il prend position, donne son opinion, résout des énigmes, exécute des tâches, aide les autres apprenants en fonction de ses compétences... Le plaisir de l'écoute reste une priorité. Mise en route Au dÈpart, l'intérêt du document est seulement connu du professeur. L'objectif de cette étape est d'éveiller l'intérêt, la curiosité des apprenants. Pour créer une motivation à dÈcouvrir, à écouter la chanson, nous allons créer un lien entre les apprenants et le document. Exemples: ñ Ecrire le mot "chanson" au tableau. Pour vous, c'est quoi une chanson? (de la musique, des instruments, une mélodie, etc.)

Exemples: ñ Faites la liste des instruments de musique que vous reconnaissez dans la chanson? ñ Quel est le type de musique de cette chanson? Que savez-vous sur les caractéristiques de ce type de musique? ñ Voici une liste de mots, entourez les mots qui sont citÈs dans la chanson. ñ Ecoutez la chanson, combien de fois entend-on le mot "XXX"? Avec les paroles Les chansons actuelles prÈsentent souvent un moment isolé, des sentiments, une impression, un cri, des motifs. Elles font parfois référence à des faits ou des personnes qui ne sont connues que des auteurs. Il est donc recommandé d'être extrêmement prudent pour l'interprétation des textes. Que comprend l'élève? Comment et pourquoi comprend-il cela? Nous demanderons aux apprenants de formuler des hypothèses ou de proposer des interprétations et d'indiquer les indices ou les signes dans le texte ou la musique qui leur permettent de les énoncer. ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 31

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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 [email protected] ™˘Ó¤¯ÂÈ· Ù‡¯Ô˘˜ 4 ÛÙËÓ ÂÚÒÙËÛË: Mixed classes: ¶Ô‡ Ú¤ÂÈ Ó· Â›Ó·È Ë ÚÔÛÔ¯‹ Ì·˜, ÛÙÔ˘˜ “·‰‡Ó·ÙÔ˘˜” Ì·ıËÙ¤˜ ‹ ÛÙÔ˘˜ Ì·ıËÙ¤˜ Ô˘ ¤¯Ô˘Ó ΛÓËÙÚÔ; ¶Ò˜ ÌÔÚԇ̠ӷ ¤¯Ô˘Ì ÈÛÔÚÚÔ›· ÛÙËÓ Ù¿ÍË; (Dildar Mechmet, •¿ÓıË ) O ÌÈÎÚfiÎÔÛÌÔ˜ Ù˘ Ù¿Í˘ Â›Ó·È Ì›· ÌÈÎÚÔÁÚ·Ê›· Ù˘ ÎÔÈÓˆÓ›·˜. K·È Ô ÙÚfiÔ˜ Ì ÙÔÓ ÔÔ›Ô ·ÓÙÈÌÂÙˆ›˙Ô˘Ì ÙÔ˘˜ Ì·ıËÙ¤˜ Ô˘ ·ÔÙÂÏÔ‡Ó ÙËÓ Ù¿ÍË Î·È ÙÔ˘˜ ÂÓÙ¿ÛÛÔ˘Ì Û ·˘Ù‹Ó, ÚԉȷÁÚ¿ÊÂÈ Û ¤Ó· ÌÂÁ¿ÏÔ ÔÛÔÛÙfi ÙȘ ı¤ÛÂȘ ÁÈ· ÙȘ Ôԛ˜ ÙÔ˘˜ ÚÔÂÙÔÈÌ¿˙Ô˘Ì ӷ Â·Ó‰ÚÒÛÔ˘Ó ÛÙËÓ ÎÔÈÓˆÓ›· ÙÔ˘ ‘·‡ÚÈÔ’. K·ÏÂ›Ù·È ÏÔÈfiÓ Ô ÂÎ·È‰Â˘ÙÈÎfi˜ Ó· ı¤ÛÂÈ ÛÙÔÓ Â·˘Ùfi ÙÔ˘ Û˘ÓÂȉËÙ¿ ÙËÓ ÂÚÒÙËÛË ÔÈÔÈ ·fi ÙÔ˘˜ ·˘ÚÈ·ÓÔ‡˜ Ôϛ٘ Ù˘ ÎÔÈÓˆÓ›·˜ ÂÓ ÙË ÁÂÓÓ¤ÛÂÈ Ô˘ ÙÔ˘ ¤¯ÂÈ ·Ó·ÙÂı› ÁÈ· ÚÔÂÙÔÈÌ·Û›· Î·È ÂÎ·›‰Â˘ÛË ·fi ÙÔ ÎÔÈÓˆÓÈÎfi Û‡ÓÔÏÔ ·Í›˙Ô˘Ó Î·Ï‡ÙÂÚ˘ Î·È ÚÔÓÔÌȷ΋˜ ·ÓÙÈÌÂÙÒÈÛ˘ Î·È ÚÔÂÙÔÈÌ·Û›·˜ ·fi ·˘ÙfiÓ. ™·ÊÒ˜ Ë ·¿ÓÙËÛË Â›Ó·È Ôχ ÚÔÛˆÈ΋ Î·È ÔÚ›˙ÂÙ·È ·fi ÙËÓ

„˘¯ÔÛ‡ÓıÂÛË, Ù· ‚ÈÒÌ·Ù·, ÙËÓ Î·ÏÏȤÚÁÂÈ·, ÙËÓ È‰ÂÔÏÔÁ›· Î·È ÙËÓ ˆÚÈÌfiÙËÙ· ÙÔ˘ οı ÂÎ·È‰Â˘ÙÈÎÔ‡. ŸÌˆ˜ ¤Ú· ·fi ÙȘ ηı·Ú¿ ˘ÔÎÂÈÌÂÓÈΤ˜ ÂÎÙÈÌ‹ÛÂȘ Î·È ÂÈÏÔÁ¤˜ Ô˘ οı ÂχıÂÚÔ ÔÓ ¤¯ÂÈ ‰Èη›ˆÌ· Ó· οÓÂÈ ˘¿Ú¯Ô˘Ó ÔÚÈṲ̂ӷ ·ÓÙÈÎÂÈÌÂÓÈο ‰Â‰Ô̤ӷ Î·È ÛËÌ›· ·Ó·ÊÔÚ¿˜ Ù· ÔÔ›· ı· Ú¤ÂÈ Ó· Û˘ÓÂÎÙÈÌ‹ÛÂÈ Ì¤Û· ÛÙËÓ ‰È·‰Èηۛ· Ù˘ ÙÂÏÈ΋˜ ·fiÊ·Û˘ Î·È ·¿ÓÙËÛ˘ Ô˘ Ú¤ÂÈ Ó· ı¤ÛÂÈ ÛÙÔÓ Â·˘Ùfi ÙÔ˘. H ·Ô‰Ô¯‹ ÙÔ˘ ÏÂÈÙÔ˘ÚÁ‹Ì·ÙÔ˜ ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡, Ì fiϘ ÙȘ ÎÔÈÓˆÓÈΤ˜ Î·È „˘¯Ô·È‰·ÁˆÁÈΤ˜ ¢ı‡Ó˜ Ô˘ Û˘ÓÂ¿ÁÂÙ·È, Â›Ó·È ·Û‡Ì‚·ÙË Ì ÙËÓ ÛÙ¿ÛË Î·È Û˘ÌÂÚÈÊÔÚ¿ fiÙÈ ¤¯Ô˘Ì ÙËÓ ÔÏ˘Ù¤ÏÂÈ·, ÙËÓ ˘Ô¯Ú¤ˆÛË Î·È ÙËÓ ÂÏ¢ıÂÚ›· Ó· ‘ÚÔÛ¤ÍÔ˘ÌÂ’ ÂÚÈÛÛfiÙÂÚÔ ‹ ÏÈÁfiÙÂÚÔ Î¿ÔÈ· ηÙËÁÔÚ›· Ì·ıËÙÒÓ. ŸÙ·Ó ·Ó·Ï·Ì‚¿ÓÔ˘Ì ̛· Ù¿ÍË ÛÙËÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· Î·È Â› Ù˘ Ô˘Û›·˜ ·Ó·Ï·Ì‚¿ÓÔ˘Ì ÙËÓ ËıÈ΋ Î·È Ô˘ÛÈ·ÛÙÈ΋ ˘Ô¯Ú¤ˆÛË Ó· ÂÎ·È‰Â‡ÛÔ˘Ì ηٿ ÙËÓ ÌÂÁ›ÛÙË ·fi‰ÔÛË ÙˆÓ ‰˘Ó·ÙÔÙ‹ÙˆÓ Ì·˜ O§OY™ ANE•AIPETø™

What it feels like to be dyslexic ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 24

ñ S/he may be able to work the computer before the others - even perhaps repair it. S/he may be able to start the car when others have failed. S/he's mad on sport ñ S/he may excel at individual sports. S/he's got a fantastic imagination ñ S/he may be able to tell wonderful stories if her/his long term memory is good.

General comments "If a child cannot learn the way we teach we must teach her/him the way s/he can learn." The teacher needs to recognise that the dyslexic child in the classroom has a different way of learning and

™Â οı Ù‡¯Ô˜ Ë ¤ÁÎÚÈÙË „˘¯ÔÏfiÁÔ˜ √ÏÁ· °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.

therefore needs a different way of teaching. The main problems are: ñ poor sequencing skills; ñ poor auditory discrimination and memory; ñ poor visual discrimination and memory; ñ poor short term memory; ñ poor self confidence.

Summary There are many types of learning disability of which dyslexia is only one. In some cases of disability, diagnosis can be difficult. Only a full psychological assessment will determine if any child or adult is dyslexic - but there are pointers. From the Dyslexia institut

TOY™ MA£HTE™ TH™ TA•H™ AYTH™. ™˘ÓÂÒ˜ ÔÙ¤ ‰ÂÓ ‰È·Ï¤ÁÔ˘Ì ¤Ó· ̤ÚÔ˜ Ù˘ Ù¿Í˘ ÛÙÔ ÔÔ›Ô Ó· ÂÛÙÈ¿ÛÔ˘ÌÂ Î·È ÔÙ¤ ‰ÂÓ ·ÁÓÔԇ̠‹ ‰ÂÓ ˘ÔÏÔÁ›˙Ô˘Ì ÙÔ ˘fiÏÔÈÔ. EÂȉ‹ fiÔÈÔ ÙÌ‹Ì· Ù˘ ·ÓÔÌÔÈÔÁÂÓÔ‡˜ Ù¿Í˘ Î·È Ó· ‰È·Ï¤ÍÔ˘ÌÂ, ÛÙÔ Ù¤ÏÔ˜ ı· ¤ÚıÔ˘Ì Û ¤Ó· ÂÎ·È‰Â˘ÙÈÎfi ·‰È¤ÍÔ‰Ô: ·Ó ·Ú·ÌÂÚ›ÛÔ˘Ì ̷ıËÙ¤˜ Ì ΛÓËÙÚÔ Î·È ˘„ËϤ˜ ÂȉfiÛÂȘ, ÌÔÚ› Ó· ¤¯Ô˘Ì ÚÔ‚Ï‹Ì·Ù· ÂÈı·Ú¯›·˜, ·ÌÊÈÛ‚‹ÙËÛ˘ Î·È ·ÓÙȉڷÛÙÈÎfiÙËÙ·˜ ·¤Ó·ÓÙÈ ÛÙÔÓ ÂÎ·È‰Â˘ÙÈÎfi. AÓÙÈ·ÏfiÙËÙ·˜, ÂÈıÂÙÈÎfiÙËÙ·˜, Î·È ·ÔÌfiÓˆÛ˘ ·Ó¿ÌÂÛ· ÛÙ· ·È‰È¿ ÙËÓ ÒÚ· ÙÔ˘ ‰È·Ï›ÌÌ·ÙÔ˜. E›Û˘ ÛÔ‚·Ú¤˜ ÂÈÙÒÛÂȘ ı· ¤¯ÂÈ Ë Û˘ÌÂÚÈÊÔÚ¿ ·˘Ù‹ ÛÙÔ Î›ÓËÙÚÔ Î·È ÛÙËÓ ÂȉȈÎfiÌÂÓË Â›‰ÔÛË ÙÔ˘˜. AÓ ·Ú·ÌÂÚ›ÛÔ˘Ì ̷ıËÙ¤˜ Ì ¯·ÌËÏfi ΛÓËÙÚÔ Î·È Â›‰ÔÛË, fi¯È ÌfiÓÔ ı· ¤¯Ô˘ÌÂ Î·È ¿ÏÈ Ù· fiÏË ÙËÓ Áο̷ ÙˆÓ ÚÔ·Ó·ÊÂÚı¤ÓÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ, ·ÏÏ¿ ı· Û˘ÓÙÂϤÛÔ˘Ì ÛÙËÓ ·Á›ˆÛË Ù˘ ËÙÙÔ¿ıÂÈ·˜ Î·È Ù˘ ÌÔÈÚÔÏ·ÙÚÈ΋˜ ·ÓÙÈÌÂÙÒÈÛ˘ ÙÔ˘ Û˘ÁÎÂÎÚÈ̤ÓÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ ·ÓÙÈÎÂÈ̤ÓÔ˘ (.¯. «ÂÁÒ

‰ÂÓ Ù· ‘·›ÚÓˆ’ Ù· ·ÁÁÏÈο Î·È ‰ÂÓ Ì ÂӉȷʤÚÔ˘Ó») Î·È ÔÏÔÎÏËÚˆÙÈ΋ ·ÒÏÂÈ· οı ÎÈÓ‹ÙÚÔ˘, ÚÔÛ¿ıÂÈ·˜ ‹ ÂÓ·Û¯fiÏËÛ˘ Ì ·˘Ùfi. TÈ Î¿ÓÔ˘ÌÂ, ÏÔÈfiÓ; TÔ ÈÔ ÛËÌ·ÓÙÈÎfi Ú¿ÁÌ· Â›Ó·È Ó·: AÔı·ÚÚ‡ÓÔ˘Ì Ï‹Úˆ˜ οı ¤ÓÓÔÈ· ·ÓÙ·ÁˆÓÈÛÌÔ‡, ·Ó·Ì¤ÙÚËÛ˘ Î·È Û‡ÁÎÚÈÛ˘ ·Ó¿ÌÂÛ· Û fiÏ· ·ÓÂÍ·ÈÚ¤Ùˆ˜ Ù· ·È‰È¿ Ù˘ Ù¿Í˘. EÍËÁԇ̠ÛÙ· ·È‰È¿ fiÙÈ Ë Ù¿ÍË ·˘Ù‹ ·ÔÙÂÏ› ÌÈ· ÔÌ¿‰·, Î·È fiˆ˜ οı ÔÌ¿‰·, Ú¤ÂÈ fiÏ· Ù· ̤ÏË Ù˘ Ó· ¤¯Ô˘Ó ÈηÓÔÔÈË̤Ó˜ ÙȘ Ì·ıËÛȷΤ˜ Î·È ÏÔÈ¤˜ ·Ó¿ÁΘ ÙÔ˘˜ ÒÛÙ ӷ ÚÔ¯ˆÚ‹ÛÂÈ. MÂÙÚÈ¿˙Ô˘Ì ÙÔ Ú˘ıÌfi ·Ú¿‰ÔÛ˘ ÒÛÙ ӷ ÌËÓ Ê·ÓÙ¿˙ÂÈ ·ÂÈÏËÙÈÎfi˜ ÛÙËÓ ÌÈÛ‹ Ù¿ÍË ·ÏÏ¿ Ô‡ÙÂ Î·È Ó· Â›Ó·È ‚·ÚÂÙfi˜ ÛÙËÓ ¿ÏÏË ÌÈÛ‹ (·Ó·‰ÚÔÌ‹ ÛÙËÓ ıˆڛ· ÙˆÓ Zones of Proximal Development ÙÔ˘ Vygotsky ı· ‰ÒÛÂÈ Ù· Û˘ÁÎÂÎÚÈ̤ӷ Ï·›ÛÈ· Î·È fiÚÈ· Û‡ÛÙ·Û˘ Ù˘ ÔÌ¿‰·˜ Î·È ·ÚÔ˘Û›·Û˘ ‰È‰·ÎÙÈ΋˜ ‡Ï˘ ÛÙÔÓ ÂӉȷÊÂÚfiÌÂÓÔ ÂÎ·È‰Â˘ÙÈÎfi) . ™¯Â‰È¿˙Ô˘Ì ÙÔ lesson plan

Ì·˜ ¤ÙÛÈ ÒÛÙ ¤Ó· ÈηÓfi ̤ÚÔ˜ Ù˘ ‰È‰·ÎÙÈ΋˜ ÒÚ·˜ Ó· ·ÔÙÂÏÂ›Ù·È ·fi ‰Ú·ÛÙËÚÈfiÙËÙ˜ ̤۷ ÛÙËÓ Ù¿ÍË ÛÙȘ Ôԛ˜ fiÏ· Ù· ·È‰È¿ ı· Û˘ÓÂÚÁ¿˙ÔÓÙ·È Î·È ı· ¯ÚËÛÈÌÔÔÈÔ‡ÓÙ·È Ù· ÚÔÛˆÈο ÙÔ˘˜ ¯·Ú·ÎÙËÚÈÛÙÈο Î·È ‰˘Ó·ÙfiÙËÙ˜ ÒÛÙ ÙÔ ¤Ó· Ó· ˘ÔÛÙËÚ›˙ÂÈ ÙÔ ¿ÏÏÔ Î·È ÂÎ·È‰Â˘ÙÈο Î·È „˘¯ÔÏÔÁÈο. K·Ù·Ï·‚·›ÓÔ˘Ì fiÙÈ Ô Û¯Â‰È·ÛÌfi˜ ‰È‰·¯‹˜ οıÂ Û˘ÁÎÂÎÚÈ̤Ó˘ Ù¿Í˘ Â›Ó·È Î·Ù’ Â¤ÎÙ·ÛË Û˘ÁÎÂÎÚÈ̤ÓÔ˜ Î·È ÌÔÓ·‰ÈÎfi˜ Î·È ··ÈÙ› ÙËÓ ÚÔÛˆÈ΋ ÂÓ·Û¯fiÏËÛË ÙÔ˘ ˘‡ı˘ÓÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ ÒÛÙ ӷ ÂÈÙ¢¯ı›. BA™IKH ¶POΩ¶O£E™H E¶ITYXIA™: ø˜ ÂÎ·È‰Â˘ÙÈÎÔ› ¢EN ¶I™TEYOYME Î·È ‰ÂÓ ‰Â›¯ÓÔ˘Ì ÔÙ¤ Ì ÙËÓ Û˘ÌÂÚÈÊÔÚ¿ Ì·˜ fiÙÈ ıˆÚԇ̠οÔÈÔ˘˜ Ì·ıËÙ¤˜ ÏÈÁfiÙÂÚÔ ÈηÓÔ‡˜ Ó· Ì¿ıÔ˘Ó ·ÏÏ¿ fiÙÈ fiÏÔÈ Â›Ó·È ÙÔ ›‰ÈÔ ÈηÓÔ›. AÔı·ÚÚ‡ÓÔ˘Ì ÏÔÈfiÓ ÔÔÈÂÛ‰‹ÔÙ ٿÛÂȘ ÚÔ˜ ·˘Ù‹ ÙËÓ Î·Ù‡ı˘ÓÛË ÂΉËψıÔ‡Ó ÛÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜, ÛÙÔ˘˜ ÁÔÓ›˜ ÙÔ˘˜ Î·È Û fiÏÔ˘˜ ÙÔ˘˜ Û˘Ì‚·ÏÏÔ̤ÓÔ˘˜.

Both an Academic and Tourist view of the EALTA Conference in Krakow Poland May 19-21, 2006 ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 18

and at the risk of sounding like a travel brochure I would recommend Poland as a vacation spot. One thing that anyone would appreciate is the very low cost of eating out, the quality of food and the large size of their food portions, and let’s not forget, Polish beer. Though I just visited Warsaw and Krakow and the surrounding areas, I was greatly impressed by the people, the grandeur of the architecture, the enormous parks, trees, gardens, the cleanliness and the overall layout of these two cities. Although Warsaw had been completely leveled by NAZI bombs during the invasion of Poland in WWII the old sector has been rebuilt as it was originally thanks to UNESCO funding. The city is full of outdoor cafes and restaurants and spring and summer is the time to enjoy them. There is one major drawback. Trying to communicate in English

was like looking for a needle in a the good and the bad, and I’m haystack. If you speak German or referring to the trip I took to Russian you’ll be fine though. Auschwitz. All the street names, signs on famous It’s funny we talk about the landmarks, anything written you humanistic approach to classroom come across are in teaching. Maybe Polish. it’s because that’s What was really all we can do It’s funny we talk about surprising was that the humanistic approach “approach” even the museums humanity! to classroom teaching. had signs on the It’s not what one displays written Maybe it’s because that’s man can do but only in Polish. that the rest of the all we can do... Krakow was world will sit back somewhat better and let him do it! “approach” humanity! due to a university That’s where the student population shock sets in. But of 120,000. Here then why are we you could find someone to give you surprised? Isn’t history repeating directions and some of the famous itself today? landmarks did have a small notation Aren’t we just spectators to what is in English. Luckily I had bought an going on around us? English guidebook from Greece At the risk of sounding morbid I before I left. think that visits to places like All in all, it was a very educational Auschwitz, might make us more week and I think a real eye opened sensitive to the suffering of others into human nature and what people and little more humanistic. Sylvia Kar are really capable of, meaning both

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Approches pédagogiques de la chanson ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 29

Le professeur se tient en retrait. Il anime le travail de réflexion. Le travail sur les paroles comprend plusieurs types d'activités: a) des repérages, des classifications, des recherches d'informations précises. Exemples: ñ Cherchez tous les personnages; ñ Cherchez dans le texte tous les mots et expressions qui expriment des sentiments; ñ Trouvez tous les mots avec le son [ma]. b) des questions génériques pour approfondir la compréhension sans faire la paraphrase du texte. Exemples: ñ A deux, dites tout ce que l'on apprend sur le personnage X ou Y; ñ Quelles sont les actions de tel ou tel personnage et pourquoi agit-il ainsi? ñ Comment comprenez-vous les expressions suivantes? etc? Les apprenants doivent retrouver des informations dans le texte. Ils sont conduits à le relire plusieurs fois:

Expression orale et écrite, créativité Au cours de cette étape, nous proposons aux apprenants deux types d'activités: des prises de position personnelles par rapport à la chanson ou au thème abordé et/ou des exercices de créativité. Exemples: ñ D'après vous, une chanson doitelle donner un message? ñ Vous venez d'écouter une chanson sur l'utilisation des drogues, pensez-vous qu'écrire une chanson sur ce thème peut être utile pour lutter contre la drogue? ñ La chanson parle des jeunes en France, est-ce que les jeunes ont les mêmes préoccupations dans votre pays? ñ Inspirez-vous de la chanson et écrivez une carte postale à un ami. Pour aller plus loin La chanson n'est pas un document isolé. Elle peut s'insérer dans l'étude d'autres supports: lectures, jeux, textes de leçons de manuels,

autres chansons, recherches sur Internet, etc. L'étape pour aller plus loin crée un lien avec la suite du cours, elle élargit le champ de réflexion des apprenants. On compare la chanson avec d'autres chansons, on associe à la chanson un texte littéraire, un article de manuel d'histoire, un texte de presse, etc. Autres activités Hit parade Dès le niveau dÈbutant, il est possible d'apprécier une chanson. Le professeur proposera d'écouter plusieurs chansons par tranches de 3 titres. Il distribuera les textes correspondants avec éventuellement la traduction en langue maternelle. La mission des élèves sera de noter personnellement les chansons (de 0 à 5). On comptera ensuite les points pour chaque chanson et après quelques semaines, nous aurons le champion du hit parade. Cette activitÈ permet d'écouter tous les titres. Les apprenants

auront entendu de la musique française. Ils auront également été exposés à un matériau linguistique authentique beaucoup plus important que leurs connaissances du moment. Ils seront donc valorisés dans leur parcours d'apprentissage. Clips vidéo Aujourd'hui, la promotion des chansons est largement assurée par des clips. Ils apportent un univers supplémentaire à la chanson, celui de l'image. Les clips français ont mis du temps à échapper à la simple prÈsentation de l'artiste en train de chanter. Aujourd'hui, ce sont parfois de vraies Suvres artistiques indissociables de la chanson. Quelques propositions d'activitÈs: - A partir d'une chanson, à deux, imaginer le scénario d'un clip puis le présenter à la classe. Puis visionner le clip original. ñ A partir d'une chanson, imaginer un clip qui met en scène tous les participants de la classe et le jouer. Dessiner même sommairement la

succession des scènes. Si on dispose d'une caméra, filmer le clip. Chaque participant aura une cassette. ñ Proposer aux apprenants d'identifier un certain nombre d'éléments dans le clip: les lieux, les personnages, les actions, etc. ñ Visionner une série de clips et en petits groupes, choisir un clip et reconstituer le scÈnario. ñ Comparer les images du clip, le contenu des paroles et la musique. Motivation et respect des artistes A l'origine la chanson n'est pas faite pour être utilisée en classe. Sa fonction première est d'amuser, de distraire, de dénoncer, de raconter une histoire, de faire danser, etc. Les pistes pÈdagogiques proposées ont été conçues avec la volonté d'enrichir la classe de pratiques interactives, de donner pleinement à la langue enseignée son statut de langue vivante. avec le souci du respect du travail accompli par les artistes. L'objectif pÈdagogique pourrait se résumer en une seule phrase: donner envie d'apprendre. De www.tv5.org

KOSMOS BOOK EXHIBITIONS A£∏¡∞ Holiday Inn 26 & 27 ∞˘ÁÔ‡ÛÙÔ˘ 2006 øÚ˜ 10.00-18.00 £∂™™∞§√¡π∫∏ Makedonia Palace 3 ™ÂÙÂÌ‚Ú›Ô˘ 2006 øÚ˜ 10.00-17.00 ñ √È ÌÂÁ·Ï‡ÙÂÚÔÈ ÂΉÔÙÈÎÔ› Ô›ÎÔÈ Û·˜ ÂÚÈ̤ÓÔ˘Ó ñ √ÌÈϛ˜ ÂÈ¤‰Ô˘ ·ÔÎÏÂÈÛÙÈο ÁÈ· ÙÔ˘˜ ÂÈÛΤÙ˜ Ì·˜. ñ Professional Seminars ∂·ÁÁÂÏÌ·ÙÈ΋˜ Î·È ¶ÚÔÛˆÈ΋˜ ∂ͤÏÈ͢ ñ ∂ÍÔÏÈÛÙ›Ù ! ∂ȉÈΤ˜ ÚÔÛÊÔÚ¤˜ ÌfiÓÔ ÁÈ· Û·˜ Û ÂÔÙÈÎfi Î·È ‰È·ÎÔÛÌËÙÈÎfi ˘ÏÈÎfi ™˘ÌÌÂÙ¤¯Ô˘Ó Î·È Û·˜ ÚÔÛηÏÔ‡Ó :

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