Lingua Franca 6 Jul-aug 2006

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

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EK¢O™H: °. ¶AXAKH™ - Œ„ÈÏÔÓ °Ú·ÊÈΤ˜ T¤¯Ó˜ KÏÂÈÛı¤ÓÔ˘˜ 7, 105 52 Aı‹Ó·

Thomson ELT Enters Primary Education Market and Strengthens Position in Europe Publisher acquires New Editions to bolster courseware offerings in English Language Teaching Boston, MA – August 29, 2006 – Thomson ELT, a leading provider of materials for English language teaching (ELT) and learning throughout the world and part of The Thomson Corporation (TSX: TOC; NYSE: TOC), announced today that it has completed the acquisition of Greece-based publisher, New Editions. The acquisition enhances and deepens Thomson ELT portfolio by providing primary and British English courseware for global ELT markets. Financial terms of the acquisition were not disclosed. New Editions is an English Language Teaching (ELT) publisher focused on the K-12 education market, with more than 500 British English titles in print. New Editions was founded and owned by Sophia Zaphiropoulos and Carl Wantenaar. It is based in Athens and serves customers throughout the world. New Editions has 40 employees. “We are pleased to announce the acquisition of New Editions and its high quality ELT list. This acquisition adds scale for us in Europe and in British English and brings us our first product for primary markets as well. We feel it is an excellent fit in every respect and are confident that we can leverage the product globally through

Thomson channels,” said Dennis Hogan, president of Thomson ELT. "We are very pleased to be a part of the Thomson Corporation and are excited about the future prospects of our combined operations,” said Sophia Zaphiropoulos, founder of New Editions. “Together we are positioned to offer our English Language Teaching materials to more students worldwide than ever before and look forward to developing even more market specific product in conjunction with the local Thomson offices all around the world!” said Carl Wantenaar, publisher of New Editions.

About The Thomson Corporation and Thomson ELT The Thomson Corporation (www.thomson.com), with 2005

revenues of $8.40 billion, is a global leader in providing integrated information solutions to business and professional customers. Thomson provides value-added information, software tools and applications to more than 20 million users in the fields of law, tax, accounting, financial services, higher education, reference information, corporate e-learning and assessment, scientific research and healthcare. With operational headquarters in Stamford, Conn., Thomson has approximately 40,000 employees and provides services in approximately 130 countries. The Corporation's common shares are listed on the New York and Toronto stock exchanges (NYSE: TOC; TSX: TOC). Thomson ELT is a leading provider of materials for English language teaching and learning throughout the world. It publishes under the brands of Thomson, Thomson ELT, and Thomson Heinle.

(Right to left) Andy Cowle, Karl Wantenaar, Sophia Zaphiropoulos, Yannis Kokkalis

™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΋˜ 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˘˜.

™Ù· Â›‰· ÙÔ˘ ÏËıˆÚÈÛÌÔ‡ ÔÈ ·˘Í‹ÛÂȘ ‰È‰¿ÎÙÚˆÓ AÓ Î·È ÁÈ· ‰Â‡ÙÂÚË Û˘Ó¯‹ ¯ÚÔÓÈ¿ ÔÈ ·˘Í‹ÛÂȘ ·Ú·Ì¤ÓÔ˘Ó ¯ˆÚ›˜ Ï·ÊfiÓ, Ë ·ÁÔÚ¿ ˘·ÁÔÚ‡ÂÈ ÙÔ˘˜ ‰ÈÎÔ‡˜ Ù˘ ηÓfiÓ˜. EÙÛÈ ÂÎÙÈÌ¿Ù·È ˆ˜ ‰ÂÓ ı· ˘ÂÚ‚Ô‡Ó ÙÔ Â›Â‰Ô ÙÔ˘ ÏËıˆÚÈÛÌÔ‡ ÔÈ ·˘Í‹ÛÂȘ ÛÙ· ‰›‰·ÎÙÚ· ÙˆÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ, ÁÈ· ÙÔ Û¯ÔÏÈÎfi ¤ÙÔ˜ 2006-7. TÔ ›‰ÈÔ ·Ó·Ì¤ÓÂÙ·È Î·È ÁÈ· Ù· ºÚÔÓÙÈÛÙ‹ÚÈ· M¤Û˘ EÎ·›‰Â˘Û˘.

™ÙȘ 16-17 ¢ÂÎÂÌ‚Ú›Ô˘ ÔÈ ÂfiÌÂÓ˜ ÂÍÂÙ¿ÛÂȘ University of Central Lancashire Î·È Europalso O ¶·ÓÂÏÏ‹ÓÈÔ˜ ™˘Ó‰ÂÛÌÔ˜ I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ ·Ó·ÎÔ›ÓˆÛ ÙȘ ËÌÂÚÔÌËӛ˜ ÙˆÓ ÂfiÌÂÓˆÓ ÂÍÂÙ¿ÛÂˆÓ ÁψÛÛÔÌ¿ıÂÈ·˜ ÙÔ˘ University of Central Lancashire ÛÙ· Â›‰· B1 (Pre-Lower), B2 (Lower), C1 (Pre-Proficiency), C2 (Proficiency). OÈ ÂÍÂÙ¿ÛÂȘ -°Ú·Ù¤˜ & ¶ÚÔÊÔÚÈΤ˜ - ı· Á›ÓÔ˘Ó ÛÙȘ 16 Î·È 17 ¢ÂÎÂÌ‚Ú›Ô˘ 2006. ™ÙȘ ›‰È˜ ËÌÂÚÔÌËӛ˜ ı· Á›ÓÔ˘Ó Î·È ÔÈ ÂÍÂÙ¿ÛÂȘ Europalso ÛÙ· Â›‰· Stars 1, Stars 2, Beginners, John Shaw Elementary, Basic. OÈ Î·Ù·ÛÙ¿ÛÂȘ ˘Ô„ËÊ›ˆÓ ı· ηٷٛıÂÓÙ·È ÛÙ· ÁÚ·Ê›· ÙÔ˘ ™˘Ó‰¤ÛÌÔ˘ ·fi ¢Â˘Ù¤Ú·, 23 OÎÙˆ‚Ú›Ô˘ ¤ˆ˜ ¶·Ú·Û΢‹, 27 OÎÙˆ‚Ú›Ô˘ 2006. ™Ù· Ï·›ÛÈ· Ù˘ ¤ÎıÂÛ˘ KOSMOS ÛÙȘ 27/08 ÛÙÔ Holiday Inn, ¤ÁÈÓ ÂȉÈ΋ ÂΉ‹ÏˆÛË ÛÙËÓ ÔÔ›· ·Ú¢ڤıÂÈ Ô Î. John Shaw, Head of the Dpt. Of Education and Languages ÙÔ˘ University of Central Lancashire. TÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ıˆÚÂ›Ù·È ¤Ó· ·Ô Ù· ÌÂÁ·Ï‡ÙÂÚ· ÛÙÔ Hӈ̤ÓÔ B·Û›ÏÂÈÔ ( ¤Ú¯ÂÙ·È 5Ô ) Î·È ¤Ï·‚ ÚfiÛÊ·Ù· AÚÈÛÙË ·ÍÈÔÏfiÁËÛË ·Ô ÙȘ ·ÚÌfi‰È˜ ‚ÚÂÙ·ÓÈΤ˜ ·Ú¯¤˜ ÛÙÔ ÙÌ‹Ì· Language and Education.

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ÛËÌ·Û›· Ù˘ ÂÎÌ¿ıËÛ˘ Ù˘ °·ÏÏÈ΋˜ ÁÏÒÛÛ·˜ Â›Ó·È Ôχ ÛËÌ·ÓÙÈ΋ ÙfiÛÔ Ì¿ÏÏÔÓ Ô˘ Ë °·ÏÏ›· Â›Ó·È Ë ¯ÒÚ· Ô˘ ÛÙ¤ÎÂÙ·È ÂÚ‹Ê·Ó· ÙfiÛÔ Ì ÙËÓ “ÔÏÈÙÈÛÙÈ΋” fiÛÔ Î·È Ì ÙËÓ “ÔÏÈÙÈ΋ ÂÍ·›ÚÂÛË” ¤Ó·ÓÙÈ Ù˘ ÌÈ·˜ Î·È ÌÔÓ·‰È΋˜ ˘ÂÚ‰‡Ó·Ì˘. OÈ ÁÏÒÛÛ˜ Û‹ÌÂÚ· Â›Ó·È ··Ú·›ÙËÙ˜ fiÛÔ ÔÙ¤ ÁÈ· ÔÈΛÏÔ˘˜ ÏfiÁÔ˘˜ Î·È È‰›ˆ˜ ÔÏÈÙÈÎÔ‡˜, ÔÈÎÔÓÔÌÈÎÔ‡˜, ÔÏÈÙÈÛÙÈÎÔ‡˜, ÎÔÈÓˆÓÈÎÔ‡˜, ÏÔÁÔÙ¯ÓÈÎÔ‡˜, ÈÛÙÔÚÈÎÔ‡˜, ‰ËÌÔÁÚ·ÊÈÎÔ‡˜, ÁˆÁÚ·ÊÈÎÔ‡˜, Ì· ÚˆÙ›ÛÙˆ˜ ÁÈ· ÙËÓ ·ÏÏËÏÔηٷÓfiËÛË, ÙËÓ ·ÓÂÎÙÈÎfiÙËÙ· ÙÔ˘ ÂÓfi˜ ¤Ó·ÓÙÈ ÙÔ˘ ¿ÏÏÔ˘ ¯ˆÚ›˜ ÙÔ ·›ÛıËÌ· Ù˘ ·ÓˆÙÂÚfiÙËÙ·˜, Ù˘ ηٷ›ÂÛ˘. M·ı·›ÓÔÓÙ·˜ ¤Ú·Ó Ù˘ ÌÈ·˜ ÁÏÒÛÛ·˜ Î·È ÌË ˘ÈÔıÂÙfiÓÙ·˜ ÌÈ· lingua franc· ÂÓÙfi˜ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘ Û‚fiÌÂı· ÚÒÙ· ÙÔÓ Â·˘Ùfi Ì·˜ ÙËÓ ·Ú¿‰ÔÛË Î·È ÙË ÁÏÒÛÛ· Ì·˜. ¶fiÛÔ ÂӉ›˜ ı· ›̷ÛÙÂ Â·Ó ·‡ÛÔ˘Ì ӷ ÔÌÈÏÔ‡ÌÂ Ô Î·ı¤Ó·˜ ÙË ÌËÙÚÈ΋ ÙÔ˘ ÁÏÒÛÛ· Î·È ÂÈÎÔÈÓˆÓÒÓÙ·˜ ÛÙË ÁÏÒÛÛ· ÙÔ˘ ¿ÏÏÔ˘ ÌÂٷʤÚÔÓÙ·˜ Ù· ·Ú·Ì‡ıÈ·, ÙȘ ·Ú·‰fiÛÂȘ, ÙÔ˘˜ ¯ÔÚÔ‡˜ ÛÙÔ °¿ÏÏÔ, ÛÙÔÓ IÛ·Ófi, ÛÙÔÓ IÙ·Ïfi, ÛÙÔ ¶ÔÚÙÔÁ¿ÏÏÔ, ÛÙÔ BÚÂÙ·ÓÓfi, ÚÔÛ·ıԇ̠ӷ

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Ù· οÓÔ˘Ì Û ÌÈ· ÌfiÓÔ ÁÏÒÛÛ·; B‚·›ˆ˜ ›Ûˆ˜ ‰ÈÂÚˆÙËı›Ù ÁÈ· ÔÈfi ÏfiÁÔ Ó· Ì·ı·›ÓÂÈ Î·Ó›˜ °·ÏÏÈο Î·È fi¯È ÌÈ· ¿ÏÏË ÁÏÒÛÛ·. EÌ›˜, fiÓÙ·˜ ˘ÂÚ ÙȘ ÔÏ˘ÁψÛÛ›·˜ ÛÙËÚ›˙Ô˘Ì ÙË °·ÏÏÈ΋ ˆ˜ ÙË ÌfiÓË ÏËÓ Ù˘ AÁÁÏÈ΋˜ Ë ÔÔ›· ÔÌÈÏÂ›Ù·È Î·È ÛÙȘ ¤ÓÙ Ë›ÚÔ˘˜ Î·È ·Óı›ÛÙ·Ù·È Ì¤Û· ·fi ÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ, ÙÔ ÙÚ·ÁÔ‡‰È, ÙËÓ ÔÏÈÙÈ΋, ÛÙËÓ ˘ÈÔı¤ÙËÛË ÂÓfi˜ Î·È ÌÔÓ·‰ÈÎÔ‡ ÙÚfiÔ˘ ÛΤ„˘ Î·È ÂÊ·ÚÌÔÁ‹˜ ÙÔ˘ ‰Èη›Ô˘. ÿÛˆ˜ ÁÓˆÚ›˙ÂÙ ÙÔ ÚfiÁÚ·ÌÌ· EUROM 4. ¶ÚfiÎÂÈÙ·È ÁÈ· ¤Ó· ̤ÛÔ ÂÎÌ¿ıËÛ˘ ‚¿ÛÂÈ ÙÔ˘ ÔÔ›Ô˘ ·ÚΛ ηÓ›˜ ÌÂÙ¿ ÙËÓ ÂÎÌ¿ıËÛË Ù˘ °·ÏÏÈ΋˜ Ó· ‰È‰·¯ı› 36 ÒÚ˜ ÙËÓ IÛ·ÓÈ΋ ÙËÓ IÙ·ÏÈ΋ Î·È ÙËÓ ¶ÔÚÙÔÁ·ÏÏÈ΋ Ô‡Ùˆ˜ ÒÛÙ ÔÈ Ù¤ÛÛÂÚȘ Ï·Ô› Ó· ÂÈÎÔÈÓˆÓÔ‡Ó ÌÂٷ͇ ÙÔ˘˜ ›Ù ÁÚ·ÙÒ˜ (̤ۈ ËÏÂÎÙÚÔÓÈÎÒÓ ÌËÓ˘Ì¿ÙˆÓ) ›Ù ÚÔÊÔÚÈÎÒ˜ ÌË ˘ÈÔıÂÙfiÓÙ·˜ ÙË ÁÏÒÛÛ· ÙÔ˘ ¿ÏÏÔ˘ ·ÏÏ¿ Ô Î·ı¤Ó·˜ ÔÌÈÏÒÓÙ·˜ ÙË ‰È΋ ÙÔ˘. K·È ÙÔ‡ÙÔ ‰ÈfiÙÈ Â›Ó·È ÙÔ˘Ï¿¯ÈÛÙÔÓ ·ÛÙÂ›Ô Ó· ÚÔÛ·ı› Ô °¿ÏÏÔ˜ Ó· ÂÈÎÔÈÓˆÓ‹ÛÂÈ Ì ÙÔÓ IÛ·Ófi ̤ۈ Ù˘ AÁÁÏÈ΋˜, ·ÊÔ‡ ÌÔÚ›, Â¿Ó Ô Û˘Ó‰È·ÏÂÁfiÌÂÓÔ˜ ·ÓÙÈÏËÊı› ÙË ‰ÔÌ‹ Ù˘ Ï·ÙÈÓÔÁÂÓÔ‡˜ ÙÔ˘ ÁÏÒÛÛ·˜, · ηٷÓÔ‹ÛÂÈ Â‡ÎÔÏ· ÙÔÓ Û˘ÓÔÌÈÏËÙ‹ ÙÔ˘. OÈ Ù¤ÛÛÂÚȘ ·˘Ù¤˜

O Î. NÈÎfiÏ·˜ XÚÈÛÙÔ‰Ô‡ÏÔ˘, AÓ. ¢È¢ı˘ÓÙ‹˜ EÍÂÙ¿ÛÂˆÓ ÙÔ˘ °·ÏÏÈÎÔ‡ IÓÛÙÈÙÔ‡ÙÔ˘ ·fi ÙÔ 1992, ·fiÊÔÈÙÔ˜ ÙˆÓ ¶·ÓÂÈÛÙËÌ›ˆÓ AıËÓÒÓ Î·È ¶·ÚÈÛ›ˆÓ (™ÔÚ‚fiÓÓ˘) Â›Ó·È ‰È‰¿ÎÙˆÚ Ù˘ °·ÏÏÈ΋˜ §ÔÁÔÙ¯ӛ·˜ Î·È ¶ÔÏÈÙÈÛÌÔ‡. ™˘ÁÁڷʤ·˜ ‚È‚Ï›ˆÓ fiˆ˜ DALF C2, SORBONNE II Î·È ÔÏÏÒÓ ÏÔÁÔÙ¯ÓÈÎÒÓ ¿ÚıÚˆÓ Î˘Ú›ˆ˜ XIXe Î·È XXe ·ÈÒÓ·, ˘‡ı˘ÓÔ˜ ÂÈÌfiÚʈÛ˘ ÛÙÔ Â›Â‰Ô C ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ Ù˘ E˘ÚÒ˘ ÚÔˆı› ÙË °·ÏÏÔʈӛ· ÛÙËÓ EÏÏ¿‰· ÒÛÙ ÛÙË ¯ÒÚ· Ì·˜ Ó· ÌËÓ ÂÈÎÚ·Ù‹ÛÂÈ ÌÈ· Î·È ÌfiÓË ÎÔ˘ÏÙÔ‡Ú·, οÙÈ Ô˘ ·ÓÙ›ÎÂÈÙ·È ÛÙÔ E˘Úˆ·˚Îfi Ó‡̷ Î·È fiÚ·Ì·.

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ÁÏÒÛÛ˜ ·ÓÙÈÚÔÛˆÂ‡Ô˘Ó 180 ÂηÙÔÌ̇ÚÈ· ηÙÔ›ÎÔ˘˜ Ù˘ E˘ÚÒ˘. E·Ó ÚÔÛı¤ÛÂÈ Î·Ó›˜ ÙËÓ AÁÁÏÈ΋ ÁÏÒÛÛ·, ηٷϷ‚·›ÓÂÙ fiÛÔ ‰˘Ó·Ùfi˜ ¤ÈÓ·È ·˘Ùfi˜ Ô ‰›‰˘ÌÔ˜ ¿ÍˆÓ Ô ÔÔ›Ô˜ ı· ÂÓÈÛ¯˘ı› ·ÎfiÌË ÂÚÈÛÛfiÙÂÚÔ Ì ÙËÓ Â›ÛÔ‰Ô Ù˘ PÔ˘Ì·Ó›·˜ ÛÙËÓ E˘ÚÒË, ¤ÌÙ˘ ηٿ ÛÂÈÚ¿ Ï·ÙÈÓÔÁÂÓÔ‡˜ ¯ÒÚ·˜. B‚·›ˆ˜ ¤Ú·Ó ·˘ÙÔ‡, Ë ÂÌ¤‰ˆÛË Ù˘ ‰ËÌÔÎÚ·Ù›·˜, ÙÔ˘ Û˘ÓıÂÙÈÎÔ‡ ÙÚfiÔ˘ ÛΤ„˘, ÙÔ˘ ÔÚıÔÏÔÁÈÎÔ‡ K·ÚÙÂÛÈ·ÓÈÛÌÔ‡ Ô˘ ËÁ¿˙ÂÈ ·fi ÙÔÓ AÚÈÛÙÔÙ¤ÏË Î·È ÙÔÓ ¶Ï¿ÙˆÓ· ‰È· ̤ÛÔ˘ Ù˘ ÏÔÁÈ΋˜ Â›Ó·È ·Ó·ÌÊÈÛ‚‹ÙËÙ· ·Ú¿ÁÔÓÙ˜ Ô˘ ‚ÔËıÔ‡Ó ÛÙËÓ ˘¤Ú‚·ÛË ÙˆÓ Û˘ÓfiÚˆÓ, ÙÔ˘ ¿ÎÚ·ÙÔ˘ ÂıÓÈÎÈÛÌÔ‡ ·fi ÙÔÓ ÔÔ›Ô ÙfiÛÔ Ôχ ¤¯Ô˘Ì ˘ÔʤÚÂÈ Î·È ˆ˜ ¤ıÓÔ˜ Î·È ˆ˜ E˘ÚÒË ·ÊÔ‡ Ô Î·ı¤Ó·˜ Ú·Û·ıÔ‡Û ӷ ÂÈ‚ÏËı› ÙÔ˘ ¿ÏÏÔ˘ ·ÓÙÈ Ó· ÙÔÓ Î·Ù·ÓÔ‹ÛÂÈ. ŒÙÛÈ, ÏÔÈfiÓ, ·fi Ù· ÁψÛÛÈο ghettos ‰ÂÓ Â›Ó·È ‰˘Ó·ÙfiÓ Ó· ˘¿ÚÍÔ˘Ó, Ô‡Ù ÂÈ‚ÔÏ‹ ÌÈ·˜ ÁÏÒÛÛ·˜ ÂÓÙfi˜ ÙÔ˘ E˘Úˆ·˚ÎÔ‡ ™˘Ì‚Ô˘Ï›Ô˘, Ô‡Ù ΢ÚÈ·Ú¯›· ÂÓfi˜ ÌÔÓÙ¤ÏÏÔ˘ ‰È·Î˘‚¤ÚÓËÛ˘ ¤Ó·ÓÙÈ ÙÔ˘ ¿ÏÏÔ˘. º·ÓÙ·Ûı›Ù fiÛÔÈ ı· ·ÔÎÏÂÈÛıÔ‡Ó ÏfiÁˆ ÌË Â·ÚÎÔ‡˜ ¯Ú‹Û˘ ÌÈ·˜ Î·È ÌfiÓÔ ÁÏÒÛÛ·˜. ¶fiÛÔ Í‡ÏÈÓË ı· Â›Ó·È Ë ÂÈÎÔÈÓˆÓ›· ·ÊÔ‡ ÙÔ ÏÂÍÈ-

ÏfiÁÈÔ Â›Ó·È ¿ÓÙ· ÊÙˆ¯fiÙÂÚÔ Û ÌÈ· ͤÓË ÁÏÒÛÛ· fiÛÔ Î·Ï¿ Î·È ·Ó ÙË ÁÓˆÚ›˙Ô˘ÌÂ. °È· ÙËÓ Ï‹ÚË Î·Ù·ÓfiËÛË ÏÔÈfiÓ Ù˘ ÁψÛÛÔÌ¿ıÂÈ·˜ ÙÔ˘ οı ÔÏ›ÙË, ÙÔ E˘Úˆ·˚Îfi ¶Ï·›ÛÈÔ AÓ·ÊÔÚ¿˜ ÂÊ¿ÚÌÔÛ ÙËÓ ÂÍ·Ï‹ Îϛ̷η Ì ÙËÓ ·ÏÊ·‚ËÙÈ΋ Î·È ·ÚÈıÌËÙÈ΋ ηٿٷÍË ÙˆÓ ÂÈ¤‰ˆÓ ÁÓÒÛÂˆÓ Û A1-A2 B1-B2 C1-C2. H οı ¯ÒÚ· ˘‡ı˘ÓË ÁÈ· ÙÔ ÁψÛÛÈÎfi Û‡ÛÙËÌ· Ô˘ ˘ÈÔıÂÙÂ›Ù·È ÂÊ·ÚÌfi˙ÂÈ ÏÔÈfiÓ ·˘Ùfi ÙÔ Ó¤Ô Û‡ÛÙËÌ· ÙÔ ÔÔ›Ô ˘ÈÔıÂÙ‹ıËΠÏ‹Úˆ˜ ·fi ÙË °·ÏÏ›· ˆ˜ ÂÎÚÔÛÒÔ˘ ÙÔ˘ °·ÏÏfiʈÓÔ˘ ÔÏÈÙÈÛÌÔ‡ Ì ٷ KÚ·ÙÈο ‰ÈÏÒÌ·Ù· DELF/DALF ÙÔ˘ °·ÏÏÈÎÔ‡ YÔ˘ÚÁ›Ԣ ¶·È‰Â›·˜ Ô‡Ùˆ˜ ÒÛÙ ԛÔÛ‰‹ÔÙ οÙÔ¯Ô˜ Ó· ÌÔÚ› Û ÔÔÈ·Ó‰‹ÔÙ ¯ÒÚ· ·fi ÙȘ 154 Ô˘ ·Ó·ÁÓÒÚÈÛ·Ó Î·È ˘ÈÔı¤ÙËÛ·Ó ·˘Ùfi ÙÔ Û‡ÛÙËÌ· Ó· ¤¯ÂÈ Ù·˘Ùfi¯ÚÔÓË ·Ú¿ÏÏËÏË Î·Ù·ÓfiËÛË ·fi ÙȘ ·Ú¯¤˜ οı ÎÚ¿ÙÔ˘˜ ÙˆÓ ÁÓÒÛÂˆÓ ÙÔ˘ ÙfiÛÔ ÛÙËÓ AÁÁÏÈ΋ fiÛÔ Î·È ÛÙË °ÂÚÌ·ÓÈ΋ ÁÏÒÛÛ· ÔÈ Ôԛ˜ ·’ fiÙÈ ÁÓˆÚ›˙ˆ, ÂÊ·ÚÌfi˙Ô˘Ó ÛÙ·‰È·Î¿ ÙÔ ›‰ÈÔ Û‡ÛÙËÌ·. EÏ›˙ˆ ‰Â Î·È Ë EÏÏËÓÔÌ¿ıÂÈ·, ·ÔÎÏÂÈÛÙÈ΋ ¢ı‡ÓË ÙÔ˘ EÏÏËÓÈÎÔ‡ ÎÚ¿ÙÔ˘˜ Ó· ·ÔÎÙ‹ÛÂÈ Ù· ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 24

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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Writing Exams: What do examiners want? As most teachers will acknowledge, students can often find writing the most challenging of all the four skills. Elaine Boyd, an examiner herself, gives some invaluable insight into what examiners want, and, more importantly, how to train students to deliver. riting can be the most difficult skill in a foreign language —you have to be accurate, know your vocabulary, guide your reader through your argument and write in the correct tone. The challenge is to get your message across without the support of gestures or repetition and to be careful not to offend the reader! As well as being very demanding of your language skills, a writing task is complicated by the fact that writing styles vary from language to language. While in some languages it is acceptable to refer to several broad points, in others you must write in a particular order or with a specific focus. English, for example, demands that an argument is developed in a certain way and that the main point is consistently addressed. How students write in their first language can have a significant effect on how they write in English, so students need to be aware of the differences between their first language and English if they are to succeed in writing exams. To make matters worse, a lot of

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students think writing is boring — but they need to be able to write effectively to pass exams. As teachers, it is very tempting to focus on accuracy, especially as this helps students’ language proficiency generally. However, writing is a specific skill with special considerations that belong to this skill alone. In fact, most writing exams will allow the candidate some mistakes in their grammar and spelling as long as these mistakes don’t affect undersanding. Some students, not unreasonably, hope that if what they write is accurate then they will get the necessary marks. But the truth is that if they don’t answer the question then no matter how accurate their writing is, they will lose a lot of marks. All the important features of written English —range, focus, organisation and register as well as accuracy— are assessed in English language exams. It is critical for students to master all these features if they are to get a better mark. The good news is that most students improve quite quickly once the are made aware of

Elaine Boyd is an exam writer for a range of ESOL exams, specialising in exams which test the writing skill. She has been involved with teaching, examining and writing ESOL materials for over 20 years and has just completed a research degree in spoken English. these features and given some help to practise them. So what are the typical reasons why candidates may lose marks in writing exams? The following comments are what an examiner might say about some of the answers they see.

1. «This candidate hasn’t answered the question!» This is the biggest sin of all in an exam and students need to be made aware of how serious it is. Sometimes, in the panic of the exam, candidates write what they know rather than doing the task set. But, however good their English is, they have little chance of achieving a pass grade if they don’t address what is required by the question. There are two possible problems here — topic focus and task focus. Problem: topic focus In written English it is important to stay on the main topic of the discourse. Students sometimes go off the topic either because they don’t really have enough ideas on the topic or because it is acceptable to introduce other elements when writing in their own language. Another problem is that sometimes, in an exam, students try to recreate a good piece of writing they have done in class, whether or not it answers the question set in the exam. Usually this loses the candidate a lot of marks because the questions will always have a particular focus and this must be addressed. Therefore, students need to feel confident that they can answer a range of questions without using a «template» produced in

class. Help your students to gain confidence: ñ Get them to brainstorm all the things they could say about one topic. This gives them useful speaking practice before they write and means they will not be stuck for ideas. They can make a list together. Then give them an exam-type question and ask them to pick which ideas from their list fit the focus of the question. They won’t all fit so this process can help them understand how important it is to select ideas relevant to the question. ñ Give students an exam-type question in English but ask them to write the answer in their own language. Then ask them to list the points they have included. Do they all focus on the points in the question and only on these points? Or have they added ideas and extensions that are less relevant? This «translation» task can help them recognise the differences between writing in their own language and writing in English. Problem: task focus Many writing exams ask candidates to complete a task, e.g. write a note to a friend about a meeting or write a review of a film. Candidates are usually assessed on how well they have complete the task, e.g. Does the friend know the arrangements? Would the reader know whether the film was worth watching? This «effect on the targer reader» is crucial to success. Make sure your students know how to complete a task and focus on the reader. There are two steps: ñ Get students to decide what the task is. Give them some exam-type questions and ask them what the main purpose of the piece of writing is. Why are they writing? What are they trying to achieve? ñ When the students have decided what the reason for writing is, ask them to make a list of what the reader needs to know in order for this purpose to be achived. For example, if it is a complaint, then what are all the things the reader needs to know to be persuaded to resolve the complaint? If it is an article or a story, then does it entertain, inform and engage the reader?

2. «This isn’t very well organised - It’s difficult to follow» Problem: planning It is absolutely essential that students get into the habit of planning their writing. Many candidates write out a rough copy of their answer in the exam and then

try to write it out again neatly, but they run out of time. There is not time in an exam to write everything out twice. Students need to learn to write plans for their answers so they can use their time to address all the elements of the question. Another problem is that candidates do not balance their anwers —there is too much on one point and not enough on others. Again, planning helps to resolve this as they can make sure they have noted enough to say on each point. They can use the word count required by the question to help them plan and balance their answer. ñ Ask to see students’ plans before they write. Point out any problems (e.g. irrelevance, lack of balance) or let students show their plans to each other to check differences or similarities. Only then let students write from the plan. ñ Help students to balance anwers by discussing together how many parts there are in a writing task and how many points need to go into each part. For example, ask them to write two ideas for each part so the end result is balanced. Allot a rough number of words, get students to think about the task technically (which is what they will be marked on) rather than imaginatively. Problem: linking and referencing A very important feature of good writing is how various points are connected to each other. Candidates will usually gain extra marks for good linking and referencing. It is relatively easy to get students to use link phrases such as «in the first place», «furthermore», etc, but they also need to be shown how to take a more holistic approach to the cohesion of a writing task. ñ Get students to focus on the first and last sentence of a paragraphfocusing and summarising. This will make their writing much easier for the reader to follow. Practise this in class by giving students the middle section of paragraphs and asking them to discuss how they would introduce and summarise what is said, and then ask them to write first and last sentences for each paragraph. ñ Encourage students to reference what has gone before in their writing. For example, instead of «I’ll meet you at 7 pm at the cinema. Let’s have a coffee», you could say «After the film, shall we have a coffee together?» This is both clearer and shows a more complex structure. This can be done going round the class as a speaking activity with each student linking an utterance to what has gone before. ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 25

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Serbia Calling

Teaching English in Serbia from ... A to Z It is always a pleasure to make new friends. In this column we will be meeting people from all over the world, people that share the same interests and passions with us. Zlatko and Ana are two Serbian teachers of English who talk to Lingua Franca about... well just about everything. Where do you live and work? A: My name is Andrea Klancnik (aka Ana) and I live in Belgrade, in Zemun to be precise. I work in Experimental Elementary School Vladislav Ribnikar, Meet Ana which is, I’m proud to say, one of the best state schools in Belgrade (not only my opinion, but also an official conclusion of the Ministry of Education and Sports). You can find more about us and our special programmes if you visit our website at www.osribnikar.edu.yu Z: I am Zlatko Iker. I teach English privately. Nine months a year I live and work in Belgrade and about 3 months a year in Tivat (Montenegro) What are your qualifications? A: BA in English Language and Literature, University of Belgrade. Z: BA in Czech Language and Literature, University of Belgrade (English was my second language) Where do people learn English in Serbia in general? A: It is compulsory in most schools. Some children start learning English in the first grade (age 6-7), and some start at the age of 10-11. Z: There are many private language schools in Belgrade as well. How do you become a teacher of English in Serbia? A: You have to study for four years for a degree in English Language and Literature at a university. Two

and Zlatko, our friends and colleagues from years ago, due to the shortage of teachers of English, the Ministry of Education and Sports allowed people with a degree in some other language, and an excellent knowledge of English (CAE at least) to teach in the first four grades of primary schools. Z: Actually, now any graduate of Faculty of Philology can be a teacher of English (in primary school) when they pass exam called B2. More information about that exam you can find on the site www.fil.bg.ac.yu What examinations do your students usually sit? A: There are no obligatory exams in our state schools. They start learning English at the age of 10-11 (fifth grade), and when they finish the primary school, 8th grade, most of them are capable of passing FCE, and lots of them do. What publishers do you use in your classroom/lesson? A: We were one of the first schools which were allowed to use foreign course books, five years ago, so we chose Oxford University Press textbooks Open Doors 1, 2 and 3. Z: Apart from following my students’ school text books (which differ), I mainly use You an Me for younger students and Headway for all levels (Oxford University Press). How do you find out what’s new in the market? (books and stuff) A: We are well informed. English Book, a representative for OUP and Macmillan for Serbia keeps us updated on all the latest materials, and so do Cambridge UP and Longman. There are also lots of seminars organized by these publishing houses, by the British Council and the Ministry, and there’s ELTA, English Language Teachers’ Association. They are all very helpful... ELT magazines which we get, Forum and Melt. Z: I find most of the information I need on the internet. But it’s usually Ana who informs me! Do you use computers in class, if yes to do what? A: That has been scarce so far, I must admit, not because of the lack of will but due to the financial problems that state schools encounter. Fortunately, next school year will be different. Now we have a new classroom with a lot of linked computers so in a few months I could tell you more about our new teaching methods. Z: Yes! After we finish the lesson, my students and I love to do online grammar tests. Some of them are very good and helpful (for

example the ones on englishpage.com) In Greece language examinations are extremely important to students, parents and teachers. What’s the situation in Serbia? A: I cannot say that has been the case with our country. However, they are becoming more popular. Z: Both students and parents find high marks in English at the end of the semester more important. Most employers will still take that as a guarantee for their language skills. But as Ana said, they are becoming more popular, Serbia mostly due to foreign companies that require internationally recognized tests. What’s the most rewarding thing in your job? A: Definitely when I hear my students say English is their favourite subject, and when they don’t want me to stop the lesson when the bell goes off because we are having a great time. What is the most frustrating thing in your job? A: The most frustrating? When I can’t bridge the gap between their love for speaking English and their dislike of grammar, especially grammar tests. Z: Hmmm Nothing really. However, the dictionaries here are not well updated. Sometimes it is difficult to find the proper Serbian equivalents for English expressions regarding IT or Marketing (for example). That’s why students usually ‘stick’ to the original English terms. What is the average salary of a language teacher in Serbia? A: That’s an awful question. About 300 euros. No comment. Z: That is the reason why I don’t work in public school. What do you do in your free time? What are your hobbies? A: I translate. A lot. And I do yoga. And study NLP. Z: I translate too. I assist in PR campaigns for several NGOs. I also like reading, swimming and of course clubbing. Will you be visiting Greece any time soon? A: I love Greece. I haven’t been there for ten years but I hope I’ll visit it next year. And our school has a "fraternal school" in Greece, the 85th School of Thessaloniki, you know. Z: I haven’t been to Greece, but I plan to visit Athens next summer, as I have some dear Greek friends – let me take this opportunity to say hello to Aris, Yiorgos and Stella! Give us some tips where to go and what to do if we visit Serbia. A: Well, if you like the night life you will certainly NOT be disappointed. And the restaurants are perfect. Oh, there are so many things for everybody. Call us any time and we'll be your guides. Z: Ana mentioned some things you can enjoy while you are in Belgrade. There are also many other great locations to visit in Serbia. Kopaonik and Zlatibor are famous ski resorts, but popular during all seasons. Nature lovers will not be disappointed with Tara, where you can practice different kinds of extreme sports (for example rafting). You can contact Ana and Zlatko at the following addresses: Ana: [email protected] Zlatko: [email protected]

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AÓ OÈ ¶ÂÏ¿Ù˜ ™·˜ EÎÊÚ¿˙Ô˘Ó ¶·Ú¿ÔÓ·, E›ÛÙ T˘¯ÂÚÔ›! T˙Ô‡ÏË K˘ÚȷοÎË ·˜ ÂÎÊÚ¿˙Ô˘Ó ·Ú¿ÔÓ· ÔÈ ÂÏ¿Ù˜ Û·˜; AÓ, Ó·È ÙfiÙ ÌÔÚ›Ù ӷ ÎÂÚ‰›ÛÂÙ ¿Ú· ÔÏÏ¿! Y¿Ú¯Ô˘Ó ÙÚ›· Ú¿ÁÌ·Ù· Ô˘ ›Ûˆ˜ ‰ÂÓ ÁÓˆÚ›˙ÂÙ ÁÈ· ÙÔÓ ¯ÂÈÚÈÛÌfi ÙˆÓ ·Ú·fiÓˆÓ ÙˆÓ ÂÏ·ÙÒÓ Û·˜: 1. ŒÓ·˜ ÂÏ¿Ù˘ Û˘Ó‹ıˆ˜ ı¤ÏÂÈ ÏÈÁfiÙÂÚ· ·fi ·˘Ù¿ Ô˘ ÓÔÌ›˙ÂÙÂ. 2. ŒÓ·˜ ÂÏ¿Ù˘ Ô˘ ÔÙ¤ ‰ÂÓ Â›¯Â Úfi‚ÏËÌ· ‰ÂÓ Â›Ó·È ÙfiÛÔ ÈÛÙfi˜ fiÛÔ o ÂÏ¿Ù˘ Ô˘ ›¯Â οÔÈÔ Úfi‚ÏËÌ· ÙÔ ÔÔ›Ô ÂÈχıËΠ̠ÂÈÙ˘¯›·. 3. OÈ ÂÏ¿Ù˜ Ô˘ ·ÊÈÂÚÒÓÔ˘Ó ¯ÚfiÓÔ ÛÙÔ Ó· ·Ú·ÔÓÂıÔ‡Ó Û·˜ οÓÔ˘Ó Ó· ‚ÂÏÙÈÒÓÂÛÙÂ. 1. O ÈÔ ·Ó¤ÍÔ‰Ô˜ Î·È Î·Ï‡ÙÂÚÔ˜ ÙÚfiÔ˜ ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›ÛÂÙ ٷ ·Ú¿ÔÓ· ÙˆÓ ÂÏ·ÙÒÓ Â›Ó·È Ó· ÚˆÙ‹ÛÂÙ ÙÔÓ ÂÏ¿ÙË Ò˜ ÌÔÚ› Ó· Â·ÓÔÚıÒÛÂÙÂ. E¿Ó ¤¯ÂÙ ˘ÈÔıÂÙ‹ÛÂÈ Î¿ÔÈ· ÔÏÈÙÈ΋ Ó· οÓÂÙ fiÙÈ ¯ÚÂÈ¿˙ÂÙ·È ÁÈ· Ó· Â·ÓÔÚıÒÛÂÙ fiÙ·Ó Ù· Ú¿ÁÌ·Ù· ÛÙÚ·‚ÒÓÔ˘Ó, Ì ÙÔ Ó· ÚˆÙ‹ÛÙ ·Ï¿ ÙÔÓ ÂÏ¿ÙË ÙÈ ı· ‹Ù·Ó ·˘Ùfi Ô˘ ı· ‰ÈfiÚıˆÓ ÙËÓ Î·Ù¿ÛÙ·ÛË ı· ʤÚÂÈ ÂÎÏËÎÙÈο ·ÔÙÂϤÛÌ·Ù·. £· ‰Â›Ù fiÙÈ ˙ËÙ¿Ó ÏÈÁfiÙÂÚ· ·fi ·˘Ù¿ Ô˘ ÂÛ›˜ ı· ‰Â¯fiÛ·ÛÙ·Ó ·Ó οӷÙ ÌÈ· Û¯ÂÙÈ΋ ‰È·Ú·ÁÌ¿Ù¢ÛË. 2. OÈ ÂÏ¿Ù˜ Ô˘ ÔÙ¤ ‰ÂÓ Â›¯·Ó Úfi‚ÏËÌ· ‰ÂÓ Â›Ó·È ÙfiÛÔ ·ÊÔÛȈ̤ÓÔÈ ÛÙËÓ Âȯ›ÚËÛË Û·˜ fiÛÔ ·˘ÙÔ› Ô˘ ›¯·Ó οÔÈÔ Úfi‚ÏËÌ· Ô˘ ÂÈχıËΠ̠ÂÈÙ˘¯›·. TÔ Î·Ù·Ï¿‚·Ù ·˘Ùfi; ¢È·‚¿ÛÙ ÙÔ ·ÎfiÌ· ÌÈ· ÊÔÚ¿ ÁÈ· Ó· ÛÈÁÔ˘Ú¢Ù›ÙÂ. A˘Ùfi Â›Ó·È ÙfiÛÔ ÛËÌ·ÓÙÈÎfi Ô˘ Ú·ÁÌ·ÙÈο ·Í›˙ÂÈ ÙÔÓ ÎfiÔ Ó· οÓÂÙ Â›Ùˉ˜ οÔÈÔ Ï¿ıÔ˜ ÁÈ· Ó· Ù· ‰ÈÔÚıÒÛÂÙ ÌÂÙ¿. ™ÎÂÊÙ›Ù ÙÔ. E¿Ó ¿ÓÙ· ·Ú·‰›‰ÂÙ ÙËÓ ˘ËÚÂÛ›· Û·˜ fiˆ˜ ¤¯ÂÙ ˘ÔÛ¯Âı› ˆ˜ ı· ͤÚÔ˘Ó ÔÈ ÂÏ¿Ù˜ Û·˜ fiÙÈ ‰ÂÓ Â›ÛÙ ÌfiÓÔ Û˘ÓÂ›˜; ¶ˆ˜ ı· ·Ó·Î·Ï‡„Ô˘Ó fiÙÈ ÂÎÙfi˜ ·fi ÙË Û˘Ó¤ÂÈ· Âȉ›ˆÍ‹ Û·˜ Â›Ó·È Ó· ηχÙÂÙ Ï‹Úˆ˜ ÙȘ ·Ó¿ÁΘ ÙˆÓ ÂÏ·ÙÒÓ Û·˜; E›Ó·È ··Ú·›ÙËÙÔ Ó· οÓÂÙ οÔÈÔ ÛÊ¿ÏÌ· ÒÛÙ ӷ ÙÔ ‰ÈÔÚıÒÛÂÙÂ, ÂȉÂÈÎÓ‡ÔÓÙ·˜ ¤ÙÛÈ ÙËÓ ÂÈÏÈÎÚ›ÓÂÈ¿ Û·˜ Û¯ÂÙÈο Ì ÙËÓ ˘fiÛ¯ÂÛ‹ Û·˜ Ó· ·Ú·‰›‰ÂÙ ¤Ó· ÔÈÔÙÈÎfi ÚÔ˚fiÓ ‹ ˘ËÚÂÛ›·. TÔ ÂÚÒÙËÌ· ›ӷÈ, «AÊÔ‡ ·˘Ùfi Â›Ó·È ÙfiÛÔ Ê·ÓÂÚfi ÁÈ·Ù› ÙfiÛ· ÔÏÏ¿ ·Ú¿ÔÓ· ÂÏ·ÙÒÓ Ù· ¯ÂÈÚ›˙ÔÓÙ·È ÔÈ ÂȯÂÈÚ‹ÛÂȘ Ì Ôχ ηÎfi ÙÚfiÔ;» H ·¿ÓÙËÛË Â›Ó·È Ô Êfi‚Ô˜. O Êfi‚Ô˜ fiÙÈ Ô ÂÏ¿Ù˘ ÚÔÛ·ı› Ó· Û·˜ ÂÍ··Ù‹ÛÂÈ. O Êfi‚Ô˜ fiÙÈ Î¿ÔÈÔ˜ ı· Ú¤ÂÈ Ó· ηÙËÁÔÚËı› ÁÈ· ÙÔ Ï¿ıÔ˜ Î·È ·˘Ùfi˜ Ô Î¿ÔÈÔ˜ ÌÔÚ› Ó· ›ÛÙ ÂÛ›˜.

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OÈ ˘¿ÏÏËÏÔÈ Û˘¯Ó¿ ÓÔÌ›˙Ô˘Ó fiÙÈ Ë ‰Ô˘Ï›· ÙÔ˘˜ Â›Ó·È Ó· ÚÔÛÙ·ÙÂ‡Ô˘Ó ÙËÓ Âȯ›ÚËÛË ·fi ÙÔÓ ÂÏ¿ÙË. E›Û˘ Û˘¯Ó¿ ÈÛÙÂ‡Ô˘Ó fiÙÈ Ù· ·Ú¿ÔÓ· Â›Ó·È ¤Ó· ÛËÌ¿‰È ·ÔÙ˘¯›·˜ ·Ú¿ ÌÈ· ¢ηÈÚ›· Ó· ·Ó·Ù˘¯ıÔ‡Ó. K·È Ù›ÔÙ· ·fi ·˘Ù¿ ‰ÂÓ ı· ·ÏÏ¿ÍÂÈ ·Ó ·˘Ù‹ Ë ÔÏÈÙÈ΋ ‰ÂÓ ÌÂÙ·‰›‰ÂÙ·È Î·È ÂÊ·ÚÌfi˙ÂÙ·È ·fi ÙËÓ ·ÓÒÙ·ÙË ‰ÈÔ›ÎËÛË. ¶ÔÈÔ˜ ı· ‰È·ÎÈÓ‰˘Ó‡ÛÂÈ Ó· ¿ÚÂÈ Î¿ÔÈ· ÚˆÙÔ‚Ô˘Ï›· ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›ÛÂÈ Ù· ·Ú¿ÔÓ· οÔÈÔ˘ ÂÏ¿ÙË ·Ó ÈÛÙ‡ÂÈ fiÙÈ ÎÈÓ‰˘Ó‡ÂÈ Ó· ¯¿ÛÂÈ ÙË ‰Ô˘ÏÂÈ¿ ÙÔ˘ ·Ó ÙÔ Î¿ÓÂÈ;

4 B‹Ì·Ù· ÁÈ· ÙË ™ˆÛÙ‹ E͢ËÚ¤ÙËÛË Î·È AÓÙÈÌÂÙÒÈÛË ¶·Ú·fiÓˆÓ ¢ËÌÈÔ˘ÚÁ‹ÛÙ ™ˆÛÙ‹ ™¯¤ÛË. ¢ÒÛÙ ÛÙÔÓ ÂÏ¿ÙË Ó· ηٷϿ‚ÂÈ ·fi ÙËÓ ·Ú¯‹ fiÙÈ Â›ÛÙ Ì ÙÔ Ì¤ÚÔ˜ ÙÔ˘˜. A˘Ùfi Â›Ó·È ÂÚÈÛÛfiÙÂÚÔ ·fi ÌÈ· Û˘ÁÁÓÒÌË ·ÏÏ¿ Â›Ó·È ¤Ó· ηÏfi ÍÂΛÓËÌ·. Aӷηχ„Ù ÙÔ ¶Úfi‚ÏËÌ·. ZËÙ‹ÛÙ ·fi ÙÔÓ ÂÏ¿ÙË Ó· Û·˜ ÂÈ ÔÈÔ Â›Ó·È ·ÎÚÈ‚Ò˜ ÙÔ Úfi‚ÏËÌ· – ·Ï¿ ·ÎÔ‡ÛÙÂ. ¶ÚÔÛʤÚÂÙ ÌÈ· ÔÏÔÎÏËڈ̤ÓË Ï‡ÛË. ZËÙ‹ÛÙ ·fi ÙÔÓ ÂÏ¿ÙË Ó· Û·˜ ÂÈ ÙÈ ıˆÚ› ÛˆÛÙfi. ™˘ÌʈӋÛÙÂ Î·È ÚÔÛʤÚÂÙÂ Î·È Î¿ÙÈ ·Ú·¿Óˆ ·fi ·˘Ùfi Ô˘ ˙ËÙ¿ÂÈ ÁÈ· Ó· ·ԉ›ÍÂÙ fiÙÈ ÙÔ ÂÓÓÔ›Ù Ú·ÁÌ·ÙÈο. XÙ›ÛÙ ÙË Û¯¤ÛË Ì ÙÛÈ̤ÓÙÔ. ZËÙ‹ÛÙ ͷӿ Û˘ÁÁÓÒÌË Î·È ›Ù ÙÈ ı· οÓÂÙ ÒÛÙ ӷ ÌËÓ Û˘Ì‚Â› Í·Ó¿ οÙÈ ·ÚfiÌÔÈÔ. AÓ ı¤ÏÂÙ ÌÈ· ÈÔ ·Ï‹ Ô‰ËÁ›· ÁÈ· Ù· ·Ú¿ÔÓ· ·ÎÔÏÔ˘ı‹ÛÙ ·˘Ùfi: K¿ÓÙ fiÙÈ ¯ÚÂÈ¿˙ÂÙ·È ÁÈ· Ó· Â·ÓÔÚıÒÛÂÙ fiÙ·Ó Î¿ÙÈ ‰ÂÓ ¿ÂÈ Î·Ï¿ – fiÙÈ Î·È ·Ó Â›Ó·È ·˘Ùfi. 3. ŒÓ·˜ ÂÏ¿Ù˘ Ô˘ ¤¯ÂÈ Î¿ÔÈÔ ·Ú¿ÔÓÔ Û·˜ ˙ËÙ¿ÂÈ Ó· ÙÔÓ ‚ÔËı‹ÛÂÙ ӷ ·Ú·Ì›ÓÂÈ ÂÏ¿Ù˘ Û·˜. ŸÛÔÈ ·Ú·ÔÓÈÔ‡ÓÙ·È Â›Ó·È ÔÈ ÈÔ ·ÊÔÛȈ̤ÓÔÈ ÂÏ¿Ù˜ Û·˜. £¤ÏÔ˘Ó Ó· Û˘Ó¯›ÛÔ˘Ó Ó· Û˘Ó·ÏÏ¿ÛÛÔÓÙ·È Ì·˙› Û·˜. AÓ ‰ÂÓ ‹ıÂÏ·Ó ·Ï¿ ı· ¤Ê¢Á·Ó Î·È ‰ÂÓ ı· ÙÔ˘˜ ‚Ϥ·Ù ÔÙ¤ Í·Ó¿. OÈ ÂÏ¿Ù˜ Ô˘ ÂÎÊÚ¿˙Ô˘Ó ·Ú¿ÔÓ· Û·˜ ‰›ÓÔ˘Ó ÌÈ· ¢ηÈ-

Ú›· Ó· Â·ÓÔÚıÒÛÂÙÂ. MËÓ ÙË ¯¿ÓÂÙÂ. T· ·Ú¿ÔÓ· Â›Ó·È ÔÈ Â˘Î·Èڛ˜ Ô˘ Èı·ÓfiÓ Ó· ÌËÓ ÙȘ ¤¯ÂÙÂ

‰ÂÈ. E¿Ó ÙȘ ‚Ϥ·ÙÂ Î·È ‰ÂÓ ÙȘ ·ÍÈÔÔÈÔ‡Û·Ù ÙfiÙ ‰ÂÓ Û·˜ ·Í›˙ÂÈ Ó· ¤¯ÂÙ ÂÏ¿Ù˜ Ô˘ Â›Ó·È ÙfiÛÔ Î·ÏÔ› ÒÛÙ ӷ Û·˜ ÚÔÛʤÚÔ˘Ó ÂıÂÏÔÓÙÈο ÙË ‚Ô‹ıÂÈ¿ ÙÔ˘˜. ™ÎÂÊÙ›Ù ˆ˜ ÂÏ¿Ù˘ ÁÈ· Ó· ηٷϿ‚ÂÙÂ: ø¯, ÙÒÚ· ÔÈÔ˜ ¿ÂÈ Ó· ·Ú·ÔÓÂı›; £· Ì ÙÚ¤¯Ô˘Ó ·fi ÙÔÓ ¤Ó·Ó ÛÙÔÓ ¿ÏÏÔÓ, ÔÈÔ˜ ͤÚÂÈ ˆ˜ ı· ÌÔ˘ Û˘ÌÂÚÈÊÂÚıÔ‡Ó, Î·È ÛÈÁ¿ ÌË ‚Úˆ ÙÔ ‰›ÎÈÔ ÌÔ˘. ÕÛ ηχÙÂÚ·, ·Ï¿ ‰ÂÓ ı· Í·Ó·¿ˆ Û’ ·˘ÙÔ‡˜. ¶ÔÈÔ˜ ı¤ÏÂÈ ÙÔÓ ÌÂÏ¿

ÙÔ˘ Î·È Ê˘ÛÈο ı· ˆ Û fiÏÔ˘˜ ÙÈ ÌÔ˘ ¤Î·Ó·Ó. ŸÛÔÈ ·Ú·ÔÓÈÔ‡ÓÙ·È Â›Ó·È Ê›ÏÔÈ Û·˜. AÏ¿ ÚÔÛ·ı‹ÛÙÂ Î·È ÊÚÔÓÙ›ÛÙ ӷ ¤¯ÂÙ Ôχ Ï›ÁÔ˘˜ Ù¤ÙÔÈÔ˘˜ Ê›ÏÔ˘˜. ∆˙Ô‡ÏË ∫˘ÚȷοÎË ¢È¢ı‡ÓÔ˘Û· ™‡Ì‚Ô˘ÏÔ˜ Ù˘ Business Class Consulting ºÚ¿ÁÎˆÓ 13, 546 26 £ÂÛÛ·ÏÔÓ›ÎË TËÏ. +30 2311758655 Fax +30 231175864 e-mail: [email protected]

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When to say it and How to say it: Dealing with Parents Effectively by Maria Gogou Sachpazian (RSA Dip) Reprinted from TESOL Greece Newsletter arents and teachers have been characterised as mutual enemies, which makes one wonder why, since both sides have a common goal: how to benefit the child. Despite that, the teacher-parent relationship is dominated by two major issues. Firstly, there is mutual reluctance to trust. Secondly, the net of emotions involved is a very complicated one. When we inform parents we talk about one or all of the following: their child’s personality traits, intelligence, stydy skills, or behaviour. All of these are issues in which parents play a great part. As a result, they tend to feel that the are being asked to take the blame or they are being reproached for not having done something to rectify the situation. Digging a bit deeper we come to an even bigger issue between parents and teachers, which is

P

Maria Gogou-Sachpazian holds a BA in Education from the Aristotele University of Thessaloniki, a CEELT 2 and the RSA DOTE (hom.) from the University of Cambridge. Maria, who has been teaching since 1992, has done many seminars and presentations and is also a member of IATEFL. Her interests lie in the areas of teaching first reading and writing and reading comprehension. accountability. This is naturally related to guilt. Parents feel it is the teacher’s (or the school’s) fault when disaster strikes. In my opinion, parents who blame teachers for whatever goes wrong are suffering from guilt which they do not want to admit. We should also remember that the boundaries between parents’ an teachers’ roles are slim ones. Parents are heavily involved in what their child does and

sometimes they perform an academic role at home. Needless to say, when it comes to the teacher’s work they have an opinion and they palm it to us, even if we do not ask for it. Comments like: «You are not pushing hard enough». «I don’t understand why you don’t want them to memorise rules» or «We always translate the lesson at home», should not be taken personally because they are not personal. Our reaction to them should be to explain to parents how and why methods have changed. Having seen things from a teacher’s perspective, we should try to approach the subject from a parent’s viewpoint as well. Parents accuse teachers of seeing them as a nuisance and not devoting enough time to them. Some parents, who did not have very

good personal relationship with Schools, feel that the system is rejecting them yet again, this time in the face of their child. Finally, most parents believe that teachers are quick to judge and they do not appreciate their aspect. Last but not least, language or its register can sometimes be a problem in

teacher-parent communication, especially when teachers become too technical with parents or when they use language too informally. This might lead to misunderstandings. The situation being as is, we have ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 27

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Trinity College London Esol Exams

One year on from ASEP recognition Trinity’s Integrated Skills in English (ISE) exams were recognised by ASEP in July, 2005. This was rather late for most schools to consider adopting the exams for the academic year 2005-6. Trinity’s ISE exams are significantly different from other exams. Controlled Written paper: taken under exam conditions at candidates’ school, combining reading and understanding, then

summarising or re-writing the text for a particular purpose, followed by a composition, report, or article on a different topic. Three Portfolio tasks prepared in advance – designed to produce examples of candidates’ best work, and assessed alongside the Controlled Written paper. Oral Interview: represents half of the total marks and is the

most important part of Trinity’s exam methodology. It is designed to show how well individual candidates can communicate and interact with the examiner, partly with material prepared in advance, partly spontaneously. There is no separate Use of English paper or Listening paper. Trinity’s exams are a true test of candidates’ ability to mobilise their knowledge of English to produce both written work in natural contexts and above all to interact appropriately with a native speaker. They motivate students by involving them in choices. that can personalise their exam content and reduce anxiety. They also have a very positive effect on classroom methodology, emphasising communicative activities, and reducing the need for mechanical practice of past papers. ISE 0 (A2 level) ISE 1 (B1 level) ISE 2 (B2 level) ISE 3 (C1 level) Controlled Written (30% of total): Writing with reading. Two tasks at levels 0,1 and 2; 3 tasks (includes formal correspondence) at level 3. Level 0: 45 mins; Level 1: 90 mins; Level 2: 2 hrs; Level 3: 2.5 hrs. Portfolio (20% of total): written tasks researched and prepared in advance by candidates, working on their own. Portfolio tasks are chosen from a list published on the Trinity website each year. 3 tasks at each level: correspondence (letter, email, postcard); factual writing (report, article, review, instructions); descriptive/creative writing (essay, story, diary). Marked by the oral examiner and discussed in the Oral Interview Oral Interview (50% of total): One to one interview with British examiner from the UK, combining listening and speaking, consisting of: General conversation Discussion of Portfolio Presentation of a topic chosen by the candidate (formal presentation at C1 level) Interactive task (B2 and C1 levels), where candidates initiate and develop a conversation with the examiner Listening tasks (C1 level only) Levels 0 and 1 (8 mins); level 2 (12 mins); level 3 (20 mins).

∞°°∂§π∂™ T· ºÚÔÓÙÈÛÙ‹ÚÈ· •¤ÓˆÓ °ÏˆÛÛÒÓ OMHPO™ ˙ËÙÔ‡Ó Î·ıËÁËÙ¤˜ AÁÁÏÈ΋˜ Î·È °·ÏÏÈ΋˜ Ì ›ڷ: ™Ù›ÏÙ ‚ÈÔÁÚ·ÊÈÎfi ÛÙ· ÎÂÓÙÚÈο ÁÚ·Ê›·. TËÏ.: 210 3841788/98 ‹ ÂÚ¿ÛÙ ™ÙÔ˘ÚÓ¿ÚË 35, Aı‹Ó·. ∫∞£∏°∏∆ƒπ∞ ∞ÁÁÏÈÎÒÓ Ì µ∞ ÛÙËÓ ∞ÁÁÏÈ΋ ºÈÏÔÏÔÁ›·, ÛÂÌÈÓ¿ÚÈ· ÌÂıÔ‰ÔÏÔÁ›·˜ Î·È ÊÚÔÓÙÈÛÙËÚȷ΋ ›ڷ, ˙ËÙ¿ Û˘ÓÂÚÁ·Û›· Ì ∫•° ÏËÛ›ÔÓ ¶ÂÈÚ·È¿. ∆ËÏ.: 210-4812478, ÎÈÓ.: 6974-271766. ∂¡Oπ∫π∞∑∂∆∞π Â·ÁÁÂÏÌ·ÙÈÎfi˜ ¯ÒÚÔ˜ 70m2, ηٿÏÏËÏÔ˜ Î·È ÁÈ· ∫•° (ÂÍÔÏÈÛÌfi˜ ‰È·ı¤ÛÈÌÔ˜) ·¤Ó·ÓÙÈ ·fi ¢ËÌÔÙÈÎfi, °˘ÌÓ¿ÛÈÔ, §‡ÎÂÈÔ, ‰‡Ô ·›ıÔ˘Û˜ ‰È‰·Ûηϛ·˜, ÁÚ·Ê›Ô, 2 WC, ¯ÒÚÔ˜ ·Ó·ÌÔÓ‹˜, ÎÔÓÙ¿ ÛÙÔÓ ¶ÂÈÚ·È¿, ÏfiÁˆ ‰ÈÔÚÈÛÌÔ‡. ∆ËÏ.: 6944-295025. E¶APKEIOYXO™ ηıËÁ‹ÙÚÈ· °·ÏÏÈ΋˜, 15ÂÙÔ‡˜ ÚÔ¸ËÚÂÛ›·˜, οÙÔ¯Ô˜ Sorbonne III, Deug II, Ì ÛÔ˘‰¤˜ ÛÙ· E.A.¶. ÙÌ‹Ì· E˘Úˆ·˚ÎÔ‡ ¶ÔÏÈÙÈÛÌÔ‡, ˙ËÙ¿ Û˘ÓÂÚÁ·Û›· Ì K¤ÓÙÚÔ °ÏˆÛÛÒÓ ÂÚÈÔ¯¤˜ °·Ï·ÙÛ›Ô˘, K˘„¤Ï˘, ÕÓˆ ¶·ÙËÛ›ˆÓ, ¶ÂÚÈÛÛÔ‡. TËÏ.: 6932532219. ¶ø§EITAI K.•.°. ÂÓ ÏÂÈÙÔ˘ÚÁ›· ÛÙÔ K¤ÓÙÚÔ ÙÔ˘ ¶ÂÈÚ·È¿. IηÓÔÔÈËÙÈÎfi˜ ·ÚÈıÌfi˜ Ì·ıËÙÒÓ - ÏÔÁÈ΋ ÙÈÌ‹. TËÏ.: 6937-027599. O ∂∫¢O∆π∫O™ Ô›ÎÔ˜ «Super Course» ˙ËÙ¿ Ó· ÚÔÛÏ¿‚ÂÈ ˆÏËÙ¤˜ ÁÈ· ÙÔ ÓÔÌfi ∞ÙÙÈ΋˜. ∂Èı˘ÌËÙ¿ ÚÔÛfiÓÙ· ¢¯¤ÚÂÈ· ÏfiÁÔ˘, ÂÈÎÔÈÓˆÓ›·˜ Î·È ÁÓÒÛÂȘ Ù˘ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜. ¶·Ú¤¯ÔÓÙ·È ‚·ÛÈÎfi˜ ÌÈÛıfi˜, ·ÛÊ¿ÏÈÛË Î·È ÔÛÔÛÙ¿. ∆ËÏ.: 23310-73777.

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Internet: How to Get your message across To˘ KÒÛÙ· M¿ÓÙ˙È·ÚË Â ÌÈ· ÂÔ¯‹ ÁÚ‹ÁÔÚ˘ ·Ú·ÁˆÁ‹˜ Î·È Î·Ù·Ó¿ÏˆÛ˘ Ù· ΤÓÙÚ· Í¤ÓˆÓ ÁψÛÛÒÓ ‰ÂÓ Ê·›ÓÂÙ·È Ó· ÍÂʇÁÔ˘Ó ·fi ÙÔ Îϛ̷. ¶·ÓÔÌÔÈfiÙ˘ÔÈ ¯ÒÚÔÈ, ›‰È· ¯ÚÒÌ·Ù·, ·ÚfiÌÔÈ· ÌËӇ̷ٷ, Û˘ÓËıÈṲ̂Ó˜ ÚÔÛÊÔÚ¤˜ Î·È ‚‚·›ˆ˜ ‰È·ÊËÌÈÛÙÈο ÌËӇ̷ٷ ¯ˆÚ›˜ η̛· Ù·˘ÙfiÙËÙ·. ¶ÚÔÛ·ı‹ÛÙ ÙÔ ÂÍ‹˜: B¿ÏÙ 5 ‰È·ÊËÌÈÛÙÈΤ˜ ηٷ¯ˆÚ‹ÛÂȘ ÊÚÔÓÙÈÛÙËÚ›ˆÓ ÛÙË ÛÂÈÚ¿ Î·È Î·Ï‡„Ù ٷ ÏÔÁfiÙ˘·. ¶fiÛÔ ›‰È˜ Û·˜ Ê·›ÓÔÓÙ·È; £· ͯˆÚ›˙·Ù οÔÈ· ÁÈ· ÙËÓ ÚˆÙÔÙ˘›·, ÙËÓ Ù·˘ÙfiÙËÙ· Ù˘ Î·È ÙÔ ¤Í˘ÓÔ Ì‹Ó˘Ì· Ô˘ ı· Û·˜ οÓÂÈ Ó· ÙËÓ ı˘Ì¿ÛÙ ÁÈ· Ì‹Ó˜ ÌÂÙ¿; ¶Èı·Ófiٷٷ fi¯È! K·È ·Ó ÛÎÂÊÙ›Ù fiÙÈ fiÏÔÈ ÚÔÛ·ıÔ‡Ó Ó· ÂÚ¿ÛÔ˘Ó ÙÔ Ì‹Ó˘Ì· ÙÔ˘˜ ÙËÓ ÂÚ›Ô‰Ô ÌÂÙ¿ ÙÔ Î·ÏÔη›ÚÈ, fiÙ·Ó ÍÂÎÈÓ¿ÂÈ Ë Ó¤· Û¯ÔÏÈ΋ ¯ÚÔÓÈ¿, ÙfiÙ ÌÔÚ›Ù ӷ ηٷϿ‚ÂÙ ÁÈ·Ù› ¤Ó· ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ Ù˘ ·Ú·‰ÔÛȷ΋˜ ‰È·ÊËÌÈÛÙÈ΋˜ ‰·¿Ó˘ ¿ÂÈ ÂÓÙÂÏÒ˜ ¯·Ì¤ÓÔ. H ‡ÎÔÏË ·¿ÓÙËÛË Û fiÏ· Ù· ·Ú·¿Óˆ Â›Ó·È fiÙÈ ·ÊÔ‡ ¤ÙÛÈ ÎÈÓÂ›Ù·È Ô ·ÓÙ·ÁˆÓÈÛÌfi˜ (ÎÏ·ÛÈΤ˜ ηٷ¯ˆÚ‹ÛÂȘ, Ù· ›‰È· ·Ú·‰ÔÛȷο ̤۷ Î.Ï.) ¤ÙÛÈ ı· Ú¤ÂÈ Ó· ÎÈÓËıԇ̠ÎÈ ÂÌ›˜ ÁÈ· Ó· ·ÎÔÏÔ˘ı‹ÛÔ˘ÌÂ, Ó· «‚Áԇ̠·¤Ó·ÓÙÈ» Î·È Ó· ÌËÓ Ì›ÓÔ˘Ì ÂÎÙfi˜ ·È¯ÓȉÈÔ‡. ™˘˙ËÙÒÓÙ·˜ Ì ÔÏÏÔ‡˜ ·ÓıÚÒÔ˘˜ Û¯ÂÙÈο Ì ÙÔ ÁÈ·Ù› ‰ÂÓ ·ÍÈÔÔÈÔ‡Ó ÙÔ Internet ÁÈ· Ó· ÚÔ‚¿ÏÏÔ˘Ó ÙËÓ Âȯ›ÚËÛË ÙÔ˘˜ Î·È Ó· ÂÈÎÔÈÓˆÓ‹ÛÔ˘Ó Ì ÙÔ ‰˘ÓËÙÈÎfi ÂÏ·ÙÔÏfiÁÈÔ ÙÔ˘˜, Ë ·¿ÓÙËÛË Â›Ó·È ÂÍ›ÛÔ˘ ÎÏ·ÛÛÈ΋. «M· ¤¯Ô˘Ì website!»

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O KÒÛÙ·˜ M¿ÓÙ˙È·Ú˘ Â›Ó·È ‰È¢ı‡ÓˆÓ Û‡Ì‚Ô˘ÏÔ˜ ÛÙË ‰È·ÊËÌÈÛÙÈ΋ ÂÙ·ÈÚ›· Mindworks Adv. EÍÂȉÈ·ÂÙ·È ÛÙÔ ÎÔÌÌ¿ÙÈ ÙÔ˘ Internet Marketing Î·È ¤¯ÂÈ ‚ÔËı‹ÛÂÈ ·ÚÎÂÙ¤˜ ÂÙ·Èڛ˜ ÛÙÔ Ó· ÚÔÛÂÁÁ›ÛÔ˘Ó ·ÔÙÂÏÂÛÌ·ÙÈο Î·È Ì ¯·ÌËÏfi ÎfiÛÙÔ˜ ÂÏ·ÙÔÏfiÁÈÔ Ì¤Û· ·fi ÙËÓ ˘ÏÔÔ›ËÛË Ï¿ÓˆÓ Internet Marketing & Search Engine Marketing. ÙËÛË ÙÔ˘). OÈ ÈÔ ÁÓˆÛÙ¤˜ Î·È ·ÍÈfiÏÔÁ˜ Ì˯·Ó¤˜ ·Ó·˙‹ÙËÛ˘ (ÁÈ· Ù· ÂÏÏËÓÈο ‰Â‰Ô̤ӷ) Â›Ó·È ÙÔ Google.gr ηıÒ˜ Î·È Ë Ì˯·Ó‹ ·Ó·˙‹ÙËÛ˘ ÙÔ˘ In.gr. AÓ ÏÔÈfiÓ ¤Ó· website ‰ÂÓ ÂÌÊ·Ó›˙ÂÙ·È Û ˘„ËÏ‹ ı¤ÛË ÛÙ· ·ÔÙÂϤÛÌ·Ù· ÙˆÓ Ì˯·ÓÒÓ ·Ó·˙‹ÙËÛ˘, ÙfiÙ ÙÔ ÈÔ Èı·Ófi Â›Ó·È fiÙÈ ‰ÂÓ ı· ·ÔÎÙ‹ÛÂÈ È‰È·›ÙÂÚË ÂÈÛ΄ÈÌfiÙËÙ·. ™Â ÙÂÏÈ΋ ·Ó¿Ï˘ÛË, ·Ó ‰ÂÓ ı¤ÏÂÙ ӷ ¤¯ÂÙ ˘„ËÏ‹ ÂÈÛ΄ÈÌfiÙËÙ· ·fi ·ÓıÚÒÔ˘˜ Ô˘ „¿¯ÓÔ˘Ó ÁÈ· ÙȘ ˘ËÚÂۛ˜ Û·˜, ÙfiÙ ÁÈ· ÔÈÔ ÏfiÁÔ ÍÔ‰¤„·Ù ¯Ú‹Ì· Î·È ¯ÚfiÓÔ ÁÈ· Ó· ÊÙÈ¿ÍÂÙ ¤Ó· website;

Wanna be on top? ™ÙË EÏÏ¿‰· Á›ÓÔÓÙ·È ÂÚ›Ô˘ 100.000 ·Ó·˙ËÙ‹ÛÂȘ ÙÔ ¯ÚfiÓÔ ÁÈ· ı¤Ì·Ù· Ô˘ ·ÊÔÚÔ‡Ó Ù· ΤÓÙÚ· Í¤ÓˆÓ ÁψÛÛÒÓ. AÓ Ú·ÁÌ·ÙÔÔÈ‹ÛÂÙ ۋÌÂÚ· ÌÈ· ·Ó·˙‹ÙËÛË ÛÙÔ Google.gr ÁÈ· ºÚÔÓÙÈÛÙ‹ÚÈ· ∫¤ÓÙÚ· •¤ÓˆÓ °ÏˆÛÛÒÓ ı· Û·˜ ÂÈÛÙÚ¤„ÂÈ ÂÚ›Ô˘ 90.000 ·ÔÙÂϤÛÌ·Ù·. TÔ ‰ÈÎfi Û·˜ website Û ÔÈ· ı¤ÛË ‚Ú›ÛÎÂÙ·È; AÓ ‰È·ÈÛÙÒÛ·Ù fiÙÈ ÙÔ website Û·˜ ‰ÂÓ ÂÌÊ·Ó›˙ÂÙ·È ÛÙËÓ ÚÒÙË ÛÂÏ›‰· ·ÔÙÂÏÂÛÌ¿ÙˆÓ (‰ËÏ·‰‹ ÛÙ· ÚÒÙ· 10 ·ÔÙÂϤÛÌ·Ù·) ÙfiÙ Ôχ ·Ï¿ ¯¿ÓÂÙ ÙËÓ Â˘Î·ÈÚ›· Ó· ¤ÚıÂÙ Û ¿ÌÂÛË Â·Ê‹ Ì οÔȘ ¯ÈÏÈ¿‰Â˜ ·ÓıÚÒˆÓ Ô˘ ·Ó·˙ËÙÔ‡Ó ÙȘ ˘ËÚÂۛ˜ Ô˘ ÚÔÛʤÚÂÙÂ. H χÛË ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ Úfi‚ÏËÌ· ϤÁÂÙ·È Search Engine Marketing. E›Ó·È fiϘ ÂΛӘ ÔÈ Ù¯ÓÈΤ˜ Ô˘ ÌÔÚÔ‡Ó Ó· ʤÚÔ˘Ó ¤Ó· website ÛÙȘ ÚÒÙ˜ ı¤ÛÂȘ ÙˆÓ Ì˯·ÓÒÓ ·Ó·˙‹ÙËÛ˘ Î·È ‚‚·›ˆ˜ Â›Ó·È ·ÚÎÂÙ¿ ÚˆÙfiÁÓˆÚÔ ·ÓÙÈΛÌÂÓÔ ÁÈ· Ù· ÂÏÏËÓÈο ‰Â‰Ô̤ӷ. TÔ Search Engine Marketing ·ÔÙÂÏ› ¤Ó·Ó ·fi ÙÔ˘˜ ÈÔ ·ÔÙÂÏÂÛÌ·ÙÈÎÔ‡˜ ÙÚfiÔ˘˜ ‰È·Ê‹ÌÈÛ˘ Î·È ÂÈÎÔÈÓˆÓ›·˜. ñ ™·˜ ʤÚÓÂÈ Û Â·Ê‹ Ì ÙÔ˘˜ ˘Ô„ËÊ›Ô˘˜ ÂÏ¿Ù˜ Û·˜ ÙË ÛÙÈÁÌ‹ Ô˘ ·˘ÙÔ› ·Ó·˙ËÙÔ‡Ó ÂÓÂÚÁ¿ ÙȘ ˘ËÚÂۛ˜ Û·˜. §ÂÈÙÔ˘ÚÁ› ‰ËÏ·‰‹ ÂÓÙÂÏÒ˜ ·ÓÙ›ıÂÙ· Ì ÙȘ ˘fiÏÔÈ˜ ÌÔÚʤ˜ ‰È·Ê‹ÌÈÛ˘ Ô˘ ·Ï¿ ÚÔˆıÔ‡Ó ¤Ó· Ì‹Ó˘Ì· ÚÔ˜ ÙÔÓ ˘Ô„‹ÊÈÔ ÂÏ¿ÙË. ñ E›Ó·È ÂÍ·ÈÚÂÙÈο ÛÙÔ¯Â˘Ì¤ÓÔ Û ·ÓÙ›-

ıÂÛË .¯ Ì ¤Ó· ÂÚÈÔ‰ÈÎfi ‹ ¤Ó· Ú·‰ÈÔʈÓÈÎfi ÛÔÙ. MÈ· ηٷ¯ÒÚËÛË Û ¤Ó· ÂÚÈÔ‰ÈÎfi Û›ÁÔ˘Ú· ı· ÙË ‰Ô˘Ó Î·È ¿ÓıÚˆÔÈ Ô˘ ‰ÂÓ ÂӉȷʤÚÔÓÙ·È Î·Ó ÁÈ· ·˘Ùfi Ô˘ ÚÔÛʤÚÂÙÂ. ñ E›Ó·È ·ÚÎÂÙ¿ ÊıËÓfiÙÂÚË Ì¤ıÔ‰Ô˜ Û˘ÁÎÚÈÙÈο Ì ÔÏÏÔ‡˜ ÙÚfiÔ˘˜ ·Ú·‰ÔÛȷ΋˜ ‰È·Ê‹ÌÈÛ˘. ñ ¶ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ 85% ÙˆÓ ¯ÚËÛÙÒÓ ÙÔ˘ Internet ¯ÚËÛÈÌÔÔÈÔ‡Ó ÙȘ Ì˯·Ó¤˜ ·Ó·˙‹ÙËÛ˘ ÁÈ· Ó· ‚ÚÔ˘Ó ·˘Ùfi Ô˘ ÂÈı˘ÌÔ‡Ó. ñ OÈ ˘Ô„‹ÊÈÔÈ ÂÏ¿Ù˜ ÙˆÓ ÊÚÔÓÙÈÛÙËÚ›ˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ Â›Ó·È Ó¤ÔÈ (14-28 ÂÙÒÓ) Î·È Î·ÙÂÍÔ¯‹Ó ¯Ú‹ÛÙ˜ ÙÔ˘ Internet. TÈ ÔÈÔ ÛˆÛÙfi ÏÔÈfiÓ Ó· ÚÔÛÂÁÁ›ÛÂÙ οÔÈÔÓ Ì¤Û· ·fi ¤Ó· ̤ÛÔ Ô˘ ¯ÚËÛÈÌÔÔÈ› Ù·ÎÙÈο; ñ Y¿Ú¯ÂÈ ¯·ÌËÏfi Â›Â‰Ô ·ÓÙ·ÁˆÓÈÛÌÔ‡, Ú¿ÁÌ· Ô˘ ÛËÌ·›ÓÂÈ fiÙÈ Â˘ÎÔÏfiÙÂÚ· Î·È ÊıËÓfiÙÂÚ· ÌÔÚ›Ù ӷ ÂÈÙ‡¯ÂÙ ÌÈ· ˘„ËÏ‹ ı¤ÛË Û ÌÈ· Ì˯·Ó‹ ·Ó·˙‹ÙËÛ˘, Û˘ÁÎÚÈÙÈο .¯ Ì ÌÈ· Âȯ›ÚËÛË ÙˆÓ H¶A fiÔ˘ Ô ·ÓÙ·ÁˆÓÈÛÌfi˜ Â›Ó·È ÙÂÚ¿ÛÙÈÔ˜. ™ÎÂÊÙ›Ù ÏÔÈfiÓ Ì‹ˆ˜ ‹ÚıÂ Ë ÛÙÈÁÌ‹ Ó· ·ÍÈÔÏÔÁ‹ÛÂÙ ÙȘ Ú·ÁÌ·ÙÈΤ˜ ‰˘Ó·ÙfiÙËÙ˜ Ô˘ Û·˜ ÚÔÛʤÚÂÈ ÙÔ Internet Î·È Ó· ÙÔ ÂÓÙ¿ÍÂÙ ÛÙÔ ÂfiÌÂÓfi Û·˜ Marketing Plan; [email protected]

EӉȷʤÚÔÓÙ· ™Ù·ÙÈÛÙÈο ™ÙÔȯ›·
172 ÂηÙÔ̇ÚÈ·: ÔÈ ¯Ú‹ÛÙ˜ ÙÔ˘ ‰È·‰ÈÎÙ‡Ô˘ Ô˘ ÌÈÏÔ‡Ó ·ÁÁÏÈο
163 ÂηÙÔ̇ÚÈ·: ÔÈ ¯Ú‹ÛÙ˜ ÙÔ˘ ‰È·‰ÈÎÙ‡Ô˘ Ô˘ ‰ÂÓ ÌÈÏÔ‡Ó ·ÁÁÏÈο
1,7 ÂηÙÔ̇ÚÈ· EÏÏËÓ˜ On line (ITU 2003). ¶ÂÚ›Ô˘ 210.000 K‡ÚÈÔÈ Î·È Â¿Ó ÚÔÛÙÂıÔ‡Ó Î·È ÔÈ ÂÏÏËÓÈÎÔ› ÏËı˘ÛÌÔ› Û H¶A, °ÂÚÌ·Ó›· Î·È H.B. Ô ·ÚÈıÌfi˜ ·Ó¤Ú¯ÂÙ·È ÛÙ· 2,7 ÂηÙÔ̇ÚÈ·.
5,5 ÂηÙÔ̇ÚÈ· TÔ‡ÚÎÔÈ on line ÛÙËÓ TÔ˘ÚΛ· (ITU 2003), Â¿Ó ÚÔÛı¤ÛÔ˘Ì 0,3 ÂηÙÔ̇ÚÈ· TÔ‡ÚÎÔ˘˜ ηÙÔ›ÎÔ˘˜ °ÂÚÌ·Ó›·˜, Ô ·ÚÈıÌfi˜ ·Ó¤Ú¯ÂÙ·È ÛÙ· 5,8 ÂηÙÔ̇ÚÈ·.

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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]

«¶ˆ˜ Ú¤ÂÈ Ó· ·ÓÙÈÌÂÙˆ›˙Ô˘Ì ÙÔ ı¤Ì· ÙˆÓ ·ÓÂÏÏËÓ›ˆÓ ÂÍÂÙ¿ÛÂˆÓ ÁÈ· ÙËÓ ÂÈÛ·ÁˆÁ‹ ÛÙËÓ ÙÚÈÙÔ‚¿ıÌÈ· ÂÎ·›‰Â˘ÛË;» ∂ÚÒÙËÛË ÁÔÓ¤ˆÓ ·fi ÙÔ •˘ÏfiηÛÙÚÔ §fiÁˆ ÔÈÎÔÓÔÌ›·˜ ¯ÒÚÔ˘ Î·È ‰È¢ÎfiÏ˘ÓÛ˘ Ù˘ ·Ó·ÁÓˆÛÈÌfiÙËÙ·˜, ÛÙÔ ·Ú·Î¿Ùˆ ΛÌÂÓÔ ‰ÂÓ ·Ú·ı¤ÙÔÓÙ·È ‚È‚ÏÈÔÁÚ·ÊÈΤ˜ ·Ó·ÊÔÚ¤˜ ÙˆÓ ÂÈÛÙËÌÔÓÈÎÒÓ Î·È Î˘Ú›ˆ˜ ÙˆÓ ÂÚ¢ÓËÙÈÎÒÓ ‰Â‰ÔÌ¤ÓˆÓ Ù· ÔÔ›· ÙÔ ÙÂÎÌËÚÈÒÓÔ˘Ó Î·È Ù· ÔÔ›· ÌÔÚÔ‡Ó Ó· ‰È·ÙÂıÔ‡Ó Ì¤Ûˆ ÚÔÛˆÈÎÔ‡ e-mail. ◊Ù·Ó ¯·Ú·ÎÙËÚÈÛÙÈÎfi Ù˘ ÂÏÏËÓÈ΋˜ ·ÛÙÈ΋˜ ÎÔÈÓˆÓ›·˜ ÙÔ˘ 20Ô˘ ·ÈÒÓÔ˜ Ó· ·ÓÙÈÌÂÙˆ›˙ÂÈ ÙËÓ ÂÎ·È‰Â˘ÙÈ΋ ‰È·‰Èηۛ· ˆ˜ fi¯ËÌ· ÁÈ· ÎÔÈÓˆÓÈ΋ ¿ÓÔ‰Ô Ì¤Ûˆ Ù˘ ηٷ͛ˆÛ˘ ÙÔ˘ ·ÙfiÌÔ˘ ÛÙÔÓ ÙÔ̤· ÙˆÓ ·ÔÎÏÂÈÛÙÈÎÒÓ ÂȉÈÎÒÓ ÁÓÒÛÂˆÓ Î·È Ù˘ Â·ÁÁÂÏÌ·ÙÈ΋˜ ÂÍ·ÛÊ¿ÏÈÛ˘ Ô˘ Û˘ÓÂ·ÁfiÙ·Ó. TÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÌÔÓÙ¤ÏÔ Â͢ËÚÂÙÔ‡Û ÙȘ Û˘ÁÎÂÎÚÈ̤Ó˜ ÎÔÈÓˆÓÈÎÔÔÈÎÔÓÔÌÈΤ˜ Û˘Óı‹Î˜ Ù˘ ÎÔÈÓˆÓ›·˜ ÙÔ˘ ÂÚ·Ṳ̂ÓÔ˘ ·ÈÒÓ· Î·È ÙˆÓ È‰ÈÔÌÔÚÊÈÒÓ Ù˘. H ÎÔÈÓˆÓÈÎÔÔÈÎÔÓÔÌÈ΋ Ú·ÁÌ·-

ÙÈÎfiÙËÙ· Ô˘ ‚ÈÒÓÔ˘Ì ۋÌÂÚ· Â›Ó·È ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈ΋ ¤ÙÛÈ ÒÛÙÂ Ë ·ÓÙÈÌÂÙÒÈÛË Ù˘ ÙÚÈÙÔ‚¿ıÌÈ·˜ ÂÎ·›‰Â˘Û˘ Ó· ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi ÂÂÚ·Ṳ̂ӷ ÛÙÂÚÂfiÙ˘·, ·ÓÙÈÊ·ÙÈΤ˜ Î·È ·Ú·Ï·ÓËÙÈΤ˜ ÏËÚÔÊÔڛ˜ ÁÈ· ÙËÓ ÛËÌÂÚÈÓ‹ ηٿÛÙ·ÛË Ô˘ ÂÈÎÚ·Ù› ÙfiÛÔ ÛÙËÓ ·ÁÔÚ¿ ÂÚÁ·Û›·˜ fiÛÔ Î·È ÛÙËÓ ›‰È· ÙËÓ ÎÔÈÓˆÓ›·, ‚ÈÒÌ·Ù· ÙˆÓ ÁÔÓ¤ˆÓ Ù· ÔÔ›· ÂÓÙ›ÓÔÓÙ·È ·fi ÙËÓ ·Ó·ÛÊ¿ÏÂÈ· Î·È ÙÔÓ ·ÓÈÎfi Ô˘ ηÏÏÈÂÚÁ›ٷÈ, ‚‚ȷṲ̂Ó˜ Î·È ¿Ó¢ ÛˆÛÙ‹˜ ÂÎÙÈÌ‹Ûˆ˜ ·ÔÊ¿ÛÂȘ Î·È ‚‚·›ˆ˜ Ô Î·Ù·Ï˘ÙÈÎfi˜ ÚfiÏÔ˜ ÙÔ˘ ȉȿ˙ÔÓÙÔ˜ Û˘ÛÙ‹Ì·ÙÔ˜ ÂÈÛ·ÁˆÁ‹˜ ÛÙȘ Â·ÁÁÂÏÌ·ÙÈΤ˜, Ù¯ÓÈΤ˜ Î·È ·ÓÂÈÛÙËÌȷΤ˜ Û¯ÔϤ˜. E›Ó·È ÙÔ ÂÊ·ÚÌÔ˙fiÌÂÓÔ Û‡ÛÙËÌ· ÙÔ ÔÔ›Ô ÂÁÁ˘¿Ù·È fiÙÈ ÙÔ ‚·ÛÈÎfi ÛÒÌ· ÙˆÓ ÂÍÂÙ·˙ÔÌ¤ÓˆÓ ı· ÂÎ·È‰Â˘Ù› ÙÂÏÈο Û ¤Ó· Ù˘¯·›Ô Â¿ÁÁÂÏÌ· ¿Û¯ÂÙÔ Ì ÙȘ ÚÔÛˆÈΤ˜ ÎÏ›ÛÂȘ ÙÔ˘, ÈηÓfiÙËÙ˜ ÙÔ˘, ÊÈÏÔ‰Ô͛˜ ÙÔ˘ Î·È ÂȉÈÒÍÂȘ ÙÔ˘. ŒÓ· ÁÂÁÔÓfi˜ Ô˘ ÎÏÔÓ›˙ÂÈ ÙËÓ ·˘ÙÔÂÎÙ›ÌËÛË, ÙÔÓ ·˘ÙÔÛ‚·ÛÌfi, ÙËÓ ›ÛÙË ÛÙÔÓ Â·˘Ùfi ÙÔ˘ Î·È ÛÙȘ ‰˘Ó·ÙfiÙËÙ˜ ÙÔ˘ Î·È Î·ÏÏÈÂÚÁ› Ù· ·ÈÛı‹Ì·Ù· ·ÔÁÔ‹Ù¢Û˘, ·ÔÙ˘¯›·˜, Û˘Ì-

æ˘¯Ô...ÁÚ¿ÊËÌ· ™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. ‚È‚·ÛÌÔ‡, ·ÏÏÔÙÚ›ˆÛ˘ Î·È ·Ú·›ÙËÛ˘ ÛÙÔÓ ˘Ô„‹ÊÈÔ ÊÔÈÙËÙ‹ Ú›Ó ·ÎfiÌË Ó· ÂÈÛ¤ÏıÂÈ ÛÙËÓ ÙÚÈÙÔ‚¿ıÌÈ· ÂÎ·È‰Â˘ÙÈ΋ ‰È·‰Èηۛ·. T·˘Ùfi¯ÚÔÓ· ÛÙÂÚ› ·fi ÙËÓ ÂÏÏËÓÈ΋ Î·È ÙËÓ Â˘Ú‡ÙÂÚË ÎÔÈÓˆÓ›· ÙËÓ Û˘ÓÂÈÛÊÔÚ¿ ÂÓfi˜ Ôχ ·ÍÈfiÏÔÁÔ˘ ÓÂ˘Ì·ÙÈÎÔ‡ ‰˘Ó·ÌÈÎÔ‡. E›Ó·È ¿ÙÔÔ ÁÈ· ÙÔ˘˜ ¤ÏÏËÓ˜ Ôϛ٘ Ó· ·ÔÁÔËÙ‡ÔÓÙ·È (ÂÍ·ÈÙ›·˜ ·˘Ù‹˜ Ù˘ ¿ÁÈ·˜ ۯ‰ȷÛÙÈ΋˜ ÔÏÈÙÈ΋˜ Ô˘ ·ÎÔÏÔ˘ıÂ›Ù·È ÈÛÙ¿ ÛÙÔ˘˜ ÛÙfi¯Ô˘˜ Î·È ÛÙÔ˘˜ ÛÎÔÔ‡˜ Ù˘ Ì ÂÈÙÔÌ‹ ÙËÓ ÙÂÏÂ˘Ù·›· ÂÈÎÔÛÈÂÓÙ·ÂÙ›·), ÛÙȘ ÚÔÛ‰Ô˘, ÙȘ ÚÔÛ¿ıÂȘ, ÙÔ˘˜ ÂÍ·ÙÔÌÈÎÂ˘Ì¤ÓÔ˘˜ ·ÁÒÓ˜ Ô˘ ‰›ÓÂÈ Î¿ı ÁÔÓ¤·˜ Ì·˙› Ì ÙÔ ·È‰› ÙÔ˘, Î·È ÙȘ ÂÂÓ‰‡ÛÂȘ ÙÔ˘˜ (Û˘Ó·ÈÛıËÌ·ÙÈΤ˜, ÂÓÂÚÁÂȷΤ˜ Î·È ÔÈÎÔÓÔÌÈΤ˜), ·fi Ì›· ‰È·‰Èηۛ· Ë ÔÔ›· ηٿ ÙÔ Ì¿ÏÏÔÓ ‹ ÙÔ ‹ÙÙÔÓ ÂÍ·ÛÊ·Ï›˙ÂÈ ÙËÓ ·˘ÙԷ·ڈÛË Ù˘ ÏÂÈÔ„ËÊ›·˜ ÙˆÓ ˘Ô„ËÊ›ˆÓ ÊÔÈÙËÙÒÓ Î·È ÌÂÏÏÔÓÙÈÎÒÓ Â·ÁÁÂÏÌ·ÙÈÒÓ. H Û˘ÓÂȉËÙÔÔ›ËÛË Ù˘ Ú·ÁÌ·ÙÈÎfiÙËÙ·˜ ÛÙËÓ ÔÔ›· ›̷ÛÙ ·Ó·ÁηṲ̂ÓÔÈ Ó· ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘ÌÂ Î·È ÙÔ˘ ·ԉ‰ÂÈÁ̤ÓÔ˘ ÁÂÁÔÓfiÙÔ˜ fiÙÈ ÔÈ ÌÂÓ Â˘Û‚›˜ fiıÔÈ Ì·˜ ÁÈ· ÙËÓ ‚ÂÏÙ›ˆÛË

MARY GLASGOW

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ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ ÙÔ̤· ‰ÂÓ Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È, ÔÈ ‰Â ·ÚÔÙÚ‡ÓÛÂȘ ÚÔ˜ ÙÔ˘˜ ·Ó¤Î·ıÂÓ Î·Ù¤¯ÔÓÙ˜ ÙËÓ ÂÍÔ˘Û›· fi¯È ÌfiÓÔ ‰ÂÓ Ï·Ì‚¿ÓÔÓÙ·È ˘fi„Ë Â› Ù˘ Ô˘Û›·˜ ÙÔ˘˜ ·ÏÏ¿ ·Ú·Ù›ÓÔ˘Ó ÙËÓ ÂÚ·ÈÙ¤Úˆ ηٷ¯ÚËÛÙÈ΋ ¿ÛÎËÛË Ù˘, Â›Ó·È ··Ú·›ÙËÙË ÁÈ· Ó· ÂÈÎÂÓÙÚˆıԇ̠ÂΛ Ô˘ ÛÙÔ¯Â‡Ô˘Ó fiϘ ·˘Ù¤˜ ÔÈ ‰È·‰Èηۛ˜: ÛÙËÓ ‰È΋ Ì·˜ ·ÙÔÌÈ΋ ÛÙ¿ÛË Î·È ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ı¤Ì·ÙÔ˜, Ë ÔÔ›· Â›Ó·È Ë ÌfiÓË ÛÙËÓ ÔÔ›· ÌÔÚԇ̠ӷ ‚·ÛÈÛÙԇ̠ÁÈ· Ó· ˘ÏÔÔÈ‹ÛÔ˘Ì ÙȘ ÂȉÈÒÍÂȘ Ì·˜. E›Ó·È ıÂÌÂÏÈ҉˜ Ó· Û˘ÓÂȉËÙÔÔÈ‹ÛÔ˘Ì fiÙÈ Ë ÂÈÎfiÓ· Ô˘ ÚÔ‚¿ÏÔ˘Ó Ù· ·ÔÙÂϤÛÌ·Ù· ÙˆÓ Û˘ÁÎÂÎÚÈÌ¤ÓˆÓ ÂÈÛ·ÁˆÁÈÎÒÓ ÂÍÂÙ¿ÛÂˆÓ ‰ÂÓ ·ÂÈÎÔÓ›˙ÂÈ Â’ Ô˘‰ÂÓ› Ô‡Ù ÙËÓ ÁÓˆÛÙÈ΋ ÈηÓfiÙËÙ· Ô‡Ù ÙËÓ ÁÂÓÈ΋ ·Í›· ÙˆÓ ÂÍÂÙ·˙Ô̤ӈÓ. O‡Ù ·ÓÙÈηÙÔÙÚ›˙ÂÈ ÛËÌ·ÓÙÈο ÛÙÔȯ›· Ù˘ ÚÔÛˆÈÎfiÙËÙ·˜ ÙˆÓ ÂÍÂÙ·˙ÔÌ¤ÓˆÓ Ù· ÔÔ›· Â›Ó·È ··Ú·›ÙËÙ· ÁÈ· ÙËÓ ÂÍ¿ÛÎËÛË ÙˆÓ Û˘ÁÎÂÎÚÈÌ¤ÓˆÓ Â·ÁÁÂÏÌ¿ÙˆÓ Ô˘ ÙÔ˘˜ ÂӉȷʤÚÔ˘Ó. O‡ÙÂ Î·Ó ·ÓÙ·ÔÎÚ›ÓÂÙ·È ÛÙËÓ ¤ÎÙ·ÛË Î·È ÙÔ Â›Â‰Ô ÙˆÓ ÁÓÒÛÂˆÓ Î·È ÈηÓÔÙ‹ÙˆÓ Ô˘ ··ÈÙÔ‡ÓÙ·È ÛÙËÓ ÔÏfiÙËÙ·

ÙÔ˘˜ ÁÈ· ÙËÓ ÂÈÙ˘¯Ë̤ÓË ÚÔÂÙÔÈÌ·Û›· ·ÓÙ·ÁˆÓÈÛÙÈÎÒÓ Â·ÁÁÂÏÌ·ÙÈÒÓ. T¤ÏÔ˜ ÛÙËÓ Î·ıÔÏÈÎfiÙËÙ· ÙÔ˘ Ô ÙÚfiÔ˜ ÂÈÛ·ÁˆÁ‹˜ ÛÙËÓ ÙÚÈÙÔ‚¿ıÌÈ· ÂÎ·›‰Â˘ÛË ·Ô‰ÂÈÎÓ‡ÂÈ ÙËÓ ·ÚÔı˘Ì›· Î·È ÙËÓ ‰˘Ûη̄›· ÙˆÓ Û¯Â‰È·ÛÙÒÓ Î·È ÂÎÙÂÏÂÛÙÒÓ ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ Û˘ÛÙ‹Ì·ÙÔ˜ Ó· ¢ı˘ÁÚ·ÌÌÈÛÙÔ‡Ó Ì ÙȘ ÂÈÛÙËÌÔÓÈΤ˜ ·Ú¯¤˜ Ô˘ ‰È¤Ô˘Ó ÙËÓ ˆÊÂÏÈÌfiÙËÙ· Ù˘ ‰È·‰Èηۛ·˜ ·˘Ù‹˜, Î·È ÙËÓ ·‰˘Ó·Ì›· ÙÔ˘˜ Ó· ˘ËÚÂÙ‹ÛÔ˘Ó Ù· Û˘ÌʤÚÔÓÙ· ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ Û˘ÓfiÏÔ˘. ™˘ÓÂÒ˜ ‰ÂÓ ı· Ú¤ÂÈ ÔÈ ·ÙÔÌÈΤ˜ ÔÈÎÔÁ¤ÓÂȘ Ó· ÂÈÛÚ¿ÙÙÔ˘Ó ÙȘ ÎÔÈÓˆÓÈΤ˜ ÂÈÙÒÛÂȘ Ù˘ ·ÔÙ˘¯›·˜ Ù˘ Û˘ÁÎÂÎÚÈ̤Ó˘ ‰È·‰Èηۛ·˜. A˘Ùfi Ô˘ Ú¤ÂÈ Ó· ÁÓˆÚ›˙Ô˘Ó ÔÈ Û˘ÁÎÂÎÚÈ̤Ó˜ ÔÈÎÔÁ¤ÓÂȘ ÁÈ· Ó· ¤¯Ô˘Ó Ù· ÂÈı˘ÌËÙ¿ ·ÔÙÂϤÛÌ·Ù· ÛÙËÓ ÎÔÈÓˆÓÈ΋ Î·È Â·ÁÁÂÏÌ·ÙÈ΋ ÂÈÙ˘¯›· ÙˆÓ ·È‰ÈÒÓ ÙÔ˘˜, οÙÈ ÙÔ ÔÔ›Ô Â›Ó·È ÛÙËÓ ¿ÌÂÛË Â˘¯¤ÚÂÈ· ÙÔ˘˜, Â›Ó·È fiÙÈ ı· Ú¤ÂÈ Ó· ÚÔÁÚ·ÌÌ·Ù›ÛÔ˘Ó Ôχ ÚÔÛÂÎÙÈο ÙȘ ÂÚ·ÈÙ¤Úˆ ÂÈÏÔÁ¤˜, ·ÔÊ¿ÛÂȘ Î·È Ú¿ÍÂȘ ÙÔ˘˜ Ï·Ì‚¿ÓÔÓÙ·˜ ˘’ fi„Ë Î·›ÚÈ· ÛËÌ›· Ù· ÔÔ›· ı· ·Ó·Ï‡ÛÔ˘Ì ÛÙÔ ÂfiÌÂÓÔ Ù‡¯Ô˜.

16

NEW WORD ON THE BLOCK ∏ ‚›· ʤÚÓÂÈ ‚›·! 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 !

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

In this Wordwatch column, which comes from the Chambers website, we will be presenting you with new words that are used in the English speaking world today , so that you are always up to date. Conscience Consumerism Since the mid-twentieth century, shoppers who can afford the luxury of choice have become increasingly sophisticated about the social, environmental and political implications of their spending. The boycott of South African exports during the apartheid era was an early example of this phenomenon; in the 21st century, consumers are more likely to pause before making a purchase to calculate whether the goods were produced by children in sweatshops, or whether they inflict lasting damage on the environment. Recent commentators have dubbed this sort of behaviour conscience consumerism. This coinage is similar in meaning to the terms ‘ethical consumerism’ and ‘ethical shopping’, which have been widely used since the 1980s, and some newer terms such as ‘green consumerism’ and ‘consumanism’ (a blend of ‘consumerism’ and ‘humanism’). The original meaning of the word ‘consumerism’ was ‘the protection of the interests of buyers of goods and services against defective or dangerous goods’. However, in modern contexts, it often seems to mean simply ‘purchasing and using goods’. This meaning also appears in commonly heard phrases such as ‘rampant consumerism’, which can carry distinctly negative connotations. It remains to be seen whether the slick alliteration of ‘conscience consumerism’ – currently the preferred term of organizations promoting image-enhancing ethical initiatives – will ultimately

Source: Chambers Wordwatch Column Editor: Lawrence Mamas (Betsis ELT) [email protected] replace the tried-and-tested but slightly less spin-friendly ‘ethical consumerism’. Regardless of how the terminology evolves, however, it seems likely that consumers themselves will continue to demand ever higher ethical standards from the businesses who seek their custom. Ringxiety The ever-evolving world of technology offers endless opportunities but also, alas, has brought a host of attendant ailments. People who send large amounts of text messages may contract ‘TMI’ (text message injury) – a form of repetitive strain injury that causes painful swelling and inflammation of the thumbs and is clearly related to similar conditions such as ‘Nintendo thumb’ and ‘mouse wrist’. The latest malady – this time of a more psychological nature – is the condition known as ringxiety (also known in the US as ‘fauxcellarm’), an auditory hallucination affecting mobile-phone users. Sufferers from ringxiety are convinced they can hear their phone ringing when it isn’t, and become obsessed with checking their phone for missed calls and text messages. Acute sufferers reportedly show no improvement in their condition even when they know their phone is turned off; the audio trigger is simply replaced by the phone’s vibrate function. The cause of this affliction is reckoned to be a deep-rooted psychological need always to be

¢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.

contactable, perhaps to validate one’s sense of popularity or selfworth. It may be a condition related to yet another modern malady, ‘always-on syndrome’, whereby sufferers are addicted to the stimulation provided by an incoming message and compulsively check their email – as much as several hundred times a day – even when on holiday. Having so many hitherto unimaginable gadgets at one’s disposal can, it would seem, be something of a poisoned chalice. Brokeback When Annie Proulx wrote the short story Brokeback Mountain about two tough Wyoming cowboys who fall in love, she probably didn’t expect that it would be turned into an awardwinning Hollywood film – let alone that she might be bringing a new word into the language. But if journalists and bloggers are to be believed, the film’s success has prompted people to start using brokeback as an adjective in its own right. Indeed, the American organization Global Language Monitor believes the word has so much potential it has crowned it ‘HollyWORD of 2006’. The word is naturally enough being linked to gay culture, albeit with various possible usages. Exclamations like ‘That’s so brokeback!’ imply that something is effeminate or has strong gay overtones. But while the on-screen cowboys enjoy a gay relationship, they are anything but effeminate, leading some commentators to define ‘brokeback’ as meaning ‘displaying excessive masculinity in order to disguise one’s homosexuality’. The idea of being in the closet is also present in the term ‘brokeback marriage’ (a scenario like the one portrayed in the film, where one partner in the marriage is secretly gay). Finally, there is evidence that ‘brokeback’ is also being used to describe an activity shared by two straight men, as in ‘brokeback shopping’. If ‘brokeback’ catches on, it won’t be the first time that a film title has worked its way into the language to represent a particular concept. For example, the term ‘Star Wars’ has become synonymous with hightech or futuristic weaponry, while we might talk about ‘Groundhog Day’ to refer to a situation when we seem to keep reliving the same events over and over again. Could it be that ‘brokeback’ will follow the same path from cultural buzzword to the linguistic mainstream?

Ù˘ ŸÏÁ·˜ °ÎÔ˘Ó‹

¶ÚÔÁÂÓÓËÙÈ΋˜ ∂ÏÏ¿‰·, µ¤æ˘¯ÔÏÔÁ›·˜, ÛÙË ÚÔÈ·, πÔ‡ÓÈÔ˜ ÁÂÓÂÙÈ΋ ÌÓ‹ÌË 2006. ªÈ· ÔÌ¿‰· ÙÔ˘ ·Á¤ÓÓËÙÔ˘ ·È‰ÈÒÓ ·ÛΛ ‚›·. ŒÓ· ·È‰› ·È‰ÈÔ‡ ˘¿Ú·ÁÓÔ›ٷÈ. ∆· ¯Ô˘Ó ‹‰Ë ÔÈ ÏË·È‰È¿ ÔÌÔÏÔÚÔÊÔڛ˜ fi¯È ÌfiÁÔ‡Ó fiÙÈ ÙÔ ¤¯Ô˘Ó ÓÔ ÁÈ· ÙÔ ˆ˜ Ô ÛÎÔÙÒÛÂÈ. O ÔÚÁ·ÓÈÛÌfi˜ ÙÔ˘ ÕÏÂÍ Â›Ó·È ı‡Ì· ı· ÎÙÈÛÙ› Î·È ı· ñ ¶ÚÔÁÂÓÓËÙÈ΋ æ˘¯Ô‚›·˜. °È·Ù›; ÏÂÈÙÔ˘ÚÁ›, ·ÏÏ¿ ∫·È ÁÈ·Ù› ¤Ó· ÏfiÁÔ˜, ™‡Ì‚Ô˘ÏÔ˜ ¶ÚÔÛˆ˘¿Ú¯Ô˘Ó Â›È΋˜ Î·È E·ÁÁÂÏÌ·ÙÈ΋˜ ·È‰› Ó· ÛÎÔÙÒ- AÓ¿Ù˘Í˘, ¢È¢ı‡ÓÙÚÈ· Û˘ ÏËÚÔÊÔÛÂÈ ¤Ó· ¿ÏÏÔ ·È- ÙÔ˘ ΤÓÙÚÔ˘ Cosmoanelixis. ڛ˜ Ô˘ ·ÊÔ‰›; ÚÔ‡Ó ÙË Û˘Ó·Èñ Co-director ÙÔ˘ WOÈ Û˘˙ËÙ‹ÛÂȘ SDDI ÁÈ· ÙËÓ EÏÏ¿‰·. ÛıËÌ·ÙÈ΋, ÙËÓ ñ EÎ·È‰Â‡ÙÚÈ· Ù˘ ÛÙ· media ÔÏ„˘¯ÔÏÔÁÈ΋ ‰Ô¶ÚÔÁÂÓÓËÙÈ΋˜ æ˘¯ÔÏÔϤ˜. ºÙ·›ÂÈ ·˘Ùfi, Á›·˜ Î·È Ù˘ æ˘¯ÔÏÔÁ›·˜ Ì‹ ÙÔ˘. ∆Ô ·Á¤ÓÙÔ ¿ÏÏÔ. ºÙ·›ÂÈ ÙÔ˘ Whole-Self. ÓËÙÔ ·È‰› ¤¯ÂÈ ÙÔ Û¯ÔÏ›Ô, ÊÙ·›ÌÓ‹ÌË Î·È Û˘Ûñ ¶Úfi‰ÚÔ˜ Ù˘ EÏÏËÓÈÂÈ Ë ÎÔÈÓˆÓ›·, ΋˜ ŒÓˆÛ˘ ¶ÚÔÁÂÓÓËÙÈÛˆÚ‡ÂÈ ÙȘ ÂÊÙ·›ÂÈ Ë ·ÛÙ˘ÓÔ- ΋˜ Î·È ¶ÂÚÈÁÂÓÓËÙÈ΋˜ ÓÙ˘ÒÛÂȘ ÙÔ˘ æ˘¯ÔÏÔÁ›·˜ Î·È I·ÙÚÈ΋˜ Ì›·, ÊÙ·›ÂÈ Ë ÔÈ- (E§.E.¶.¶.æ.I.). Î·È ÙȘ ÂÌÂÈڛ˜ ÎÔÁ¤ÓÂÈ·, ÊÙ·›ÙÔ˘ ·fi ÙË ÛÙÈÁÂÈ... ¶ÔÈÔ˜ ÙÂÏÈο ÊÙ·›ÂÈ; ∫·È Ì‹ Ù˘ Û‡ÏÏË„‹˜ ÙÔ˘. µÚ›ÛÎÂÙ·È ÁÈ·Ù›; fiˆ˜ Î·È Î¿ı ÔÚÁ·ÓÈÛÌfi˜ Û ºÔÚÙÈṲ̂ӷ Û˘Ó·ÈÛı‹Ì·Ù·. ÌÈ· Û˘Ó¯‹ ÔÏ˘Â›Â‰Ë ·ÏÏ˶fiÓÔ˜, ºfi‚Ô˜, ∞Á·Ó¿ÎÙÈÛË, ÏÂ›‰Ú·ÛË Ì ÙË ÌËÙ¤Ú· ÙÔ˘ Î·È £˘Ìfi˜... ÙÔ ÂÚÈ‚¿ÏÏÔÓ. §›ÁÔ ÈÔ ÚÈÓ «Ù· Ù¤Ú·Ù·» ¶ˆ˜ ›ӷÈ, fï˜, ·˘Ùfi ÙÔ ÂΤډÈÛ·Ó ÛÙË °ÈÔ˘ÚÔ‚›˙ÈÔÓ. ∫·È ÚÈ‚¿ÏÏÔÓ; ¿ÏÈ ·ÁˆÌ¿Ú·. ∞ÏÏ¿ ‰ÂÓ ˘¢˘ÛÙ˘¯Ò˜, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ‰ÂÓ ‹Ú¯Â ÊfiÓÔ˜ ÂΛÓË ÙË ÛÙÈÁÌ‹. Â›Ó·È ¿ÓÙ· ÊÈÏÈÎfi, Ô‡ÙÂ Â›Ó·È ™¯Â‰fiÓ ÙÔ Í¯¿Û·ÌÂ. ∆Ô Ì‹Ó˘- ¿ÓÙÔÙ ˘ÁȤ˜. ¢ÂÓ ·Ú¤¯ÂÈ Ì· fï˜ ‰fiıËÎÂ. ∆· ·È‰È¿ ›Ù ÚÔÛÙ·Û›· ·ÏÏ¿ ·ÓÙ›ıÂÙ· ‰È‰¿Â›Ó·È ÛÂ Û˘ÌÌÔڛ˜ ›ÙÂ Â›Ó·È ÛÎÂÈ ÙËÓ ÂÈıÂÙÈÎfiÙËÙ·, ÙË ‚›·, ÛÙȘ Ô˘Û›Â˜ ›Ù „ËÊ›˙Ô˘Ó ÙÔ˘˜ ÙËÓ ·fiÚÚÈ„Ë, ÙËÓ ˘ÔÙ›ÌËÛË, Lordi, Ì·˜ ÛÙ¤ÏÓÔ˘Ó ÙÔ ›‰ÈÔ Ì‹- ÙÔÓ ÂÍ¢ÙÂÏÈÛÌfi, ÙËÓ ÂÁηٿÏÂÈÓ˘Ì·: ¶ÔÓ¿ÌÂ! O ·‚¿ÛÙ·¯ÙÔ˜ „Ë, ÙËÓ ÚÔ‰ÔÛ›·. fiÓÔ˜ ¤¯ÂÈ ·ÏÏÔÈÒÛÂÈ ÙËÓ „˘¯‹ ∆Ô ·È‰› ηٷÁÚ¿ÊÂÈ ÛÙË Ì·˜! ∫¿ÓÙ οÙÈ! ÌÓ‹ÌË ÙÔ˘ fiÏ· fiÛ· ‚ÈÒÓÂÈ Î·È ·ÕÚÓËÛË Ó· ‰Ô‡Ì ÙËÓ Ú·Á- ÓÙÈÏ·Ì‚¿ÓÂÙ·È: ηÏfi ‹ ηÎfi, ·Ì·ÙÈÎfiÙËÙ·. °È·Ù› ·Ó ÙË ‰Ô‡Ì Á¿Ë ‹ ·fiÚÚÈ„Ë, Û‚·ÛÌfi ‹ Âı· ʤÚÔ˘ÌÂ Î·È ÙËÓ Â˘ı‡ÓË ÙˆÓ Í¢ÙÂÏÈÛÌfi... ÏËÚÔÊÔڛ˜ Ô˘ fiÛˆÓ ‚ϤÔ˘ÌÂ. ∫È ·Ó ‰Ô‡Ì ÛÙËÓ ÂÓ‰ÔÌ‹ÙÚÈ· ÂÌÂÈÚ›· ÙÔ˘ οÙÈ Î·È ‰ÂÓ Ì·˜ ·Ú¤ÛÂÈ; ◊ ·Ó ¤Ú¯ÔÓÙ·È Ì¤Û· ·fi ÙËÓ Ï·ÎÔ‡·˘Ùfi Ô˘ ı· ‰Ô‡Ì ̷˜ Í‚ÔϤ- ÓÙÈ· ΢ÎÏÔÊÔÚ›· Î·È ·ÚÁfiÙÂÚ·, „ÂÈ; ∫È ·Ó ‰ÂÓ ÙÔ ·ÓÙ¤ÍÔ˘ÌÂ Î·È ÌÂÙ¿ ·fi ÙË Á¤ÓÓËÛ‹ ÙÔ˘, ·fi ÙÔ ‰È·Ï˘ıÔ‡ÌÂ; ÔÈÎÔÁÂÓÂÈ·Îfi, ÎÔÈÓˆÓÈÎfi, ÔÏÈ∫·Ï‡ÙÂÚ· Ó· ÊÙ·›ÂÈ ¤Ó·˜ ¿Ï- ÙÈÎfi, ÔÈÎÔÓÔÌÈÎfi Î.Ï. ÂÚÈ‚¿ÏÏÔ˜. ÏÔÓ Ì¤Û· ÛÙÔ ÔÔ›Ô ÂÓÙ¿ÛÛÂÙ·È ∫·Ï‡ÙÂÚ· Ó· ÂÍÔÚΛÛÔ˘Ì ÙÔ Î·È ·ÚÁfiÙÂÚ· ÛÙË ˙ˆ‹ ÙÔ˘ ·˘Ù¿ ηÎfi. Ù· ÚÒÙ· ÂÓÙ˘ÒÌ·Ù· ·ÓÙ·Ó·∫·Ï‡ÙÂÚ· Ó· ÙÈ̈ڋÛÔ˘ÌÂ, ÎÏÒÓÙ·È ÛÙ· Û˘Ó·ÈÛı‹Ì·Ù¿ ÙÔ˘, Ó· Ê˘Ï·Î›ÛÔ˘ÌÂ, Ó· ÂÚÈÔÚ›- ÛÙÔÓ ÙÚfiÔ Ô˘ ÛΤÙÂÙ·È Î·È ÛÔ˘ÌÂ, Ó· ηٷȤÛÔ˘ÌÂ. ÛÙÔÓ ÙÚfiÔ Ô˘ ÏÂÈÙÔ˘ÚÁ›. ∫·Ï‡ÙÂÚ· Ó· ÛÎÔÙÒÛÔ˘Ì £· ϤÁ·Ì fiÙÈ Î·ıËÏÒÓÂÙ·È, ÚÈÓ Ì·˜ ÛÎÔÙÒÛÂÈ. fiÙÈ Ì¤ÓÂÈ ÛÙË ÌÓ‹ÌË ÙˆÓ ÚÒÙˆÓ ∞ÏÏ¿, ÙÈ ı· ÎÂÚ‰›ÛÔ˘Ì ̒ ·˘- ÂÌÂÈÚÈÒÓ. Ùfi ÙÔÓ ÙÚfiÔ; OÈ ÂÌÂÈڛ˜ ÙÔ˘ ·È‰ÈÔ‡ ηٿ ÙËÓ ÂÓ‰ÔÌ‹ÙÚÈ· ÂÚ›Ô‰Ô, ÙË ∆È ı· χÛÔ˘ÌÂ; ÛÙÈÁÌ‹ ÙÔ˘ ÙÔÎÂÙÔ‡ Î·È Ù· ÚÒ¶Ô˘ ı· ÚÔ¯ˆÚ‹ÛÔ˘ÌÂ; Ù· 4 ¯ÚfiÓÈ· Ù˘ ˙ˆ‹˜ ÙÔ˘ —‰Ë∏ ‚›· Ô˘ ·ÛÎÂ›Ù·È Ï·‰‹ ̤¯ÚÈ ÙËÓ ÔÏÔÎÏ‹ÚˆÛË Ù˘ Â›Ó·È Ë ‚›· Ô˘ ÛÎÔÙÒÓÂÈ ÂÚÈfi‰Ô˘ Ù˘ ·˘ÙÔÓfiÌËÛ˘— ™‡Ìʈӷ Ì ÙȘ ¤Ú¢Ó˜ Ù˘ ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 26

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Make the leap across the digital divide Technology in the classroom can be ignored, but it won't go away, says Miranda Hamilton AÓ·‰ËÌÔÛ›Â˘ÛË Guardian Weekly t's all to play for as the wonder of ICT provides the modern language teacher with ever more wondrous and creative ways to support our learners. But something is afoot; listen carefully and you might hear the soft thud of disappointment, possibly the whisper of "the emperor's new clothes". Far from being the technological cure-all, there is the unthinkable suspicion that technology is not living up to its early promise. Teachers have dipped their toes in the water, but are they now questioning whether technology can ever really be fully integrated into the classroom? There are those that are comfortable with technology, but those who aren't, can and do choose to ignore it. This digital gap should just be a temporary hiatus, before young

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teaching professionals raised in the technological age work their way through the educational system and reach the classroom. But for the present issues remain. Learning environments are changing. Students can manage pathways through the internet and cleverly designed software quickly and easily, thus challenging the privileged position of the school as the gatekeeper of knowledge. Students are driving their own independent pathways towards knowledge acquisition. An imbalance exists between the technological ability of the students and the teachers, upsetting the ecology of the classroom. In the technological classroom the role of the teacher is shifting from centre stage to facilitator and as it has been suggested, to that of the "electronic eavesdropper". So, who now holds the powerbase in

the classroom, the teacher, the students . . . or possibly the technology? What of the technological learning environment? The social and physical setting of the technological classroom is at variance with what many would consider to be the traditional classroom. The conventional classroom lesson might be considered to be typically led from the front by the teacher, linear in approach with the experienced teacher responding instinctively to the texture and spontaneity of classroom events, skilfully guiding the class towards his lesson aims. The dynamic of the computer lesson is a less familiar beast. Teaching materials need adapting with careful consideration of the medium. An uncertainty of the technological learning

environment can discourage the most skilled and experienced of teachers from striking out from behind the safety net of the lesson plan. So what do teachers feel about the integration of technology as an educational tool? A study investigating the levels of teacher satisfaction working in on-line courses at the University of California in 2000 identified obstacles in the appropriation of on-line programmes. It found that teachers thought the medium was too impersonal and represented more work for the teachers. Another study asked teachers why they thought educational institutions might be deterred from adopting on-line learning

programmes, responses were found to be a fear of the technology and of being exposed as having inadequate expertise as well as an uncertainty about the pedagogy. It's certainly tough picking up new tricks and applying them to pedagogical skills learned way back at teacher training college. But does it actually matter? Is the computer lesson really a vital ingredient in the student's language learning diet, or is it still the optional extra, the treat to break up the week? Will technology ever be "normalised" and seamlessly kneaded into the syllabus? Edith Esch and Christopher Zahner (CUP, 2000) ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 26

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EYPø¶A´KA ¶PO°PAMMATA ™øKPATH™ – COMENIUS

M·ıËÙÈΤ˜ ·ÓÙ·ÏÏ·Á¤˜ Ì ۯÔÏ›· Ù˘ E˘ÚÒ˘ Î·È TÔ˘ÚΛ·˜ O °ÈÒÚÁÔ˜ §ÈÓ·Ú‰¿ÙÔ˜, ‰È¢ı˘ÓÙ‹˜ ÙÔ˘ I‰ÈˆÙÈÎÔ‡ ™¯ÔÏ›Ԣ A˘ÁÔ˘Ï¤· §ÈÓ·Ú‰¿ÙÔ˘ Ì›ÏËÛ ÛÙËÓ Lingua Franca ÁÈ· ÙËÓ Û˘ÌÌÂÙÔ¯‹ ÙÔ˘ Û¯ÔÏ›Ԣ ÛÙÔ ÚfiÁÚ·ÌÌ· · ·È‰È¿ Ì·˜ ¤¯Ô˘Ó Ó· ˙‹ÛÔ˘Ó Û ÌÈ· ·ÁÎÔÛÌÈÔÔÈË̤ÓË ÔÈÎÔÓÔÌ›·, Û ÌÈ· ÎÔÈÓˆÓ›· ·ÓÔȯً ÛÙËÓ ÂÈÎÔÈÓˆÓ›· ÎÈ ·ÓÙ·ÁˆÓÈÛÙÈ΋ Û˘Ó¿Ì·. OÈ Â·Ê¤˜ ÙÔ˘˜ ÏÔÈfiÓ ÌÂ Û˘ÓÔÌËÏ›ÎÔ˘˜ ÙÔ˘˜ ·fi ¿ÏϘ ¯ÒÚ˜ ·ÔÙÂÏÔ‡Ó ¤Ó· ¯Ú‹ÛÈÌÔ ÂÚÁ·ÏÂ›Ô ÚÔÂÙÔÈÌ·Û›·˜ ÙÔ˘˜ ÁÈ· ÙÔÓ ÎfiÛÌÔ ÙÔ˘ ·‡ÚÈÔ. °È ·˘Ùfi ÙÔ Û¯ÔÏÂ›Ô Ì·˜ ÂÓı·ÚÚ‡ÓÂÈ ÙË ‰È·Û¯ÔÏÈ΋ ÂÈÎÔÈÓˆÓ›· ÙˆÓ Ì·ıËÙÒÓ Î·È ÂÎ·È‰Â˘ÙÈÎÒÓ Ì·˜ Ì ̷ıËÙ¤˜ Î·È ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Û¯ÔÏ›ˆÓ ¿ÏÏˆÓ ¯ˆÚÒÓ, ıˆÚÒÓÙ·˜ ÙËÓ ¤Ó· ‰˘Ó·ÌÈÎfi fi¯ËÌ· ÌÂÙ·ÊÔÚ¿˜ ÁÓÒÛˆÓ, ÂÌÂÈÚÈÒÓ Î·È ÔÏÈÙÈÛÌÔ‡, fiˆ˜ Î·È ËÁ‹ ·ÏÏËÏÔηٷÓfiËÛ˘ Î·È ·ÏÏËÏÔÛ‚·ÛÌÔ‡. ™ÙÔ Ï·›ÛÈÔ ·˘Ùfi ¯ÚËÛÈÌÔÔÈԇ̠ÙȘ Ӥ˜ Ù¯ÓÔÏÔÁ›Â˜ Î·È ËÏÂÎÙÚÔÓÈΤ˜ ÂÈÎÔÈӈӛ˜, fiˆ˜ ÙȘ ¢ڢ˙ˆÓÈΤ˜ Û˘Ó‰¤ÛÂȘ, ÙÔ internet, ÙÔ e-mail Î·È ÙÔ msn messenger, ÁÈ· Ó· ʤÚÔ˘Ì ÙÔ˘˜ Ì·ıËÙ¤˜ Î·È ÙÔ˘˜ ÂÎ-

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·È‰Â˘ÙÈÎÔ‡˜ Ì·˜ ÛÂ Û˘Ó¯‹ Â·Ê‹ Ì ÔÌÔÏfiÁÔ˘˜ ÙÔ˘˜ ·fi Û¯ÔÏ›· Ù˘ E˘ÚÒ˘ Î·È ¿ÏϘ ÁÂÈÙÔÓÈΤ˜ ¯ÒÚ˜. ◊‰Ë ÔÈ ˘Ô‰Ô̤˜ Ì·˜ ÛÙȘ Ӥ˜ Ù¯ÓÔÏÔÁ›Â˜ ÂÈÙÚ¤Ô˘Ó Ó· Û˘Ó‰ÂfiÌ·ÛÙ Ì ‹¯Ô Î·È ÂÈÎfiÓ·, Û Ú·ÁÌ·ÙÈÎfi ¯ÚfiÓÔ ÌÂ Â˘Úˆ·˚ο Û¯ÔÏ›· Î·È Ó· Ú·ÁÌ·ÙÔÔÈԇ̠ÎÔÈÓ¤˜ ‰È‰·Ûηϛ˜ ‹ Ó· Û˘ÓÂÚÁ¿˙ÔÓÙ·È ÔÌ¿‰Â˜ Ì·ıËÙÒÓ Ì·˜ Ì ̷ıËÙ¤˜ ·fi Ù· ¿ÏÏ· Û¯ÔÏ›· Û ÎÔÈÓ¤˜ ÂÚÁ·Û›Â˜, Û·Ó Ó· ‚Ú›ÛÎÔÓÙ·È ÛÙÔÓ ›‰ÈÔ Ê˘ÛÈÎfi ¯ÒÚÔ. ŸÏ· ·˘Ù¿ ‚¤‚·È· ηı›ÛÙ·ÓÙ·È ‰˘Ó·Ù¿ ÏfiÁˆ Î·È ÙÔ˘ ÂÍ·ÈÚÂÙÈÎÔ‡ ÂÈ¤‰Ô˘ ÁψÛÛÔÌ¿ıÂÈ·˜ ÛÙËÓ ·ÁÁÏÈ΋, Á·ÏÏÈ΋ Î·È ÁÂÚÌ·ÓÈ΋ ÁÏÒÛÛ·, Ô˘ ¤¯Ô˘Ó ηٷÎÙ‹ÛÂÈ ÔÈ Ì·ıËÙ¤˜ Ì·˜ ̤۷ ·fi ÙÔ ÚfiÁÚ·ÌÌ· ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜. TÂÏÈ΋ ηٿÏËÍË Î·È ÂÈÛÙ¤Á·ÛÌ· ·˘ÙÒÓ ÙˆÓ ‰È·‰ÈηÛÈÒÓ ·ÔÙÂÏÔ‡Ó ÔÈ Ì·ıËÙÈΤ˜ ÎÈ ÂÎ·È‰Â˘ÙÈΤ˜ ·ÓÙ·ÏÏ·Á¤˜ Ô˘

·È‰È¿ Âη٤ڈıÂÓ Î·È Ù· ¿ÊËÛ·Ó ıÂÙÈο ·ÔÛ‚ÔÏÒÌÂÓ· ·fi ÙȘ ÔÌÔÈfiÙËÙ˜ ·Ó¿ÌÂÛ¿ ÙÔ˘˜ Î·È ÙȘ ˙ÂÛÙ¤˜ ÊÈÏÈΤ˜ Û¯¤ÛÂȘ Ô˘ ÁÚ‹ÁÔÚ· ·Ó¿Ù˘Í·Ó ÌÂٷ͇ ÙÔ˘˜. ™‹ÌÂÚ· Ù· ·È‰È¿ Î·È ÙˆÓ ‰˘Ô Û¯ÔÏ›ˆÓ ‰ÂÓ ÈÛÙÂ‡Ô˘Ó ·Ï¿ ˆ˜ ÔÈ ‰˘Ô Ï·Ô› ÌÔÚÔ‡Ó Ó· Á›ÓÔ˘Ó Ê›ÏÔÈ, ÂÈı˘ÌÔ‡Ó ‰È·Î·Ò˜ Ó· ·Ó·Ù‡ÍÔ˘Ó ÌÈ· Ù¤ÙÔÈ· ÊÈÏ›· Î·È ı· οÓÔ˘Ó ÛÙÔ Ì¤ÙÚÔ Ô˘ ÙÔ˘˜ ·Ó·ÏÔÁ›, fiÙÈ ÌÔÚÔ‡Ó ÁÈ· Ó· Û˘ÓÙËÚ‹ÛÔ˘Ó ·˘Ù‹ ÙË ‰È¿ıÂÛË. NÔÌ›˙Ô˘Ì ˆ˜ ·˘Ùfi ˘‹ÚÍ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ fiÊÂÏÔ˜ ·fi ·˘Ù¤˜ ÙȘ ·ÓÙ·ÏÏ·Á¤˜ ÙfiÛÔ ÁÈ· ÙÔ˘˜ ŒÏÏËÓ˜ fiÛÔ Î·È ÁÈ· ÙÔ˘˜ TÔ‡ÚÎÔ˘˜ Ì·ıËÙ¤˜.

Ú·ÁÌ·ÙÔÔÈԇ̠̠ٷ ͤӷ Û¯ÔÏ›· Ô˘ Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì·˙› Ì·˜. M·ıËÙÈΤ˜ Ì·˜ ·ÔÛÙÔϤ˜ ¤¯Ô˘Ó ÊÈÏÔÍÂÓËı› ·fi Û¯ÔÏ›· Û’ fiϘ ۯ‰fiÓ ÙȘ ¯ÒÚ˜ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘ Î·È ÛÙËÓ TÔ˘ÚΛ·, ÂÓÒ Î·È ‰ÈΤ˜ ÙÔ˘˜ ·ÔÛÙÔϤ˜ ¤¯Ô˘Ó ÊÈÏÔÍÂÓËı› ·fi ÂÌ¿˜ ÛÙËÓ EÏÏ¿‰·. OÈ ·ÓÙ·ÏÏ·Á¤˜ ·˘Ù¤˜ Û˘Ó‹ıˆ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Ì ÎÔÈÓ¿ projects ‰È·ıÂÌ·ÙÈÎÒÓ ÂÚÁ·ÛÈÒÓ Î·È Ì ·Ú¿ÏÏËϘ ÔÏÈÙÈÛÙÈΤ˜ ÂΉËÏÒÛÂȘ Ô˘ Ú·ÁÌ·ÙÔÔÈÔ‡ÓÙ·È Ì ÙË Û˘ÌÌÂÙÔ¯‹ ÊÈÏÔÍÂÓÔ‡ÓÙˆÓ Î·È ÊÈÏÔÍÂÓÔ˘Ì¤ÓˆÓ Î·È ·ÎÔÏÔ˘ıÔ‡ÓÙ·È ·fi ÂÚÈËÁ‹ÛÂȘ Î·È ÍÂÓ·Á‹ÛÂȘ Û ¯ÒÚÔ˘˜ ÔÏÈÙÈÛÙÈÎÔ‡, ÈÛÙÔÚÈÎÔ‡ ‹ ÂÈÛÙËÌÔÓÈÎÔ‡ ÂӉȷʤÚÔÓÙÔ˜. OÈ ·ÓıÚÒÈÓ˜ ÊÈÏÈΤ˜ Û¯¤ÛÂȘ Ô˘ ·Ó·Ù‡ÛÛÔÓÙ·È, ÔÈ ÂÌÂÈڛ˜ Ô˘ ·ÓÙ·ÏÏ¿ÛÛÔÓÙ·È Î·È ÔÈ ÁÓÒÛÂȘ Ô˘ ÎÂÚ‰›˙ÔÓÙ·È Ì¤Û· ·fi ·˘Ù¤˜ ÙȘ ·ÓÙ·ÏÏ·Á¤˜, Ô‰ËÁÔ‡Ó ÛÙËÓ ·Ó¿Ù˘ÍË Ù˘ ÎÔÈÓˆÓÈÎfiÙËÙ·˜, Ù˘ ‰È·ÔÏÈÙÈÛÌÈ΋˜ ·Ô‰Ô¯‹˜, Ù˘ ·ÏÏËÏÔηٷÓfiËÛ˘ Î·È ÙÔ˘ ·ÏÏËÏÔÛ‚·ÛÌÔ‡. T· ·È‰È¿ ·ÓÙÈÏ·Ì‚¿ÓÔÓÙ·È ˆ˜ fiÓÙ·˜ fiÏÔÈ ‰È·ÊÔÚÂÙÈÎÔ› ·Ú·Ì¤ÓÔ˘Ì ÈÛfiÙÈÌÔÈ Î·È ÂÍ·ÎÔÏÔ˘ıԇ̠ӷ ¤¯Ô˘Ì ÎÔÈÓ¤˜ ·Ó¿ÁΘ Î·È ÂӉȷʤÚÔÓÙ·. AÔÎÙÔ‡Ó ¤ÙÛÈ ·ÏÏËÏÔÂÎÙ›ÌËÛË ·ÏÏ¿ Î·È ·˘ÙÔÂÎÙ›ÌËÛË. TÔ ÚfiÛıÂÙÔ ‚¤‚·È· bonus fiÏˆÓ ·˘ÙÒÓ Â›Ó·È Ë ·Ó¿Ù˘ÍË Ù˘ ÁψÛÛÔÌ¿ıÂÈ·˜ Î·È Ë Î·ÏÏȤÚÁÂÈ· ÙÔ˘ ÂӉȷʤÚÔÓÙÔ˜ ÙˆÓ ·È‰ÈÒÓ ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ. ™ÙËÓ ÂÚ›ÙˆÛË ÙÒÚ· ÙˆÓ Ì·ıËÙÈÎÒÓ ·ÓÙ·ÏÏ·ÁÒÓ Ô˘ Ú·ÁÌ·ÙÔÔÈԇ̠̠ÙÔ TÔ˘ÚÎÈÎfi Û¯ÔÏÂ›Ô (Uskudar Amerikan Lisesi) ˘¿Ú¯ÂÈ ÌÈ· ÛËÌ·ÓÙÈ΋ ȉȷÈÙÂÚfiÙËÙ· Ô˘ ηıÈÛÙ¿ ·˘Ù¤˜ ÙȘ ·ÓÙ·ÏÏ·Á¤˜ Ôχ ÈÔ ÛËÌ·ÓÙÈΤ˜ ·fi οı ¿ÏÏË. H ȉȷÈÙÂÚfiÙËÙ· ·˘Ù‹ ·ÊÔÚ¿ ÙËÓ ·Ú·‰ÔÛȷο Î·È ‰È·¯ÚÔÓÈο η΋ ˆ˜ ¯ıÚÈ΋ Û¯¤ÛË Ô˘ ¤¯Ô˘Ì Ì ÙÔ˘˜ Á›ÙÔÓ˜ TÔ‡ÚÎÔ˘˜, Ë ÔÔ›· ̤۷ ·fi ÙË ‰È΋ Ù˘ ‰˘Ó·ÌÈ΋ ¤¯ÂÈ ‰È·ÌÔÚÊÒÛÂÈ ·›ÛÙÂ˘Ù· ÛÙÂÚÂfiÙ˘· Î·È È‰ÂÔÏË„›Â˜ ÛÙÔ˘˜ ‰˘Ô Ï·Ô‡˜, Ô˘ ·ÔÙÚ¤Ô˘Ó ÙË ÏÔÁÈ΋ ÚÔÛ¤ÁÁÈÛË ÛÙ· ÚÔ‚Ï‹Ì·Ù· Ô˘ ÙÔ˘˜ ¯ˆÚ›˙Ô˘Ó Î·È Û˘ÓÙËÚÔ‡Ó ÙË ·ÏËÏÔ‰·ÈÌÔÓÔÔ›ËÛ‹ ÙÔ˘˜. OÈ Ì·ıËÙÈΤ˜ Ì·˜ ·ÓÙ·ÏÏ·Á¤˜ Ì ÙÔ TÔ˘ÚÎÈÎfi Û¯ÔÏÂ›Ô ÎÔÓÈÔÚÙÔÔ›ËÛ·Ó Û ·›ÛÙÂ˘Ù· Û‡ÓÙÔÌÔ ¯ÚÔÓÈο ‰È¿ÛÙËÌ· Ù· ÛÙÂÚÂfiÙ˘· Ô˘ ›¯·Ó ˆ˜ ‰Â‰Ô̤ӷ Ù·

E¶I™KEæH ™THN TOYPKIA H ¶fiË TÛ·˚ÚË , ˘‡ı˘ÓË ·ÁÁÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜ ÙˆÓ Û¯ÔÏÒÓ A˘ÁÔ˘Ï¤· §ÈÓ·Ú‰¿ÙÔ˘, Ì›ÏËÛ ÛÙËÓ Lingua Franca ·Ó·Ï˘ÙÈο ÁÈ· ÙÔ ÚfiÁÚ·ÌÌ· ™ÙÔ Ï·›ÛÈÔ ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ “OÏ˘Ìȷ΋ ¶·È‰Â›·”, ÙÔ °˘ÌÓ¿ÛÈÔ ÔÚÁ¿ÓˆÛ Â›ÛÎÂ„Ë Û ۯÔÏ›· Ù˘ KÔÌÔÙËÓ‹˜ Î·È ÙËÓ KˆÓ/ÔÏ˘, ·fi ÙȘ 21 ¤ˆ˜ ÙȘ 26 M·ÚÙ›Ô˘ 2004. TËÓ ·ÔÛÙÔÏ‹ ·ÔÙÂÏÔ‡Û·Ó 17 Ì·ıËÙ¤˜ Î·È Ì·ı‹ÙÚȘ ÙÔ˘ °˘ÌÓ·Û›Ô˘ Ì·˜ Î·È Û˘Ófi‰Â˘·Ó ÔÈ : Î. ™¤ÚÙÔ˜ AÓÙÒÓ˘, ‰È¢ı˘ÓÙ‹˜ ÙÔ˘ °˘ÌÓ·Û›Ô˘, Î. T˙·‚¿Ú·˜ AϤͷӉÚÔ˜, ηı. Ê˘ÛÈ΋˜ ·ÁˆÁ‹˜, Î. Tۛη M¿Úˆ, ÊÈÏfiÏÔÁÔ˜ Î·È Î. TÛ·˝ÚË K·ÏÏÈfiË, ˘‡ı˘ÓË ·ÁÁÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜. TËÓ TÚ›ÙË 23 M·ÚÙ›Ô˘ 2004, ÂÈÛÎÂÊًηÌ ÙÔ ?sk¸dar Amerikan Lisesi – ÙÔ AÌÂÚÈηÓÈÎfi ÎÔϤÁÈÔ Ù˘ KˆÓ/ÔÏ˘ – Ô˘ ‚Ú›ÛÎÂÙ·È ÛÙËÓ AÛÈ·ÙÈ΋ ÏÂ˘Ú¿ Ù˘ ¶fiÏ˘. ¶ÚfiÎÂÈÙ·È ÁÈ· ÙÔ AÌÂÚÈοÓÈÎÔ ÎÔϤÁÈÔ Ù˘ KˆÓ/ÔÏ˘ Ì ¿„ÔÁ˜ ÎÙÈÚȷΤ˜ ÂÁηٷÛÙ¿ÛÂȘ Î·È ¿ÚÙÈ· ˘ÏÈÎÔÙ¯ÓÈ΋ ˘Ô‰ÔÌ‹, Ì ̷ıËÙ¤˜ Ô˘ Â›Ó·È ·È‰È¿ ‡ÔÚˆÓ ÔÈÎÔÁÂÓÂÈÒÓ Ù˘ KˆÓ/ÔÏ˘. H ‰È‡ı˘ÓÛË ÙÔ˘ Û¯ÔÏ›Ԣ Î·È ÔÈ Ì·ıËÙ¤˜ Ì·˜ ˘Ô‰¤¯ÙËÎ·Ó Ì ÂÓıÔ˘ÛÈ·ÛÌfi. ™ÙËÓ ·ÌÊÈı·ÙÚÈ΋ ·›ıÔ˘Û· ÂΉËÏÒÛÂˆÓ ¤ÁÈÓ ·fi ÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜ Ë ·ÚÔ˘Û›·ÛË ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ “™ÔÓ‰ÔÊfiÚÔÈ K‹Ú˘Î˜” ÛÙËÓ AÁÁÏÈ΋ ÁÏÒÛÛ·. H Î. TÛ·˝ÚË, ÂΠ̤ÚÔ˘˜ ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜, ÂÎÊÒÓËÛ ÏfiÁÔ ÌÈÏÒÓÙ·˜ ÁÈ· ÙÔ Ó‡̷ Î·È ÙÔ˘˜ ÛÙfi¯Ô˘˜ ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ “™ÔÓ‰ÔÊfiÚÔÈ K‹Ú˘Î˜”. AÎÔÏÔ‡ıËÛ·Ó Ë Â›‰ÂÈÍË ÙÔÍÔ‚ÔÏ›·˜ Î·È badminton, ηıÒ˜ Î·È ·Ú·‰ÔÛÈ·ÎÔ› ÂÏÏËÓÈÎÔ› Î·È ÙÔ˘ÚÎÈÎÔ› ¯ÔÚÔ›. E›Û˘, Ì·ıËÙ¤˜ Î·È Î·ıËÁËÙ¤˜, ŒÏÏËÓ˜ Î·È TÔ‡ÚÎÔÈ, οو ·fi ¤Ó· Ï·ÌÂÚfi ‹ÏÈÔ, Ê˘Ù¤„·Ì ÌÈ· ÂÏÈ¿ ÛÙÔÓ Î‹Ô ÙÔ˘ Û¯ÔÏ›Ԣ ˆ˜ ¤Ó‰ÂÈÍË ÊÈÏ›·˜ Î·È Û˘ÓÂÚÁ·Û›·˜. M·˜ ‰fiıËÎÂ Ë Â˘Î·ÈÚ›·, ·Ú¿ÏÏËÏ·, Ó· ÍÂÓ·ÁËıԇ̠ÛÙÔ˘˜ ¯ÒÚÔ˘˜ ÙÔ˘ Û¯ÔÏ›Ԣ, Ó· Û˘˙ËÙ‹ÛÔ˘Ì Ì ÙÔ˘˜ ηıËÁËÙ¤˜ ÁÈ· Ù· ÂÎ·È‰Â˘ÙÈο ÚÔÁÚ¿ÌÌ·Ù· ÙˆÓ ‰‡Ô ¯ˆÚÒÓ Î·È Ó· ÚÔÙ›ÓÔ˘Ì ÙË Û˘ÓÂÚÁ·Û›· ÙˆÓ ‰‡Ô Û¯ÔÏ›ˆÓ, ηıÒ˜ Î·È ÙËÓ ·ÓÙ·ÏÏ·Á‹ ÂÈÛΤ„ÂˆÓ ÛÙÔ Ì¤ÏÏÔÓ. H ÚfiÙ·ÛË Â›Û΄˘ ¤ÁÈÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· ÙÔ ÙÚÈ‹ÌÂÚÔ 5 – 7 M·˝Ô˘ 2006, fiÔ˘ Ì ÌÂÁ¿ÏË ¯·Ú¿ ˘ԉ¯ı‹Î·Ì ÛÙÔ Û¯ÔÏÂ›Ô Ì·˜ ÙËÓ TÔ˘ÚÎÈ΋ ·ÔÛÙÔÏ‹ ·fi ÙÔ ?sk¸dar Amerikan Lisesi, Ô˘ ·ÔÙÂÏÔ‡ÓÙ·Ó ·fi 24 Ì·ıËÙ¤˜ Î·È Ì·ı‹ÙÚȘ Î·È 4 ηıËÁËÙ¤˜. T· ·È‰È¿ ÊÈÏÔÍÂÓ‹ıËÎ·Ó ·fi ÔÈÎÔÁ¤ÓÂȘ Ì·ıËÙÒÓ ÙÔ˘

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DEVELOPING EXAMINATION WRITING SKILLS Cliff Parry, British Council

H η. ¶fiË TÛ·˝ÚË ·¢ı‡ÓÂÈ ¯·ÈÚÂÙÈÛÌfi

Û¯ÔÏ›Ԣ Ì·˜ Î·È Î·Ù¿ ÙË ‰È¿ÚÎÂÈ· Ù˘ ·Ú·ÌÔÓ‹˜ ÙÔ˘˜ ÛÙË ¯ÒÚ· Ì·˜ Û˘ÌÌÂÙ›¯·Ó Û ·ÁÒÓ˜ ÎÔχ̂ËÛ˘, ÍÂÓ·Á‹ıËÎ·Ó ÛÙÔ Û¯ÔÏÂ›Ô Ì·˜ Î·È ÂÈÛΤÊÙËÎ·Ó ·ÍÈÔı¤·Ù· Ù˘ Aı‹Ó·˜. E›Û˘, ÙËÓ ¶·Ú·Û΢‹ 5 M·˝Ô˘ 2006, Ú·ÁÌ·ÙÔÔÈ‹ıËÎ ÂΉ‹ÏˆÛË ÛÙËÓ ·›ıÔ˘Û· ÂΉËÏÒÛÂˆÓ ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜ “O¢Y™™EA™ E§YTH™”, ÛÂ Û˘Ó‰˘·ÛÌfi Ì ÙËÓ Â›ÛÎÂ„Ë Î·ıËÁËÙÒÓ Î·È Ì·ıËÙÒÓ ·fi ÙÔ E˘Úˆ·˚Îfi ÚfiÁÚ·ÌÌ· ™ˆÎÚ¿Ù˘ – Comenius Ô˘ Û˘ÌÌÂÙ¤¯ÂÈ ÙÔ ‰ËÌÔÙÈÎfi Ì·˜. ™’ ·˘Ù‹ ÙËÓ ÔÏ˘ÔÏÈÙÈÛÌÈ΋ ‚Ú·‰È¿ ·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó ÂÏÏËÓÈÎÔ› Î·È ÙÔ˘ÚÎÈÎÔ› ·Ú·‰ÔÛÈ·ÎÔ› ¯ÔÚÔ› Î·È ÌÔ˘ÛÈ΋, Ë ·ÁÁÏfiʈÓË ı·ÙÚÈ΋ ·Ú¿ÛÙ·ÛË “Euroschools, Eurochildren, Euroteachers”, Ì ı¤Ì· Ù· ÚÔÁÚ¿ÌÌ·Ù· ™ˆÎÚ¿Ù˘ – Comenius, ÂÓÒ ‹Ù·Ó ‰È¿¯˘ÙÔ ÙÔ Ó‡̷ Ù˘ Û˘ÓÂÚÁ·Û›·˜ Î·È Ù˘ ÊÈÏ›·˜. ™øKPATH™ – COMENIUS OÈ ·ÔÛÙÔϤ˜ ·fi Ù· Û¯ÔÏ›· Ô˘ Û˘ÌÌÂÙ›¯·Ó ÛÙÔ ÚfiÁÚ·ÌÌ· ™ˆÎÚ¿Ù˘ – Comenius ¤ÊÙ·Û·Ó ÛÙË ¯ÒÚ· Ì·˜ ÙËÓ TÚ›ÙË 2 M·˝Ô˘ 2006 Î·È ·Ó·¯ÒÚËÛ·Ó ÙËÓ K˘Úȷ΋ 7 M·˝Ô˘ 2006. ™’ ·˘Ùfi ÙÔ ‰È¿ÛÙËÌ· ÊÈÏÔÍÂÓ‹ıËÎ·Ó 14 ·È‰È¿ ·fi AÁÁÏ›·, IÛ·Ó›·, ºÈÓÏ·Ó‰›· Î·È IÙ·Ï›· Û ÔÈÎÔÁ¤ÓÂȘ Ì·ıËÙÒÓ ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜, ÂÓÒ Ù· ·È‰È¿ Û˘Ófi‰Â˘·Ó 10 ÂÎ·È‰Â˘ÙÈÎÔ›. T· E˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· ™ˆÎÚ¿Ù˘ – Comenius Â›Ó·È È‰È·›ÙÂÚ· ‰È·‰Â‰Ô̤ӷ Î·È Ï‹ıÔ˜ Û¯ÔÏ›ˆÓ ¤¯Ô˘Ó Û˘ÌÌÂÙ¿Û¯ÂÈ Û’ ·˘Ù¿. ™Ùfi¯Ô˜ ·˘ÙÒÓ ÙˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ Â›Ó·È Ë ‚ÂÏÙ›ˆÛË Ù˘ ÔÈfiÙËÙ·˜ Ù˘ ÂÎ·›‰Â˘Û˘, Ë ·Ó¿Ù˘ÍË Ù˘ Û˘ÓÂÚÁ·Û›·˜ Î·È Ë ·ÓÙ·ÏÏ·Á‹ ÂÌÂÈÚÈÒÓ ÌÂٷ͇ Ó¤ˆÓ ·fi ‰È·ÊÔÚÂÙÈΤ˜ Â˘Úˆ·˚Τ˜ ¯ÒÚ˜. TÔ ¢ËÌÔÙÈÎfi Û¯ÔÏÂ›Ô ™. A˘ÁÔ˘Ï¤· – §ÈÓ·Ú‰¿ÙÔ˘, ÛÂ Û˘ÓÂÚÁ·Û›· Ì ۯÔÏ›· Ù˘ AÁÁÏ›·˜, IÙ·Ï›·˜, IÛ·Ó›·˜, ºÈÓÏ·Ó‰›·˜ Î·È ™Ô˘Ë‰›·˜, ÂÎfiÓËÛ ÚfiÁÚ·ÌÌ· ‰È¿ÚÎÂÈ·˜ 3 ÂÙÒÓ (2000 – 2003) Ì ı¤Ì· “H Â›‰Ú·ÛË ÙÔ˘ ηÈÚÔ‡ Î·È ÙÔ˘ Îϛ̷ÙÔ˜ ÛÙË ˙ˆ‹ Ì·˜, ÙÔ ÂÚÈ‚¿ÏÏÔÓ Ì·˜ Î·È ÙÔÓ ÔÏÈÙÈÛÌfi

Ì·˜”, ηıÒ˜ Î·È ÚfiÁÚ·ÌÌ· ‰È¿ÚÎÂÈ·˜ 2 ÂÙÒÓ (2004 – 2006) Ì ı¤Ì· “¢È·ıÂÌ·ÙÈ΋ ÚÔÛ¤ÁÁÈÛË Ù˘ ¢È‰·Ûηϛ·˜”. Y‡ı˘ÓË Û˘ÓÙÔÓÈÛÌÔ‡ ÙˆÓ E˘Úˆ·˚ÎÒÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ Â›Ó·È Ë Î. TÛ·˝ÚË. Aη‰ËÌ·Èο OʤÏË ·Ô ÙÔ ¶ÚfiÁÚ·ÌÌ· H Û˘ÌÌÂÙÔ¯‹ ÙˆÓ ·È‰ÈÒÓ Û’ ·˘Ù¿ Ù· ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È ÂÓıÔ˘ÛÈ҉˘, ÂÓÒ Ë Ú·ÁÌ·ÙÔÔ›ËÛË ÂÈÛΤ„ÂˆÓ ÛÙ· Û˘ÓÂÚÁ·˙fiÌÂÓ· Û¯ÔÏ›· ÙˆÓ ¿ÏÏˆÓ ¯ˆÚÒÓ Â›Ó·È ÌÔÓ·‰È΋ ÂÌÂÈÚ›· ÙfiÛÔ ÁÈ· Ù· ·È‰È¿ fiÛÔ Î·È ÁÈ· ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Ô˘ Ù· Û˘Óԉ‡ԢÓ. H ·ÓÙ·ÏÏ·Á‹ ÂÚÁ·ÛÈÒÓ, Ë ·ÏÏËÏÔÁÚ·Ê›·, Ë ÂÈÎÔÈÓˆÓ›· ̤ۈ e – mail ÚÔÛʤÚÔ˘Ó ÔÏÏ·Ï¿ ÔʤÏË ÛÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜. E›ÛËÌË ÁÏÒÛÛ· ÂÚÁ·Û›·˜ Â›Ó·È Ë AÁÁÏÈ΋. T· ·È‰È¿, ÏÔÈfiÓ, οÓÔ˘Ó ¯Ú‹ÛË Ù˘ ÁÏÒÛÛ·˜ ÙfiÛÔ ÚÔÊÔÚÈο fiÛÔ Î·È ÁÚ·Ù¿, ÂÓÒ ¤¯Ô˘Ó ÙËÓ Â˘Î·ÈÚ›· Ó· ηٷϿ‚Ô˘Ó fiÛÔ ÛËÌ·ÓÙÈÎfi Â›Ó·È Ó· ÁÓˆÚ›˙Ô˘Ì ͤÓ˜ ÁÏÒÛÛ˜ ÁÈ· Ó· ÌÔÚԇ̠ӷ ÂÈÎÔÈÓˆÓÔ‡ÌÂ. X·Ú·ÎÙËÚÈÛÙÈÎfi Â›Ó·È fiÙÈ ·ÎfiÌ· Î·È ÔÈ ÈÔ Û˘ÁÎÚ·ÙË̤ÓÔÈ Ì·ıËÙ¤˜ Û˘ÌÌÂÙ¤¯Ô˘Ó Ì ÂÓıÔ˘ÛÈ·ÛÌfi ÛÙȘ ÂÚÁ·Û›Â˜ ÙˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ, ÂÓÒ ·ÓÙ·ÔÎÚ›ÓÔÓÙ·È ıÂÙÈÎfiٷٷ ÛÙȘ ÂÈÛΤ„ÂȘ ÛÙ· Û¯ÔÏ›· ÙˆÓ ¿ÏÏˆÓ ¯ˆÚÒÓ, ηıÒ˜ Î·È ÛÙË ÊÈÏÔÍÂÓ›· ¿ÏÏˆÓ ·È‰ÈÒÓ ÛÙË ¯ÒÚ· Ì·˜. ¶·Ú¿ÏÏËÏ·, ̤۷ ·fi ·Ϥ˜ ÂÚÁ·Û›Â˜ ·ÓÙÏÔ‡Ó Ï‹ıÔ˜ ÏËÚÔÊÔÚÈÒÓ ÁÈ· ÙȘ ¿ÏϘ E˘Úˆ·˚Τ˜ ¯ÒÚ˜, ‰È·ÌÔÚÊÒÓÔÓÙ·˜ ¤ÙÛÈ ÛÙ·‰È·Î¿ Â˘Úˆ·˚΋ Û˘Ó›‰ËÛË.

™˘ÌÌÂÙ¤¯ÔÓÙ· Û¯ÔÏ›· Boughton Monchelsea Primary School – UK Postipuun Koulou – FINLAND Diego Valeri – ITALY COLEGIO PUBLICO “SAN ISIDRO” – SPAIN DALHEMSKOLAN – SWEDEN ™. AY°OY§EA – §INAP¢ATOY (¢HMOTIKO) – E§§A¢A

Writing is a challenging process even at the best of times and one which can be a solitary even isolating experience when the supportive atmosphere provided by adequate teacher preparation and guidance is lacking. With building a solid and valid foundation for teacher support in mind, we teachers should not miss the opportunity to write the same tasks we require of our students. Why? Simply to provide ourselves with the opportunity to reflect on the writing process itself and come to grips with the difficulties our student writers will face. I suppose, in essence what I’m saying is that we shouldn’t preach but practise as well not only to remind ourselves of the writer’s task and reaffirm the validity in the eyes of our students of the guidance we provide them but also to provide students with a model. So what's next? Work with the model! There’s little or no point in presenting students with a model and hoping that the model on its own will help students improve their own writing or understanding of those key ingredients which together make writing successful. Effective writing requires a number of things from a high degree of organisation and development to a careful choice of lexical and grammatical items. Model analysis needs to consider both. On a textual level, students could be encouraged to identify the blocks of meaning rather than the physical boundaries of text or paragraphs. In doing so, we can then draw attention to their relative size; highlighting the importance of balance and development; and their characteristics; pointing out where a richer range of grammar or words is used. It is equally important to consider the words that make the sentences which then build the text. We could thus encourage students to identify those word sets that give rise to theme, the importance of repetition or replacement,

collocation or ellipsis and the use and number of conjunctions. Aiming not only to refresh our insight into the mechanisms of writing, but also to provide concrete hints and tips for students, the preparation and analysis of models is thus of some importance but does support stop there? Is support concerned only with what is done before students write? No, a good deal of support can be provided through the provision of meaningful comments. Perhaps the greatest feeling of satisfaction that a student gets is from a well-constructed teacher comment showing that his/her work has not been treated as a potential source of error but

read by an interested reader. But what constitutes a valid and reliable comment? What are its ingredients? Borrowing illustrious labels, I would like to suggest that a successful comment addresses 4 basic principles – those of quality, quantity, clarity and relevance. Much time could be devoted to a discussion of what these encompass but briefly quality is a matter of appropriacy both in terms of word choice and message, quantity is not so much the number of words but rather the number and balance of blocks of meaning. Clarity, on other hand addresses the question and looks at task achievement whereas relevance looks at the particular piece of work as part of the student’s writing history. Summarising the development of examination writing skills necessarily involves presenting students with opportunities to practice the various forms and functions of writing within the examination context. Practice, however, does not make perfect if done in isolation and without the support of adequate guidance from the teacher of which the approaches suggested here a few.

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∏ ‰È‰·Ûηϛ· Ù˘ ∫ÈÓÂ˙È΋˜ ÛÙË ¯ÒÚ· Ì·˜ °È· Ó· ÌËÓ Â›Ó·È Ù· ∫ÈÓ¤˙Èη... ∫ÈÓ¤˙Èη B·ÛÈÏÈ΋ TÛÈ¿ÌË, ¢È‰·ÛηÏÂ›Ô •¤ÓˆÓ °ÏˆÛÛÒÓ, ¶·ÓÂÈÛÙ‹ÌÈÔ AıËÓÒÓ K›Ó· Â›Ó·È ÌÈ· ·fi ÙȘ ¯ÒÚ˜ Ô˘ ¤¯Ô˘Ó ¤Ó· ·Ó¿Ú¯·ÈÔ ÔÏÈÙÈÛÌfi. EÈϤÔÓ Ë KÈÓÂ˙È΋ ÌÈÏÈ¤Ù·È ·fi ÙÔ ¤Ó· ٤ٷÚÙÔ ÙÔ˘ ÏËı˘ÛÌÔ‡ ÙÔ˘ Ï·Ó‹ÙË. §fiÁˆ Ù˘ ÁˆÔÏÈÙÈ΋˜ Î·È Ù˘ ‰È·ÚÎÒ˜ ·˘Í·ÓfiÌÂÓ˘ ÔÈÎÔÓÔÌÈ΋˜ ·Ófi‰Ô˘ Ù˘ K›Ó·˜ ÔÏÔ¤Ó· Î·È ÂÚÈÛÛfiÙÂÚÔÈ ÛÔ˘‰·ÛÙ¤˜ Û ÔÏfiÎÏËÚÔ ÙÔÓ ÎfiÛÌÔ ÂÈϤÁÔ˘Ó Ó· Ì¿ıÔ˘Ó ÎÈÓÂ˙Èο. ™ÙË ¯ÒÚ· Ì·˜ Û˘¯Ó¿ ¯ÚËÛÈÌÔÔÈÂ›Ù·È Ë ¤ÎÊÚ·ÛË «·˘Ù¿ Â›Ó·È ÎÈÓ¤˙Èη ÁÈ· ̤ӷ» ÁÈ· Ó· ·Ó·ÊÂÚıԇ̠۠οÙÈ ÔχÏÔÎÔ, ·Î·Ù·Ï·‚›ÛÙÈÎÔ Ë ·Ï¿ ‰‡ÛÎÔÏÔ. ™ÎÂÊÙ›Ù ÏÔÈfiÓ fiÛÔ ‰‡ÛÎÔÏË Ê·›ÓÂÙ·È Û ¤Ó·Ó ŒÏÏËÓ· –‹ E˘Úˆ·›Ô ÁÂÓÈÎfiÙÂÚ·- ÛÔ˘‰·ÛÙ‹ Ë ÂÎÌ¿ıËÛË Ù˘ ÎÈÓÂ˙È΋˜ fiÙ·Ó ·fi Ù· ÚÒÙ· ÎÈfiÏ·˜ Ì·ı‹Ì·Ù· Û˘ÓÂȉËÙÔÔÈ› fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ì›· ÁÏÒÛÛ· Ô˘ ‰ÂÓ ¤¯ÂÈ Î·Ì›· ÎÔÈÓ‹ Ú›˙· Ì ÙȘ ÈÓ‰ÔÂ˘Úˆ·˚Τ˜ ÁÏÒÛÛ˜, Ì›· ÁÏÒÛÛ· Ù˘ ÔÔ›·˜ ÌÔÚÊÔÛ‡ÓÙ·ÍË Â›Ó·È ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈ΋, Ë ÚÔÊÔÚ¿ Ù˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÔÏÏ¿ ‰È·ÊÔÚÂÙÈο ʈӋ̷ٷ ·fi Ù· ÂÏÏËÓÈο Î·È ÂÈϤÔÓ, fiÓÙ·˜ ÙÔÓÈ΋ ÁÏÒÛÛ· ¤¯ÂÈ Ù¤ÛÛÂÚȘ ÙfiÓÔ˘˜! ™·Ó Ó· ÌËÓ ¤Êı·Ó·Ó fiÏ· ·˘Ù¿ Ë ÁÚ·Ê‹ Â›Ó·È È‰È·›ÙÂÚ· ÔχÏÔÎË ÁÈ· ÙÔ˘˜ Â˘Úˆ·˚ÎÔ‡˜ Ï·Ô‡˜ Ô˘ ¯ÚËÛÈÌÔÔÈÔ‡Ó ·ÏÊ¿‚ËÙÔ. H ÎÈÓÂ˙È΋ fiÓÙ·˜ ÁÏÒÛÛ· ÌË ÎÏËÙÈ΋ ‰·Ó›ÛÙËΠ·fi ÙȘ ¢˘ÙÈΤ˜ ÁÏÒÛÛ˜ fiÚÔ˘˜ Ô˘ ‰ÂÓ ÙËÓ ÂÚÈÁÚ¿ÊÔ˘Ó ÌÈ·˜ Î·È ‰ÂÓ ¤¯ÂÈ ÎÏ›ÛÂȘ, ÂÁÎÏ›ÛÂȘ, ¯ÚfiÓÔ˘˜ ‹ ÙÒÛÂȘ H Û‡Á¯ÚÔÓË Â›ÛËÌË ÎÈÓÂ˙È΋ ‚·-

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Û›˙ÂÙ·È ÛÙËÓ ‚fiÚÂÈÔ˘ (‹ Ì·Ó‰·ÚÈÓÈÎÔ‡) Ù‡Ô˘ ¶ÂÎÈÓÂ˙È΋ ‰È¿ÏÂÎÙÔ. H ÎÈÓÂ˙È΋ ÁÏÒÛÛ· fiˆ˜ Î·È Ë ÂÏÏËÓÈ΋ ¯·Ú·ÎÙËÚ›˙ÂÙ·È Î˘Ú›ˆ˜ ·fi ʈӋÂÓÙ·. ŒÓ· ÌfiÓÔ ÊˆÓ‹ÂÓ ‹ ¤Ó· Û‡ÌÏÂÁÌ· ʈÓˤÓÙˆÓ ÌÔÚ› Ó· ·ÔÙÂÏ› ÌÈ· Û˘ÏÏ·‚‹. °È· ÙÔ˘˜ ÌË KÈÓ¤˙Ô˘˜ ÛÔ˘‰·ÛÙ¤˜ Ë ‚·ÛÈ΋ ‰˘ÛÎÔÏ›· Ù˘ ÎÈÓÂ˙È΋˜ ÁÏÒÛÛ·˜ ˆ˜ ÚÔ˜ ÙËÓ ÚÔÊÔÚ¿ Ù˘ Â›Ó·È fi¯È ÌfiÓÔ Ó· ÚÔʤÚÂÈ ÛˆÛÙ¿ ÙÔÓ Î¿ı ‹¯Ô ·ÏÏ¿ Î·È Ì ÙÔÓ ÛˆÛÙfi ÙfiÓÔ ÂÊfiÛÔÓ Ë ÎÈÓÂ˙È΋ Â›Ó·È ÌÈ· ÙÔÓÈ΋ ÁÏÒÛÛ·. Y¿Ú¯Ô˘Ó Ù¤ÛÛÂÚȘ ÙfiÓÔÈ (ÛÙËÓ Â›ÛËÌË ÎÈÓÂ˙È΋ ·ÊÔ‡ ÛÙ· K·ÓÙÔÓ¤˙Èη ÔÈ ÙfiÓÔÈ Â›Ó·È Ô¯ÙÒ!!) ‹ ¤ÓÙ ·Ó Ï¿‚Ô˘Ì ˘’ fi„Ë Î·È ÙÔÓ Ô˘‰¤ÙÂÚÔ ÙfiÓÔ. ¶Ò˜ fï˜ Â›Ó·È ÂÊÈÎÙfi Ó· ‰È·‚¿˙ÂÈ Î·Ó›˜ ÎÈÓÂ˙Èο Î·È Ì¿ÏÈÛÙ· Ó· ͯˆÚ›˙ÂÈ ÙÔÓ ÙfiÓÔ Û οıÂ Û˘ÏÏ·‚‹; ™ËÌ·ÓÙÈÎfi ‚Ô‹ıËÌ· Û ·˘Ù‹Ó ÙËÓ ÚÔÛ¿ıÂÈ· ·ÔÙÂÏ› ÙÔ pinyin Ô˘ ¯ÚËÛÈÌÔÔÈ› Ï·ÙÈÓÈÎÔ‡˜ ¯·Ú·ÎÙ‹Ú˜ ÁÈ· Ó· ·Ô‰ÒÛÂÈ ÊˆÓËÙÈο Ù· ÎÈÓÂ˙Èο ʈӋ̷ٷ. MÂÙ¿ ·fi Â›ÛËÌË ÚÔÛ¿ıÂÈ· ηٷ¯ÒÚËÛ˘ Û ÏÂÍÈÎfi ÙÔ 1986 ˘ÔÏÔÁ›ÛÙËΠfiÙÈ Ô ·ÚÈıÌfi˜ ÙˆÓ È‰ÂÔÁÚ·ÌÌ¿ÙˆÓ ÍÂÂÚÓ¿ ÙȘ 56.000. B¤‚·È· Û‹ÌÂÚ· ¯ÚËÛÈÌÔÔÈÂ›Ù·È Ôχ ÌÈÎÚfiÙÂÚÔ˜ ·ÚÈıÌfi˜. 3000 ȉÂÔÁÚ¿ÌÌ·Ù· Â›Ó·È Ô ·ÚÈıÌfi˜ Ô˘ ··ÈÙÂ›Ù·È ÁÈ· ÙËÓ ·Ó¿ÁÓˆÛË ÂÊËÌÂÚ›‰·˜ ‹ Û‡Á¯ÚÔÓ˘ ÏÔÁÔÙ¯ӛ·˜ ÂÓÒ ÁÈ· Ó· ıˆÚÂ›Ù·È Î¿ÔÈÔ˜ ÌÔÚʈ̤ÓÔ˜ Ú¤ÂÈ Ó· Â›Ó·È Û ı¤ÛË Ó· ·Ó·ÁÓˆÚ›˙ÂÈ Î·È

Ó· ¯ÚËÛÈÌÔÔÈ› ÂÚ›Ô˘ 6000 ȉÂÔÁÚ¿ÌÌ·Ù·.TÔ 1956 ÂÈÛ‹¯ıË ÌÈ· ·ÏÔÔ›ËÛË ÙˆÓ ¯·Ú·ÎÙ‹ÚˆÓ Ì ÙËÓ ÔÔ›· ÌÔÚÔ‡Û ηÓ›˜ Ó· ÙÔ˘˜ Ì¿ıÂÈ Â˘ÎÔÏfiÙÂÚ· Î·È Ó· ÙÔ˘˜ ÁÚ¿„ÂÈ ÁÚËÁÔÚfiÙÂÚ·. ¶ÂÚÈÛÛfiÙÂÚ· ·fi 1.700 ȉÂÔÁÚ¿ÌÌ·Ù· ·ÏÔÔÈ‹ıËÎ·Ó ÂÓÒ Ô ·ÚÈıÌfi˜ ÙˆÓ ÁÚ·ÌÌÒÓ /ÈÓÂÏÈÒÓ (strokes) ÌÂÈÒıËΠ·fi ÙȘ 16 ÛÙȘ 8. Y¿Ú¯Ô˘Ó ÛÙËÓ ÎÈÓÂ˙È΋ ÁÏÒÛÛ· 8 ‚·ÛÈΤ˜ ‰È¿ÏÂÎÙÔÈ ÔÈ Ôԛ˜ ‰È·Ê¤ÚÔ˘Ó ÌÂٷ͇ ÙÔ˘˜ fiÛÔ Î·Ù’·Ó·ÏÔÁ›· ‰È·Ê¤ÚÔ˘Ó Ù· Á·ÏÏÈο ·fi Ù· ÈÛ·ÓÈο. ¶Ò˜ ·ÔÊ·Û›Û·Ù ӷ ·Û¯ÔÏËı›Ù Ì ÙËÓ ÎÈÓÂ˙È΋ ÁÏÒÛÛ·; ◊ıÂÏ· Ó· ÍÂÎÈÓ‹Ûˆ οÙÈ ·˜ ԇ̠‰È·ÊÔÚÂÙÈÎfi Î·È ¤ÙÛÈ ‰È¿ÏÂÍ· Ù· ÎÈÓ¤˙Èη. ¶·Ú·ÎÔÏÔ‡ıËÛ· ÙÔ ·ÓÙ›ÛÙÔÈ¯Ô ÙÌ‹Ì· ÛÙÔ ¢È‰·ÛηÏÂ›Ô ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ AıËÓÒÓ. Œ¯ˆ ÂÈÛÎÂÙ› ÙËÓ K›Ó· Î·È Î¿Óˆ ÙÒÚ· ÙÔ ÌÂÙ·Ù˘¯È·Îfi ÌÔ˘. E‰Ò Î·È ‰‡Ô ¯ÚfiÓÈ· ‰È‰¿ÛΈ ÙËÓ ÎÈÓÂ˙È΋ ÁÏÒÛÛ· ÛÙÔ ¢È‰·ÛηÏÂ›Ô . ¶fiÛ· ¯ÚfiÓÈ· ··ÈÙÔ‡ÓÙ·È ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË Ù˘ ÎÈÓÂ˙È΋˜ ÁÏÒÛÛ·˜; E›Ó·È ‰‡ÛÎÔÏÔ fiˆ˜ Î·È Û fiϘ ÙȘ ͤÓ˜ ÁÏÒÛÛ˜ Ó· ηıÔÚÈÛÙ› ·ÎÚÈ‚Ò˜ fiÛÔ ¯ÚfiÓÔ ¯ÚÂÈ¿˙ÂÙ·È Î·Ó›˜ ÁÈ· Ó· ¯ÂÈÚ›˙ÂÙ·È ¿ÓÂÙ· ÌÈ· ÁÏÒÛÛ·.

¡›ÎÔ˜ ™ÙÂÊ·Ó‹˜ ¶ÚÔÙÂÚ·ÈfiÙËÙ· ÛÙÔÓ ·ıÏËÙÈÛÌfi

O ¡›ÎÔ˜ ™ÙÂÊ·Ó‹˜, ˘Ô„‹ÊÈÔ˜ ‰ËÌÔÙÈÎfi˜ Û‡Ì‚Ô˘ÏÔ˜ ÛÙÔ ¢‹ÌÔ˜ ÃÔÏ·ÚÁÔ‡ Ì ÙÔ Û˘Ó‰˘·ÛÌfi ÙÔ˘ Ó˘Ó ‰ËÌ¿Ú¯Ô˘ ¢ËÌ‹ÙÚË ¡ÈÎÔÏ¿Ô˘, Ì·˜ ÌÈÏ¿ÂÈ ÁÈ· ÙȘ ÚÔÙÂÚ·ÈfiÙËÙ¤˜ ÙÔ˘: «∂› 30 ¯ÚfiÓÈ· ·Û¯ÔÏÔ‡Ì·È Ì ÙÔÓ ·ıÏËÙÈÛÌfi Î·È ˆ˜ ·ıÏËÙ‹˜ Î·È ˆ˜ ÚÔÔÓËÙ‹˜. Œ¯ˆ ‰È·ÈÛÙÒÛÂÈ ˆ˜ ÔÈ ˘ËÚÂۛ˜ Ô˘ ·Ú¤¯ÂÈ Ô ¢.∞.O.Ã. ÛÙÔ˘˜ ‰ËÌfi-

Ù˜ ÙÔ˘ Â›Ó·È ˘„ËÏ‹˜ ÔÈfiÙËÙ·˜, ¿ÓÙ· ‚¤‚·È· ˘¿Ú¯ÂÈ ¯ÒÚÔ˜ ÁÈ· ‚ÂÏÙ›ˆÛË. ¢˘ÛÙ˘¯Ò˜ ÛÙËÓ ∂ÏÏ¿‰· ÙÔ ÔÛÔÛÙfi ¿ıÏËÛ˘ ÙÔ˘ ÏËı˘ÛÌÔ‡ Â›Ó·È ·fi Ù· ¯·ÌËÏfiÙÂÚ· Ù˘ ∂˘ÚÒ˘ —Á‡Úˆ ÛÙÔ 18%, Ì ̤ÛÔ fiÚÔ 45-50% ÛÙË °ÂÚÌ·Ó›· Î·È ÙË °·ÏÏ›· Î·È ¤Ó· ÂÎÏËÎÙÈÎfi 75-80% ÛÙË ™Î·Ó‰ÈÓ·‚›·. ™ÙÔ ¢‹ÌÔ ÃÔÏ·ÚÁÔ‡, Û‡Ìʈӷ Ì ٷ ÛÙÔȯ›· ÙÔ˘ ¢.∞.O.Ã., ÙÔ ÔÛÔÛÙfi Â›Ó·È ˘„ËÏfiÙÂÚÔ ·fi ÙÔ 18%, Ô ÛÙfi¯Ô˜ Ì·˜ fï˜ Â›Ó·È Ë ‰È·Ú΋˜ ·‡ÍËÛ‹ ÙÔ˘. ∂ÊfiÛÔÓ ÔÈ Û˘ÌÔϛ٘ ÌÔ˘ Ì ÙÈÌ‹ÛÔ˘Ó Ì ÙËÓ „‹ÊÔ ÙÔ˘˜ Î·È ÂÎÏÂÁÒ ÛÙÔ ¢ËÌÔÙÈÎfi ™˘Ì‚Ô‡ÏÈÔ, ‰ÂÛ̇ÔÌ·È Ó· ¯ÚËÛÈÌÔÔÈ‹Ûˆ ÙËÓ ÔÏ˘ÂÙ‹ ÌÔ˘ ÂÌÂÈÚ›· ÛÙÔ ¯ÒÚÔ ÙÔ˘ ·ıÏËÙÈÛÌÔ‡ ÁÈ· Ó· Û˘Ó‰Ú¿Ìˆ ÛÙËÓ ÂÓ›Û¯˘ÛË fiÏˆÓ ÙˆÓ ·ıÏËÙÈÎÒÓ Û˘ÏÏfiÁˆÓ ÙÔ˘ ‰‹ÌÔ˘ Ì·˜ Î·È ÛÙËÓ Â›Ï˘ÛË ÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ ÙÔ˘˜. ∂›Û˘, ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÙÔ˘˜ ÊÔÚ›˜ Ù˘ ÂÎ·›‰Â˘Û˘ ηıÒ˜ Î·È ÙÔ˘˜ Û˘ÏÏfiÁÔ˘˜ ÁÔÓ¤ˆÓ Î·È ÎˉÂÌfïÓ, ı· ‰Ô˘Ï¤„Ô˘Ì ̷˙› Ì ÛÙfi¯Ô ÙËÓ ·‡ÍËÛË ÙÔ˘ ÔÛÔÛÙÔ‡ ¿ıÏËÛ˘ Ù˘ ÓÂÔÏ·›·˜ Ì·˜».

°È· ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÁÏÒÛÛ· ,ÔÈ Û˘Ó¿‰ÂÏÊÔÈ Î·È ÔÈ È‰ÈÔÎً٘ ÊÚÔÓÙÈÛÙËÚ›ˆÓ ηÏfi ı· ‹Ù·Ó Ó· ¤¯Ô˘Ó ˘fi„ÈÓ fiÙÈ Û 5 Ì 6 ¯ÚfiÓÈ· Î·È Ì ÂÍ¿ˆÚË Â‚‰ÔÌ·‰È·›· ÊÔ›ÙËÛË ÔÈ ÂÓ‹ÏÈΘ ·ÔÎÙÔ‡Ó ¤Ó· ηÏfi Â›‰Ô. E›Ó·È ‡ÎÔÏÔ ‹ ‰‡ÛÎÔÏÔ Ó· Ì¿ıÂÈ ÙÂÏÈο οÔÈÔ˜; E›Ó·È ·ÚÎÂÙ¿ ‰‡ÛÎÔÏÔ ·ÏÏ¿ fi¯È ·Î·ÙfiÚıˆÙÔ. H ÚÔÊÔÚ¿ Î·È Ë ÁÚ·Ê‹ ·ÔÙÂÏÔ‡Ó ÙȘ ‰‡Ô ‚·ÛÈΤ˜ ‰˘ÛÎÔϛ˜. H ÎÈÓÂ˙È΋ ÁÏÒÛÛ· ÂÚÈÏ·Ì‚¿ÓÂÈ ÔÏϤ˜ ÔÌfi˯˜ Û˘ÏÏ·‚¤˜ Ì ‰È·ÊÔÚÂÙÈ΋ ÁÚ·Ê‹ ¿Ú· ‰È·ÊÔÚÂÙÈ΋ ÛËÌ·Û›· .¯. ma ÌÔÚ› Ó· ÛËÌ·›ÓÂÈ Ì·Ì¿, ÏÈÓ¿ÚÈ, ¿ÏÔÁÔ Î·È Î·Ù¿Ú·. XÚÂÈ¿˙ÂÙ·È ÏÔÈfiÓ È‰È·›ÙÂÚË ÚÔÛÔ¯‹ ÛÙËÓ ÚÔÊÔÚ¿ Î·È ÛÙÔÓ ÛˆÛÙfi ÙÔÓÈÛÌfi. ø˜ ÚÔ˜ ÙËÓ ÁÚ·Ê‹ ˘¿Ú¯ÂÈ Û˘ÁÎÂÎÚÈ̤ÓË Ù¯ÓÈ΋ Ô˘ ÂÓÒ ÛÙËÓ ·Ú¯‹ ÊÔ‚›˙ÂÈ ÙÔ˘˜ Ì·ıËÙ¤˜ ·ÚÁfiÙÂÚ· ÙÔ˘˜ ÎÂÚ‰›˙ÂÈ Î·È ÙÔ˘˜ ÂÓıÔ˘ÛÈ¿˙ÂÈ ı· ¤ÏÂÁ·. ŸÏÔÈ ÁÓˆÚ›˙Ô˘Ì fiÙÈ Ë ÂÎÌ¿ıËÛË ÌÈ·˜ ÁÏÒÛÛ·˜ ··ÈÙ› ÚÔÛ¿ıÂÈ· Î·È Ì¤ıÔ‰Ô, Ë ÎÈÓÂ˙È΋ fï˜ ÁÏÒÛÛ· ¯ÚÂÈ¿˙ÂÙ·È ·ÎfiÌË ÂÈı·Ú¯›· ,˘ÔÌÔ-

Ó‹ Î·È ÂÈÌÔÓ‹ ÂΠ̤ÚÔ˘˜ ÙˆÓ Ì·ıËÙÒÓ Î·È Â˘ÚËÌ·ÙÈÎfiÙËÙ· ÂΠ̤ÚÔ˘˜ ÙˆÓ Î·ıËÁËÙÒÓ ÁÈ·Ù› «ÔÈ ÌfiÓÈ̘ ·Ô˘Û›Â˜ ÙˆÓ Ì·ıËÙÒÓ «Â›Ó·È Û˘¯Ófi Ê·ÈÓfiÌÂÓÔ. Y¿Ú¯ÂÈ ÈÛÙÔÔ›ËÛË ÁÓÒÛ˘ Ù˘ ÎÈÓÂ˙È΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ EÏÏ¿‰·; º¤ÙÔ˜ ÁÈ· ÚÒÙË ÊÔÚ¿ ̤ۈ ÙÔ˘ EÏÏËÓÔÎÈÓÂ˙ÈÎÔ‡ ™‡Ó‰ÂÛÌÔ˘ ºÈÏ›·˜ Î·È Ì ÙË ‚Ô‹ıÂÈ· Ù˘ KÈÓÂ˙È΋˜ ¶ÚÂۂ›·˜ ¤Ú¯ÔÓÙ·È ÙÔÓ ÚÔÛ¯‹ OÎÙÒ‚ÚË ÔÈ ÂÍÂÙ¿ÛÂȘ ÁÈ· ÙÔ HSK ÙÔ ÔÔ›Ô ¯ˆÚ›˙ÂÙ·È Û 11 Â›‰· ÍÂÎÈÓÒÓÙ·˜ ·fi ÙÔ 1 ÁÈ· ÙÔ˘˜ ·Ú¯¿ÚÈÔ˘˜ ˆ˜ ÙÔ11 ÁÈ· ÙÔ˘˜ Ôχ ÚÔ¯ˆÚË̤ÓÔ˘˜. Y¿Ú¯ÂÈ ‰È·ı¤ÛÈÌÔ ‰È‰·ÎÙÈÎfi ˘ÏÈÎfi ÛÙËÓ ÂÏÏËÓÈ΋ ·ÁÔÚ¿; M¤¯ÚÈ ÙÒÚ· ‰ÂÓ ‹Ù·Ó ‡ÎÔÏÔ Ô‡Ù ÁÈ· ÙÔ˘˜ ηıËÁËÙ¤˜ Ô‡Ù ÁÈ· ÙÔ˘˜ Ì·ıËÙ¤˜ Ó· ÚÔÌËı¢ÙÔ‡Ó Ù· ‚È‚Ï›· ·ÏÏ¿ Â˘Ù˘¯Ò˜ ·fi ÙË Ó¤· Û¯ÔÏÈ΋ ¯ÚÔÓÈ¿ ÏËÚÔÊÔÚÔ‡Ì·È ˆ˜ ı· Â›Ó·È ÂÊÈÎÙ‹ Ë ‰È¿ıÂÛË ÙˆÓ ‰È‰·ÎÙÈÎÒÓ Û˘ÁÁÚ·ÌÌ¿ÙˆÓ ·Ô ÂÍÂȉÈÎÂ˘Ì¤ÓË ·Ï˘Û›‰· ‚È‚ÏÈÔˆÏ›ˆÓ ÙÔ˘ ¯ÒÚÔ˘.

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Ipod casting: A new tool for the teachers of English? Yannis Tsitsiklis

In an ever changing world «it is not a question of whether change will occur (as it will anyway, disregarding the fact that we are reluctant to accept it) rather a question of whether we will help shape that change or (we shall) be shaped by it» (http://relgar.mcli.dist.maricopa.ed u/media/cardenas_oco.ppt). One of the changes that has to be seriously considered by teachers, especially EFL/ESL teachers, is the Internet. It offers a lot of services and accomodates even more of our needs that it is not unusual to hear people say, «why don’t you look it up on the Internet», meaning of course that it is an almost endless source of information, one is looking for. It seems almost unavoidable that it will change the face of education, in order for these changes to take effect an infrastructure is needed, one that will be readily available, people who will use it do not have to spend a lot of precious time to come to terms with it, will be portable as well as small in size (Whelan, 2005), Wireless devices such as PDA’s and lpod’s have become commonplace because they can be easily purchased and can be carried even without being noticed (Samuelson, 2005). These gadgets allow for sharing media files e.g. sould files, video files, documents etc. For the sake of simplicity, I will focus on the later, the lpod, as I believe it will be one of those afore mentioned changes. For the time being, it is used by most of their owners to store and listen to music. But a new technology called Podcasting is coming to the surface. It airs more uses than it was originally designed for. Most of these gadgets not only can reproduce music but they can also be used for recording, either radio shows or lectures, even descussions and lectures, like a dictaphone. 1. Definition Ipodcasting is a word coined by Adam Curry and is made from two words, the first of which comes from the name of the popular mp3 player lpod made by Apple and the second comes from the word broadcasting and is meant to rhyme with it. It has been declared Word of the Year by the New Oxford American Dictionary. According to this, the term is defined as «a digital recording of a radio broadcast or similar program, made available on the internet for downloading to a

personal audio player or a personal computer» and it will be added to the online version of the dictionary during the next upadate early this year. According to Wikipedia, the popular internet encyclopedia, podcasting is a «method of publishing audio boradcasts via the Internet». In layman’s terms, it is a way for individuals and companies to create audio programs and allow people to download, listen, and subscribe to them very easily. Those who already know what web blogging is (regularly posted articles of news, insight, fun, literature, and more), a way of understanding it, is to consider it as a sound document deriving from web blogging (mp3 or other format sound file). People instead of writing and publishing their thoughts they record them orally an ipodcast. Technically speaking, a Podcast(ing) is nothing but radio programming that can be produced with a standard computer, microphone, free software, and a web site for posting it. 2. Uses of podcasting for the general public A podcast is usually targeted to everyone who has access to the Internet and is interested in sharing information over it. It should not be considered as targeted only to a certain group of people but to anyone who would wish to communicate with other fellow men with this medium. ñ People will be able to develop their own radio shows enhance them with the music of their own preferece which definitely have the label of authenticity of the person(s) who create(s) them. ñ Individuals will record their own audio books that may be freely distributed on the Internet. ñ How to use instructions for hands-on tasks that may probably attract the attention of the DIY audience. ñ Life coaching and life skills guides, if you search for certain large cities guides you will certainly find podcast guides to New York and Washington. ñ Debates, lectures, sermons and speeches. ñ Storytelling for children or adults; many of the radio shows available for download are diveded into episodes, a fact that may mark the rollback of radio soap operas of the 60’s. ñ Marketing and promotion, as podcasts are made by large

Yiannis Tsitsiklis is a School Advisor for English in the region of West Madedonia. Before his appointment to the position of scholl advisor he taugt for 24 years at state schools and was the chair of the Union of Teachers of English in West Macedonia for fuor years. His interests lie in the fields of teacher training, of audiocisual aids and multimedia and their application in the foreign language classroom. ∞Ó·‰ËÌÔÛ›Â˘ÛË Aspects Today companies with the intention of promoting their goods (young people are fond of them, by the way) that fall into the category of micro marketing or podvertising, another portmanteau term made from ipod and advertising. The Heineken beer company has started such an activity; you can view it at http://www.heinekenmusic.com and General Motors, the American vehicle company has produced podcast video which one can find at http://fastlane.gmblgs.com. 3. Uses of podcasting in the teaching and learning of foreign languages In order to learn a new language a student should develop, to at least a satisfactory degree, among other skills, those of listening and speaking. These skills are usually a headache for the teachers who always try to find new approaches and varied methodologies which will be useful and beneficial to the learners. For students of almost all leveles motivation is the key word in the process of learning and retention of what is taught and learnt. The Ipod and almost any other brand of mp3 players as well as a laptop or a desktop computer may serve as a language laboratory to create interest and facilitate the development of listening-skills. Broadly speaking, the coming of podcasting allows teachers to exploit the potential of the new medium and adopt alternative approaches to teaching and learning. These may be briefly the following: ñ To build and extend the already present audio methodologies (cassette tapes, compact discs etc.). Most language teachers are always on the hunt for listening material that will enhance their teaching, apart from that which is available with the coursebooks they use. Podcasts are almost always free

and can be downloaded from the web. The teacher will listen to the content, decide if it is appropriate for his own classes, students’ level and the linguistic context he/she wants to practise in class. ñ To provide tailor-made content which is directly connected to class topics. If a teacher decides that it is time for the students, for example, to listen to a piece of news and wants to introduce the students to the language used in the news, he can download a podcast from the various radio channels that provide such files, e.g. the CNN or the BBC, review it at his convenience and decide when and how to use it in class or copy it and distribute to the students with a task of some kind either in class or at home (Ur, P., 1984: 25). ñ To create extra material to give to the talented students the chance to take their learning a step further and support those who do no do well to work at their own pace. Differentiated teaching has been recently introduced into the Greek education system by including it the DEPPS (Cross Thematic Curriculum Framework for Compulsory Education). Podcasts may help in this direction as the teacher may create material that is tailored specifically for the more «gifted» students as well as the less interested ones. The material will be there for them to listen to whenever they feel like listening to it (Norris. R., 1995). ñ To offer instructional content to reinforce certain tasks or activities. A variety of themes and topics are available on the internet which are likely to meet the interests of almost all students in a given class. Podcasts are usually arranged by theme so someone who is looking for a specific topic, is very likely to find podacsts which are relevant to his students’ interests. ñ To present additional material to promote independent learning and perhaps discovery learning or as revision and homework. The audio material which accompanies course books is limited. The content of a course book is limited. The content of a course book though, may motivate studentes to look for further information about a topic and if he/she has the simple and appropriate tools to create a podcast, may very well be able to create a podcast containing the information he/she has collected and put together and present it in

class. The teacher may use it, taking it a little furher, as material to assign for a certain task to the rest of the class. ñ To give the students the chance to become accustomed to the various accents of the target language. Teachers usually face the dilemma what kind od English they will teach, British or American English. As the time goes by he realises that although he/she teaches, e.g. British English, the need for communication or examination purposes comes into play. English spoken by the various English speakers should be equally understood by the learners. Podcasts are produced by speakers with accents, be they native or non native speakers so podcasts come to help the teachers and students alike to tackle this problem. ñ To motivate the students to listen to authentic material and linguistic instances that are not normally encountered in course books. The content of a podcast should be considered as authentic material given the fact that the creator of a podcast either he is a native or an non-native speaker does not intend to create a speaking piece thata is made up for teaching purposes. Usually the only thing that he/she intends to do is to communicate his thoughts to the listeners. He uses the language in the way he/she learned to. For the above mentioned reason a podcast should be considered as authentic. The language that is used is usually spontaneous, contains idioms, cliché expressions, reduced forms and other linguistic instances that make it lively, «real» and attractive. (Brown, G. 1990). Students are accustomed to watching films on television and listening to songs. A podcast is very similar to these and it may, hopefully, motivate students to want to listen to them. ñ To facilitate students with reading difficulties to come to terms with content and those who are visually impaired to have access to material which otherwise might be available only in black and white. Very often teachers notice that some students are not really kee to read or they cannot read as they may have some kind of learning difficulty. Take for example students with dyslexia. They don’t read as much as we would like

23 because they simply have difficulty in reading. Or consider students who have problems with their eyesight. Podcasts will certainly help them to have an audio copy of the material the normal students have in printed or written form, as transcripts of the podcasts are usually posted together with the audio file. Podcasts may also help the auditory learners to improve their performance and participate in the various tasks more successfully. ñ To motivate students who are not eager to read to listen to literature, stories or poetry as they are available in audio books or podcasts. A lot of literature and poetry is available in the form of audio material. For the learner who listens to such material there is the advantage that he is listening to the «wisdom» of somebody he already knows and is likely to become motivated to start reading the book. Interesting stories can be found, in podcast form, at the following url: http://www.enivrez.com/bedtime/ ñ It triggers the students creativity when they decide to record their own podcast. Students feel motivated when they can contribute to the teaching they receive. They become part of it

and it is then that they do their best to show what they can do. Podcasting is an opportunity for them to express their creativity and their reaction to the teaching process (Rost 1991:81). Perhaps it has occurred to you to be offered by students to prepare a song to be used in the language class. They are expected to react in the very same way when you will ask them to prepare a podcast about something they are really interested in. Students almost always feel that is a challenge for them to carry out a task that has to do with the application of technology. ñ To promote personalised learning Not all students behave in the same way nor do they share the same interests. Every individual perceives knowledge and skills in his own and individual way. Personalised learning offers a means of transforming the learning experience of every child. It will create an education system tailored to the needs, interests and aptitudes of every single pupil. Using podacsts will hopefully create a challenge for the teacher who respects his students’ individuality and facilitates their steps into the learning adventure. 4. Play the podcast

Most podcasts are in the very popular mp3 format. Ask a student about mp3’s and he will be very willing to explain that he keeps a lot of music in this format because he can store it in an mp3 played and listen to it whenever he likes and for as long as he likes. He will also tell you that he listens to this very format of music on his personal computer or a regular cd played which has the option of reproducing the mp3 format. This format saves space and it is prortable. Young and why not, older people exchange —royalty free-music, storiew, even lectures. A teacher can use podcasts in the same manner: either distribute the podcast to his students to listen to their own mp3 players or to record it on a cd and play it to a laptop or desktop computer or even more conveniently on a cd player that can reproduce sound archives in the form of mp3. 5. A word of caution Mp3’s that are available on the Internet may not always be royalty free. This means that before you decide to use a sound archive you should be certain that no copyright applies to it. In case you or your students decide to create a podcast and you might want to include some music in the background you had better look

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for royalty free music on the Internet so that you will not run into legal problems with the owner of the music. The option will be to ask a student who is musically talented to play some music to embed in the podcast you are planning to create. Be careful when selecting a podcast for download, as it might contain adult or offensive material which is not suitable to be used at school. 6. How to download and listen to a podcast: ñ You will have to go to a podcasting site and download the free software. ñ Next step is to click on the hyperlink for each podcast you want. You can listen right away on your computer (both Windows and Mac support podcasting) or download the podcast to your mp3 player. ñ You can also subscribe to one or more RSS feeds. Your podcasting software will check the RSS feeds regularly and automatically pull content that matches your playlist. When you dock your mp3 played to your computer, it automatically updates with the latest content. ñ Another way is to do some search on the web, using the search machine of your preference, type in what you are

searching for, e.g. esl/efl podcast and your search begins. ñ A convenient way to distribute podcasts to students is to record them on a cd which a cheap medium, plays on a home computer and has a lot of storage space. 7. Conclusion Listening is one of the four fundamental skills in any language. It seems to be neglected by most teachers who find more useful to focus on reading and writing as these skills are more convenient to test and evaluate the students’ performance. Most often, listening is practised occasionally and only when it is encountered as a task in a coursebook. In my opinion this is a unilateral process because people who learn a language have to be able to speak it. If they do not develop their listening skill they will find difficulty to develop a proper level of communication. Speaking and listening occur a lot more often than reading and writing so care must be given to turn listening from a neglected area of language teaching to an important objective in it. Podcasts seem to contribute in this direction providing authntic language, motivation and student involvement.

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24

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 ™˘Ó¤¯ÂÈ· ·fi ÙÔ ÚÔËÁÔ‡ÌÂÓÔ

Get the management on your side This may seem obvious, but you should be aware of school-wide behaviour policies. ñ Talk to the Head Teacher or Director of Studies about what options are available to you. ñ Ask them to observe a difficult class of yours (it is better if you initiate this, rather than them coming in uninvited) and talk about the problems afterwards. ñ Suggest a review of behaviour policies if the current ones aren’t working. Behaviour policies developed in conjunction with all parties (management, teachers, students and parents) tend to be much more effective. Get the parents on your side If you are working with younger learners, you should never underestimate the power of parents to help you deal with difficulties. Most parents want their child to do well at school but perhaps don’t know how they can help. ñ Keep communication lines open with parents through meetings, letters or phone calls home ñ Send positive feedback as well as negative feedback and explain why you are using the methods you choose. ñ Invite parents to observe a class and discuss it with you afterwards. Having supportive parents on your side can help immensely; at least, getting them "on side" if not always on your side! Get the school on your side Some difficulties may stem from a negative “vibe” in the school. It is difficult to analyse but we all know the feeling when the ‘norm’ in the school has become alienation and cynicism – and when that cloud has descended over the school even positive things get interpreted through a negative filter. Here is a short list of things that we can do as individual teachers to help try and build a good “wholeschool ethos”. Some of them may involve convincing management. ñ Suggest and start extracurricular activities (like an English club, or English video afternoon). ñ Promote cooperation between departments (a joint wall poster project between the English department and another department). ñ Encourage students to take “ownership” of space by displaying

their work (on classroom walls, in the halls, in the playground). With such reciprocal involvement, you may see that the cloud that some teachers seem to carry with them like a sad aura has begun to fade. Become a researcher! In the long-run, you want to become a better, more professional ELT practitioner. One way of doing this, in the framework of the TD approach outlined in this article, is to learn more about the art and science of teaching, though conducting informal research into classroom practice – or "action research" as it is sometimes called. ñ Begin informal research into your teaching and that of your colleagues; explore the attitudes and behaviour of students. ñ Devise questionnaires and get students and teachers to complete them. You can elicit attitudes towards correction techniques, the mother tongue in the classroom or whatever interests or worries you. ñ Use observation checklists to raise your awareness of what happens in classrooms as your observe. ñ Watch lessons on video if you cannot do your action research ‘live’. ñ Keep a journal of your own classes or classes you have observed; begin an interior dialogue with yourself about your own teaching. This should involve collaboration with colleagues and the later sharing of the results of your research with them. Become an artist! Teachers share with great artists the challenge of communicating effectively and memorably with an audience. Great artists have, by definition, succeeded, where we are constantly striving to succeed. One way of developing as teachers and as effective communicators is to look at how artists achieve their effects and to try and learn from these techniques. Have you thought about how a good lesson is in some ways like: ñ a piece of music (with its themes and variations, with the instruments playing together in harmony) ñ a good film (with its exciting colours, characters and plots) ñ a play in the theatre (with its opportunities for playing or experiencing many roles, with its twists and turns and surprises) ñ a painting (with its eye-catching use of colour, its transformation of reality)

ñ a dance (where you have to follow the steps, co-ordinate with your partner – and not tread on their toes!) o a sculpture (where you take the raw material and reshape into something different, richer and more meaningful) By going outside the closed world of the classroom to the big rich world of art we can learn strategies for putting together lessons which flow and remain in the memory. Become a doctor! Finally, we are not suggesting you abandon teaching and take up another profession, rather that you consider continuing your studies formally and even try and get a degree (Masters or Doctorate, for example). There are many ways of doing this, without necessarily having to give up your regular job. ñ Choose an area for your research that relates to your own teaching situation. ñ Find a programme that suits your needs, either by talking to colleagues or searching on the internet. ñ Choose a programme you know you can handle: many can be done part-time, or by distance. ñ Find out if you can get funding, or a grant, from your institution or another body. Not only do you learn more about teaching methodology and language but end up with a very valuable qualification for your future career. The important thing is to keep going, keep growing and set yourself new challenges. A good teacher in the end is one who has never stopped learning. 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 coauthor of Straightforward, published by Macmillan. Luke and Lindsay are co-authors of Dealing with Difficulties (DELTA) – a handbook for teachers. Further Reading Bowen, T. and Marks , J. Inside Teaching Macmillan 1994 Aims to raise teachers’ awareness

of their own approach and that of others – both teachers and theorists. Includes activities which develop critical thinking and lead to greater teacher independence and creativity. D?rnyei, Z. Motivational Strategies in the Language Classroom Cambridge 2001 A balanced combination of theory and practical advice, with lots of examples from the author's own experience of dealing with demotivated students. An entertaining and well-researched handbook. Edge, J. Co-operative Development Longman 1992 Practical activities for raising teachers’ awareness of their role and potential, especially when working together in a supportive atmosphere with other teachers. Head, K. and Taylor, P. Readings in Teacher Development Macmillan 1997 A collection of articles and extracts on teacher development – the focus is on the reflective teacher, building better relationships for better teaching. Awareness-raising activities included. Palmer, P. J. The Courage to Teach Jossey-Bass 1998 An inspiring and honest account of the many roles of the teacher and how

they grow in difficult circumstances. The author’s basic answer to discipline and motivation problems is to teach yourself, in both senses of the phrase. Parrot, M. Tasks for Language Teachers CUP 1993 A practical resource book for training and development. Deep and detailed, but good to dip into, especially in teacher groups. Scrivener, J. Learning Teaching Macmillan 2005 A detailed and imaginative approach to teacher development; with thorough analysis and inspiring ideas to get and keep the attention of students and help the teacher keep growing. Good on management and planning. This new edition is considerably longer, with good additions. Woodward, T. Models and Metaphors in Language Teacher Training CUP 1991 A classic of teacher development based on the idea of loop input. Useful if you are in training and moving towards co-operative development

« H °·ÏÏÔʈӛ· Û·Ó Ì¤ÛÔ ˘¤Ú‚·Û˘ ÌÂٷ͇ ÙˆÓ Ï·ÒÓ» ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 2 ¤ÍÈ Â›‰· ÙÔ˘ ™˘Ì‚Ô˘Ï›Ô˘ Ù˘ E˘ÚÒ˘ ÒÛÙ ӷ ηٷÛÙ› ̤ۈ ÂÓfi˜ ÂÓÈ·›Ô˘ ÂÍÂÙ·ÛÙÈÎÔ‡ Û˘ÛÙ‹Ì·ÙÔ˜ ÈÔ ‰˘Ó·Ù‹ ÛÙÔ˘˜ ÎfiÏÔ˘˜ Ù˘ E˘ÚÒ˘ fiÏˆÓ Ì·˜. £· ‹ıÂÏ· Â›Û˘ Ó· ÙÔÓ›Ûˆ fiÙÈ ÙfiÛÔ ·fi ÁψÛÛÔÏÔÁÈ΋˜ ·fi„ˆ˜ fiÛÔ ·fi ÔÏÈÙÈ΋˜ Î·È ÔÏÈÙÈÛÙÈ΋˜, Ë EÏÏ¿‰· Â›Ó·È ¤Ó· ·fi Ù· 56 ÎÚ¿ÙË̤ÏË Ù˘ °·ÏÏÔʈӛ·˜ Î·È ˆ˜ ÂÎ ÙÔ‡ÙÔ˘ ›̷ÛÙ ȉȷ›ÙÂÚ· Â˘Ù˘¯Â›˜ ÁÈ· ÙËÓ ÛÙ‹ÚÈÍË ·fi ̤ÚÔ˘˜ ÙÔ˘ EÏÏËÓÈÎÔ‡ ÎÚ¿ÙÔ˘˜ ÙfiÛÔ Ù˘ °·ÏÏÈ΋˜ fiÛÔ Î·È ÙˆÓ ˘fiÏÔÈˆÓ ÁψÛÛÒÓ. E˘¯‹˜ ¤ÚÁÔÓ ‰Â ı· ‹ÙÔ Ë ˘¤Ú‚·ÛË ÛÙ· ‰ËÌfiÛÈ· ÂÎ·È‰Â˘Ù‹ÚÈ· Ó· Á›ÓÂÈ ÈÔ ·Ù‹ Ì Ï‹ÚË ÂÈÌfiÚʈÛË ÙˆÓ ÊÔÚ¤ˆÓ Ô˘ ‰È‰¿ÛÎÔ˘Ó ÙȘ ͤÓ˜ ÁÏÒÛÛ˜. ŸÛÔÓ ·ÊÔÚ¿ ÂÌ¿˜, ÁÓˆÚ›˙ÂÙ fiÙÈ Â›Ì·ÛÙ ¤ÙÔÈÌÔÈ ÔÔÈ·Ó‰‹ÔÙ ÛÙÈÁÌ‹ Ì·˜ ˙ËÙËı› Ó· ÂÂÎÙ›ÓÔ˘Ì ·ÎfiÌ· ÂÚÈÛÛfiÙÂÚÔ Ù· ÚÔÁÚ¿ÌÌ·Ù· ·È‰·ÁˆÁÈ΋˜ ÂÈÌfiÚʈÛ˘ Î·È Î·Ù¿ÚÙÈÛ˘ Ù· ÔÔ›· ÁÓˆÚ›˙Ô˘Ó ‹‰Ë ÌÂÁ¿ÏË ÂÈÙ˘¯›·. H Û˘ÓÂÚÁ·Û›· Ì·˜ Ì ٷ ˘fiÏÔÈ·

ÈÓÛÙÈÙÔ‡Ù· ηıÒ˜ Î·È Ì ÙËÓ AÌÂÚÈοÓÈÎË ŒÓˆÛË ‰ÂÈÎÓ‡Ô˘Ó fiÛÔ ÛËÌ·ÓÙÈ΋ Â›Ó·È ÁÈ· Ì·˜ Ë Û˘Ó‡·ÚÍË ÙˆÓ ÁψÛÛÒÓ. E˘ÎÙ·›ÔÓ ı· ‹ÙÔ Ë ÂÎÌ¿ıËÛË ÙˆÓ ‰‡Ô ÚÒÙˆÓ ÁψÛÛÒÓ Ó· ‹ÙÔ ˘Ô¯ÚˆÙÈ΋ ·fi ÙÔ ¢ËÌÔÙÈÎfi ̤¯ÚÈ ÙËÓ A’ §˘Î›Ԣ Î·È ·ÎÔÏÔ‡ıˆ˜, fiÛÔÈ ·ÔÎÙÔ‡Ó ÙÔ Â›Â‰Ô Û ÌÈ· ‹ Î·È ÛÙȘ ‰‡Ô ÁÏÒÛÛ˜, Ó· ÂÈϤÍÔ˘Ó ÛÙȘ ‰‡Ô ÙÂÏÂ˘Ù·›Â˜ Ù¿ÍÂȘ ÙÔ˘ Ï˘Î›Ԣ ÌÈ· ÙÚ›ÙË ÁÏÒÛÛ· ·ÓÙ› Ó· ÂÁηٷÏ›Ô˘Ó ÙȘ ÁÏÒÛÛ˜ ÛÙÔ Û‡ÓÔÏfi ÙÔ˘˜. ŒÙÛÈ, Ë ˘Ô¯ÚˆÙÈ΋ ‰È‰·Ûηϛ· ı· ¤‰ÈÓ ÂÚÈÛÛfiÙÂÚË ‚·Ú‡ÙËÙ· ÛÙÔ Ì¿ıËÌ·, ·ÊÔ‡ Ë ÂÈÏÔÁ‹ ‰›ÓÂÈ, ‰˘ÛÙ˘¯Ò˜ ÙËÓ ÂÓÙ‡ˆÛË ÂÓfi˜ ÌË ÛÔ‚·ÚÔ‡ Ì·ı‹Ì·ÙÔ˜.MË Í¯ӿÌ fiÙÈ ÔÈ ¤‰Ú˜ ÙˆÓ ·ÔÊ¿ÛÂˆÓ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘, BڢͤÏϘ, ™ÙÚ·Û‚Ô‡ÚÁÔ, §Ô˘ÍÂÌ‚Ô‡ÚÁÔ, ·ÏÏ¿ Î·È ¯ÒÚ˜ fiˆ˜ Ë EÏ‚ÂÙ›· Î·È Ô K·Ó·‰¿˜, Â›Ó·È Î·Ù¿ ¤Ó· ÌÂÁ¿ÏÔ ÔÛÔÛÙfi °·ÏÏfiʈÓ˜. ŸÙ·Ó ÎÈÓ›Ûı ÏÔÈfiÓ ÂÓÙfi˜ Ù˘ E˘ÚÒ˘, ı· ÌÈÏ‹ÛÂÙ °·ÏÏÈο ÂÚÈÛÛfiÙÂÚÔ ·fi ÔÔÈ·Ó‰‹ÔÙ ÁÏÒÛÛ·.

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Writing Exams: What do examiners want? ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 4

3. «The candidate has only used the present tense» Problem: range Many candidates would achieve a better mark in writing if they clearly demonstrated a range of English. This is true for structures and vocabulary. It is important that their answer is not repetitive but gives information in different ways. Encourage your students to vary what they write: ñ Get students to practise synonyms for words. Give them some words (nouns, adjectives or verbs) and make them think of other words they know that mean more or less the same (e.g. beautiful, pretty, attractive). Then ask your students to use the different words in linked sentences or a story. This can be practised regularly in class if students are asked, «What’s a different way of saying that?» This question can easily be built into other activities. ñ Encourage students to «show off» with as many tenses or structures as they know. For example, if they are describing something in the present, get them to think about what happened before and use the past

tense or what is likely to happen in the future to use future tenses. They can do this as a speaking activity (a guessing game) or as a writing activity, e.g. they could pass a written situation to each other and the next student has to write what happened before and the next one what happened after. This «story» can them be used for linking practice (see 2 above). Problem: expansion Some candidates in writing exams just answer the bare bones of the question. This may be enough for them to pass the exam but they could easily get more marks by expanding on what they are asked. This would also allow them to show a wider range of language. ñ Encourage students to expand what they write so they can demosntrate more language. For example, if they have to write a note to a friend arranging to go to the cinema, one student can put the date and time, the next a reason for going, the next an adjective desribing the film and the next a function such as inviting or suggesting. ñ At higher levels, encourage students to use examples when they make a point or to give reasons

rather than just say what they think. This is an easy task to incorporate into a class discussion of a topic.

4. «It’s supposed to be a letter, not an article» Problem: genre Students need to know the formula or format of the genre they required to write in an exam. This is easy with letters but applies equally to articles, notes, reports, etc. Although candidates may not fail an exam for writing in the wrong genre, they could get more marks for showing they can adapt their language to different audiences. It is useful to highlight the different elements each genre requires: ñ Get students to think about what each genre needs. Take a good example of your chosen genre, e.g. a letter, and list the features, e.g. opening and closing, saying why you are writing, etc. Include some features that are not true for the genre (for example, this might be headings in the text for letters). Get students to look at the good example and your list and to tick which not. The final list of ticked correct features is what they should be including in their writing for that genre.

ñ Make sure you highlight any differences between students’ first language and English regarding the format for each genre. This can be quite important in letters, for example. The point is to make students more aware of differences.

5. «This is not very polite...» Problem: wrong register Students need to think about who they are writing to (do they know the person?) and why they are writing (is it to ask for something difficult or an apology?). Strangely, in English, the more annoyed you are with someone you don’t know, the more polite (and distant) your writing might be. In this case, writing becomes very formal and case, with more complex constructions, even something as simple as «please» (if you would be so kind) and «thank you» (I appreciate your efforts to...). ñ Give students practice in register transfer. Ask students to write a note asking the friend to do something for them. Then pass it to the next student but change the recipient and/or the topic. Make them aware of the changes in the language as these elements change. ñ Teach standard phrases. Make

sure students know a range of polite phrases, e.g. «I would be grateful if you could...» Also point out that in English threats are subtle, e.g. «I will be taking matters further...». Younger students especially tend to lose marks by threatenig to take the recipient to court for minor offences! Problem: inconsistent register A slightly different problem is when candidates change register through their answer from formal to informal. This can be confusing and unsettling and may confuse target readers, so the candidate will lose marks if the register is not appropriate.

Finally Reassure your students that the examiners are not looking for perfection. They are looking to see if the candidate can communicate effectively within the context of the set task. This means that all elements of the writing skill are important, not just accuracy of language. Good luck! The article first appeared in the Mary Glasgow Magazines «New Standpoints»

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∏ ·ÁÁÏÈ΋ ÁÏÒÛÛ· ηٷÎÙ¿ ÙÔ˘˜ ∫ÈÓ¤˙Ô˘˜ ª’ ¤Ó·Ó Ù˙›ÚÔ 60 ‰ÈÛ. ‰ÔÏ. Ë ∫›Ó· ·ÔÙÂÏ› ‹‰Ë ÙË ÌÂÁ·Ï‡ÙÂÚË ·ÁÔÚ¿ ‰È‰·Ûηϛ·˜ Ù˘ ∞ÁÁÏÈ΋˜ ∞Ó·‰ËÌÔÛ›Â˘ÛË «∏ ∫∞£∏ª∂ƒπ¡∏» «∫¿ÔÙÂ Ë Ì·Ì¿ ÌÔ˘ ‹Ù·Ó Ì˯·ÓÈÎfi˜, ·ÏÏ¿ Û‹ÌÂÚ· ¤¯ÂÈ Á›ÓÂÈ ÓÔÈÎÔÎ˘Ú¿. ¢ÂÓ ÌÔ˘ ·Ú¤ÛÂÈ Ë ‰Ô˘ÏÂÈ¿ Ù˘. £¤Ïˆ Ó· Á›Óˆ ۯ‰ȿÛÙÚÈ·. ªÔ˘ ·Ú¤ÛÂÈ Ó· ÛΤÊÙÔÌ·È Ó¤Â˜ ȉ¤Â˜». ¢ÂÓ Â›Ó·È ÔÈ Ï¤ÍÂȘ ÂÓfi˜ ·È‰ÈÔ‡ ‚ÚÂÙ·ÓÈ΋˜ ‹ ·ÌÂÚÈηÓÈ΋˜ ηٷÁˆÁ‹˜, ·ÏÏ¿ ÂÓfi˜ ÂÓÓÈ¿¯ÚÔÓÔ˘ ÎÔÚÈÙÛÈÔ‡ ·fi ÙËÓ ∫›Ó· Î·È ÂȉÈÎfiÙÂÚ· ·fi ÙË ™ÂÓÙ˙¤Ó Ù˘ ÓfiÙÈ·˜ ∫›Ó·˜. ∏ °ÈÔ˘ÛÔ‡Ó ·Ó‹ÎÂÈ ÛÙË Ó¤· ÁÂÓÈ¿ ÌÈ·˜ ¯ÒÚ·˜ Ô˘ ÔÈ ÁËÚ·ÈfiÙÂÚÔÈ, ÛÙÂÚË̤ÓÔÈ ·È‰Â›·˜ ÏfiÁˆ Ù˘ ¶ÔÏÈÙÈÛÙÈ΋˜ ∂·Ó¿ÛÙ·Û˘, ‰ÂÓ ÁÓˆÚ›˙Ô˘Ó Î·ıfiÏÔ˘ ÙËÓ ·ÁÁÏÈ΋ ÁÏÒÛÛ·. ∞ÎfiÌ· Î·È ÔÈ ÂÓ‹ÏÈΘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó ‰˘ÛÎÔϛ˜, ÔÈ ÔÔ›ÔÈ ¤¯Ô˘Ó ÂÚ¿ÛÂÈ ·fi ¤Ó· ·Ú¯·˚Îfi ÂÎ·È‰Â˘ÙÈÎfi Û‡ÛÙËÌ· Ô˘ ÂÍ·ÎÔÏÔ˘ı› Ó· ÛÙËÚ›˙ÂÙ·È ÛÙËÓ ·ÔÌÓËÌfiÓ¢ÛË Ï¤ÍÂˆÓ Î·È Î·ÓfiÓˆÓ ÁÚ·ÌÌ·ÙÈ΋˜. ™‹ÌÂÚ·, ÔÈ ∫ÈÓ¤˙ÔÈ ÙÚ¤ÊÔ˘Ó ÌÂÁ¿ÏÔ ÂÓıÔ˘ÛÈ·ÛÌfi ÁÈ· ÙËÓ ·ÁÁÏÈ΋ ÁÏÒÛÛ·. ª¤¯ÚÈ Î·È ÙÔ ¤Ó· ¤ÌÙÔ ÙÔ˘ ÏËı˘ÛÌÔ‡ ÙË ÛÔ˘‰¿˙ÂÈ. Ÿˆ˜ ·Ú·Ù‹ÚËÛÂ Î·È Ô µÚÂÙ·Ófi˜ ˘Ô˘ÚÁfi˜ OÈÎÔÓÔÌÈÎÒÓ °ÎfiÚÓÙÔÓ ªÚ¿Ô˘Ó, ηٿ ÙË ‰È¿ÚÎÂÈ· Â›-

Û΄˘ Ô˘ Ú·ÁÌ·ÙÔÔ›ËÛ ¤Ú˘ÛÈ ÛÙËÓ ∫›Ó·, ÔÈ ·ÁÁÏÔÌ·ı›˜ ∫ÈÓ¤˙ÔÈ Ì¤Û· Û ‰˘Ô ‰ÂηÂٛ˜ ı· ÍÂÂÚÓÔ‡Ó ÙÔ˘˜ µÚÂÙ·ÓÔ‡˜. ∏ Ù¿ÛË ·˘Ù‹ ÙÚÔÊÔ‰ÔÙ› ÌÈ· ·ÁÔÚ¿ Ô˘ Û˘ÌÂÚÈÏ·Ì‚¿ÓÂÈ ‚È‚Ï›·, ‰È‰·ÎÙÈÎfi ˘ÏÈÎfi, ÚÔÂÙÔÈÌ·Û›· ‰·ÛÎ¿ÏˆÓ Î·È Û¯ÔϤ˜ ∞ÁÁÏÈÎÒÓ. ª’ ¤Ó·Ó Ù˙›ÚÔ Ô˘ ·Ó¤Ú¯ÂÙ·È ÛÙ· 60 ‰ÈÛ. ‰ÔÏ¿ÚÈ·, Ë ∫›Ó· ·ÔÙÂÏ› ‹‰Ë ÙË ÌÂÁ·Ï‡ÙÂÚË ·ÁÔÚ¿ ‰È‰·Ûηϛ·˜ Ù˘ ·ÁÁÏÈ΋˜, Û‡Ìʈӷ Ì ÙȘ ÂÎÙÈÌ‹ÛÂȘ Ù˘ ª¤ÚÈ ¶¤ÚÏÌ·Ó Ù˘ ETS, Ë ÔÔ›· ηıȤڈÛ ÙÔ ÁÓˆÛÙfi ‰›ψ̷ TOEFL. ∆Ô ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ·˘ÙÒÓ ÙˆÓ ¯ÚËÌ¿ÙˆÓ ‰··Ó¿Ù·È ÁÈ· ÙËÓ ·ÁÔÚ¿ ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈÎÔ‡, fiˆ˜ Â›Ó·È Ù· ÏÂÍÈο Î·È Ù· ‚È‚Ï›· ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜. ∆Ô ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ·˘ÙÔ‡ ÙÔ˘ ˘ÏÈÎÔ‡ ·Ú¤¯ÂÙ·È ·fi ÙȘ ÌÔÓ¿‰Â˜ Í¤ÓˆÓ ÂÙ·ÈÚÂÈÒÓ Ô˘ Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì ÂÁ¯ÒÚȘ ÂȯÂÈÚ‹ÛÂȘ. O ÂΉÔÙÈÎfi˜ Ô›ÎÔ˜ Macmillan ¤¯ÂÈ Ô˘Ï‹ÛÂÈ ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÙËÓ ÎÈÓÂ˙È΋ FLTRP ÂÚÈÛÛfiÙÂÚ· ·fi 100 ÂηÙ. ÂÎ·È‰Â˘ÙÈο ‚È‚Ï›·. ∏ FLTRP η٤¯ÂÈ ÙÔ ¤Ó· ¤ÌÙÔ Ù˘ ·ÁÔÚ¿˜ Î·È Â›Ó·È Ë ÎÔÚ˘Ê·›· ÂΉÔÙÈ΋ ÂÙ·ÈÚ›· ‚È‚Ï›· ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ ∫›Ó·. ∏ Longman (·Ó‹ÎÂÈ ÛÙÔÓ Ô›ÎÔ Pearson, Ô˘ ÂϤÁ¯ÂÈ Ì¤ÚÔ˜ ÙÔ˘

The Economist), Ë Oxford University Press Î·È Ë Harper Collins ÂΉ›‰Ô˘Ó ‰ËÌÔÊÈÏ‹ ‰›ÁψÛÛ· ÏÂÍÈο, ÂÓÒ Ë Thomson ¤¯ÂÈ ·Ú·¯ˆÚ‹ÛÂÈ ÛÙËÓ People’s Education Press ÙËÓ ¿‰ÂÈ· ÁÈ· ÙËÓ ÂÎÌÂÙ¿ÏÏ¢ÛË ÙÔ˘ ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈÎÔ‡ Ù˘. ∏ ˙‹ÙËÛË ÁÈ· Ù· ‚È‚Ï›· ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜ ·˘Í‹ıËΠ·fi ÙËÓ ·fiÊ·ÛË Ù˘ ΢‚¤ÚÓËÛ˘ Ó· ÌÂÈÒÛÂÈ ÛÙËÓ ÚˆÙÔ‚¿ıÌÈ· ÂÎ·›‰Â˘ÛË ÙÔ fiÚÈÔ ËÏÈΛ·˜ ÁÈ· ÙËÓ ¤Ó·ÚÍË Ì·ıËÌ¿ÙˆÓ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜, ·fi Ù· ‰Ò‰Âη ÛÙ· ÂÓÓ¤·. ¶·Ú¿ÏÏËÏ·, ·Ú·ÙËÚÂ›Ù·È ˙‹ÙËÛË ÁÈ· ÙË ‰È‰·Ûηϛ· ̤ۈ Ù˘ ˘„ËÏ‹˜ Ù¯ÓÔÏÔÁ›·˜. ∏ ÈÛÙÔÛÂÏ›‰· intoenglish.com.cn Ô˘ ÏÂÈÙÔ˘ÚÁ› ˘fi ÙËÓ ÂÈ̤ÏÂÈ· ÙÔ˘ µÚÂÙ·ÓÈÎÔ‡ ™˘Ì‚Ô˘Ï›Ô˘ ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÎÈÓÂ˙ÈÎfi ÊÔÚ¤· Î·È Ë ÔÔ›· ÚÔÛʤÚÂÈ ‰ˆÚÂ¿Ó ÙÂÛÙ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜, ÏÂÍÈÎfiÁÈ· Î·È fiÚÔ˘˜ ‰ÈÔ›ÎËÛ˘ ÂȯÂÈÚ‹ÛˆÓ, ¤¯ÂÈ ÌÂÙ·ÙÚ·› ÛÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ‰È·‰ÈÎÙ˘·Îfi ·ÓÂÈÛÙ‹ÌÈÔ ÙÔ˘ ÎfiÛÌÔ˘, Ì ÙË Û˘ÌÌÂÙÔ¯‹ 2 ÂηÙ. ÊÔÈÙËÙÒÓ. ∞˘ÍË̤ÓË ˙‹ÙËÛË ·ÚÔ˘ÛÈ¿˙ÂÙ·È, Â›Û˘, ·fi ÙÔ˘˜ ÊÔÈÙËÙ¤˜ Ô˘ ÛÙÔ¯Â‡Ô˘Ó Ó· ÊÔÈÙ‹ÛÔ˘Ó ÛÙÔ Â͈ÙÂÚÈÎfi, ηıÒ˜ ÔÏϤ˜ ÎÈÓÂ˙ÈΤ˜ ÂÙ·ÈÚ›˜ ··ÈÙÔ‡Ó ϤÔÓ ÙË ÁÓÒÛË Ù˘ ·ÁÁÏÈ΋˜

∏ ‚›· ʤÚÓÂÈ ‚›·! ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 16

οÓÔ˘Ó ÙÔÓ ¿ÓıÚˆÔ Ó· ˙ËÙ¿ ÙËÓ «ÙÚÔÊ‹» ÙÔ˘, ·˘Ù‹ ÛÙËÓ ÔÔ›· ¤¯ÂÈ Û˘ÓËı›ÛÂÈ Ì¤¯ÚÈ ÛÙÈÁÌ‹˜. ∞Ó Â›Ó·È Ë ·Á¿Ë, Ô Û‚·ÛÌfi˜, Ë ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·, Ë Û˘ÓÂÚÁ·Û›· Î.Ï. ·˘Ùfi ı’ ·Ô˙ËÙ¿. ∞Ó fï˜ Â›Ó·È Ë ‚›· Î·È Ë ·fiÚÚÈ„Ë, ·˘Ù‹ ÙËÓ ÙÚÔÊ‹ ı· ·›ÚÓÂÈ ·fi οı ÛÎËÓ‹ ‚›·˜ Ô˘ ı· ·ÓÙÈÏ·Ì‚¿ÓÂÙ·È ‹ ı· ‰ËÌÈÔ˘ÚÁ›. OÈ ·Ú·ÁˆÁÔ› ıÚ›ÏÂÚ ÛÙÔÓ ÎÈÓËÌ·ÙÔÁÚ¿ÊÔ ‰ÂÓ Î¿ÓÔ˘Ó Ù›ÔÙ ¿ÏÏÔ ·Ú¿ Ó· ˘ÔÛÙËÚ›˙Ô˘Ó ÙËÓ ÎÔÈÓˆÓÈ΋ Î·È „˘¯ÔÏÔÁÈ΋ ‚›· Ô˘ ÔÈ ı·٤˜ Ô˘ Û˘ÓÙÔÓ›˙ÔÓÙ·È ‹ ÂÎ¤ÌÔ˘Ó ÛÙÔ ›‰ÈÔ Ì‹ÎÔ˜ ·̷ÙÔ˜. ∞ÏÏ¿ Î·È ÂΛÓÔÈ Ô˘ ‰ÂÓ ¤¯Ô˘Ó ÙË ‚›· ̤۷ ÙÔ˘˜ Û’ ·˘Ùfi ÙÔ ‚·ıÌfi, Ù›ÓÔ˘Ó Ó’ ·Ó·ÚˆÙÈÔ‡ÓÙ·È Î·È ÂӉ¯Ô̤ӈ˜ Ó· ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ‚›· Â›Ó·È «ÌÈ· ÎÔÈÓˆÓÈ΋ ÓfiÚÌ·» ÛÙËÓ ÔÔ›· ηϿ ı· οÓÔ˘Ó Ó· ÚÔÛ·ÚÌÔÛıÔ‡Ó ÁÈ· Ó· ÂÈ‚ÈÒÛÔ˘Ó. ŸÏ’ ·˘Ù¿ ÚÔ¿ÁÔ˘Ó «Ù· Û‡ÓÓÂÊ· Ù˘ ‚›·˜» Ô˘ Û‹ÌÂÚ· ˘¿Ú¯Ô˘Ó ÛÙÔÓ ÎfiÛÌÔ, ›Ù Ì ÙË ÌÔÚÊ‹ ÔÈÎÔÁÂÓÂȷ΋˜ ‚›·˜ ‹ ‚›·˜ ÛÙÔ ‰ÚfiÌÔ, Ì ÙË ÌÔÚÊ‹ ıÚËÛ΢ÙÈÎÒÓ ‹ ÂıÓÈÎÒÓ ·ÎÚÔًوÓ, ÔÏÈÙÈÎÒÓ ‹ ÎÔÈÓˆÓÈÎÒÓ Â·Ó·ÛÙ¿ÛˆÓ, ÔϤ̈Ó, ÙÚÔÌÔÎÚ·Ù›·˜, ÂÁÎÏ‹Ì·ÙÔ˜.

∆· ª¤Û· ª·˙È΋˜ ∂ÈÎÔÈÓˆÓ›·˜ ÔÏÏ·Ï·ÛÈ¿˙Ô˘Ó ÙËÓ ·ÚÓËÙÈ΋ ÏËÚÔÊÔÚ›· Î·È ÂÔ̤ӈ˜ ÂÓ‰˘Ó·ÌÒÓÔ˘Ó ÙËÓ Â›‰Ú·ÛË Ô˘ ·˘Ù‹ Ë ·ÚÓËÙÈ΋ ÏËÚÔÊÔÚ›· ¤¯ÂÈ ¿Óˆ ÛÙÔÓ ¿ÓıÚˆÔ. OÈ ·Ô‰¤ÎÙ˜ Ù˘ ÏËÚÔÊÔÚ›·˜ ϤÔÓ Û˘ÌÌÂÙ¤¯Ô˘Ó Û˘Ó·ÈÛıËÌ·ÙÈο ÛÙ· ·ÓÙ›ÛÙÔȯ· ÁÂÁÔÓfiÙ· ‚›·˜. Ÿˆ˜ Î·È ÛÙËÓ ÂÚ›ÙˆÛË ÙÔ˘ ÕÏÂÍ, οÔÈÔÈ ·ÓÙȉÚÔ‡Ó Ì ı˘Ìfi, ÔÚÁ‹, ‰È·Ì·ÚÙ‡ÚÔÓÙ·È, ÊÔ‚Ô‡ÓÙ·È ‹ Î·È ·ÓÈÎÔ‚¿ÏÏÔÓÙ·È, ÚÔÛ‚¿ÏÏÔÓÙ·È... ¿ÏÏÔÈ ÏÂÈÙÔ˘ÚÁÔ‡Ó Ì ηٷÓfiËÛË Î·È ÂÓÛ˘Ó·›ÛıËÛË, ¿ÏÏÔÈ ¿ÏÈ ÓÈÒıÔ˘Ó Â˘¯·Ú›ÛÙËÛË, ÈηÓÔÔ›ËÛË, ¤ÎÛÙ·ÛË Î·È ˘¿Ú¯Ô˘Ó ÎÈ ·˘ÙÔ› Ô˘ Â›Ó·È ·‰È¿ÊÔÚÔÈ Ï˜ Î·È ‰ÂÓ Û˘Ó¤‚Ë Ù›ÔÙÂ. ∫·ÈÚfi˜ Ó’ ·ÊÔ˘ÁÎÚ·ÛÙԇ̠̠ÚÔÛÔ¯‹ Ù· ·È‰È¿ Ì·˜. ¶ÔÓ¿ÓÂ! ∑ËÙ¿Ó ÙËÓ Â˘·ÈÛıËÛ›· Ì·˜ Î·È ÙË ÊÚÔÓÙ›‰· Ì·˜! ∫·ÈÚfi˜ Ó’ ·ÊÔ˘ÁÎÚ·ÛÙԇ̠ÙÔÓ Â·˘Ùfi Ì·˜. ¶ÔÓ¿ÌÂ! ∫·ÈÚfi˜ Ó· ÛÙ·Ì·Ù‹ÛÔ˘Ì ӷ ÔÓ¿ÌÂ Ô ¤Ó·˜ ÁÈ· ÙÔÓ ¿ÏÏÔÓ! ∞˜ ·Ú¯›ÛÔ˘Ì ۋÌÂÚ·. ¶·›ÚÓÔÓÙ·˜ Ô Î·ı¤Ó·˜ ÙËÓ Â˘ı‡ÓË Ô˘ ÙÔ˘ ·Ó‹ÎÂÈ! O οı ÂÎ·È‰Â˘ÙÈÎfi˜ ·˜ Á›ÓÂÈ ·È‰·ÁˆÁfi˜ Ô˘ ʤÚÓÂÈ ·Á¿Ë Î·È Û‚·ÛÌfi ÛÙË ˙ˆ‹ Ô˘ Û˘Ó·ÓÙ¿ ÛÙËÓ ¿ÛÎËÛË ÙˆÓ Î·ıËÎfiÓÙˆÓ ÙÔ˘!

ÁÏÒÛÛ·˜. ∏ ÂÎ·›‰Â˘ÛË ÚÔÛˆÈÎÔ‡ ‰È‰·Ûηϛ·˜ ·ÔÙÂÏ› ÌÈ· ·ÎfiÌË ÚfiÎÏËÛË, Â¿Ó Ï¿‚Ô˘Ì ˘fi„Ë ÙËÓ ¤ÏÏÂÈ„Ë ÌÈÛÔ‡ ÂηÙ. ‰·ÛÎ¿ÏˆÓ ÛÙ· ÎÚ·ÙÈο Û¯ÔÏ›· Î·È Ù˘ ·Ó¿Á΢ ÙÔ˘ ¶ÂΛÓÔ˘ Ó· ÂÍÔÈÎÂȈı› Ì ÙË ÁÏÒÛÛ· ÂÓ fi„ÂÈ ÙËÓ OÏ˘ÌÈ·ÎÒÓ ∞ÁÒÓˆÓ ÙÔ˘ 2008. ∆¤ÏÔ˜, ˘¿Ú¯Ô˘Ó Î·È È‰ÈˆÙÈΤ˜ Û¯ÔϤ˜ ‰È‰·Ûηϛ·˜ ·ÁÁÏÈÎÒÓ. ª¤¯ÚÈ Û‹ÌÂÚ· ··ÚÈıÌÔ‡ÓÙ·È Û 50.000 Î·È ÔÈΛÏÏÔ˘Ó ·fi ÌÈÎÚ¤˜ ÔÈÎÔÁÂÓÂȷΤ˜ ÂȯÂÈÚ‹ÛÂȘ ̤¯ÚÈ ·Ï˘Û›‰Â˜ ÊÚÔÓÙÈÛÙËÚ›ˆÓ, fiˆ˜ Â›Ó·È Ë English First, Ë Wall Street English Î·È Ë New Oriental. ∏ ÙÂÏÂ˘Ù·›· ‰È·ı¤ÙÂÈ 2,5 ÂηÙ. Ì·ıËÙ¤˜. ∞Ó Î·È Ù· ÊÚÔÓÙÈÛÙ‹ÚÈ· ·˘Ù¿ ·¢ı‡ÓÔÓÙ·È, ΢ڛˆ˜, Û ÂÓ‹ÏÈΘ, ÔÏÏÔ› ÁÔÓ›˜ Â›Ó·È ‰È·ÙÂıÂÈ̤ÓÔÈ Ó· ‰··Ó‹ÛÔ˘Ó ÙÔ ÌÈÛfi ÂÈÛfi‰ËÌ¿ ÙÔ˘˜ ÁÈ· Ó· ÂÁÁÚ¿„Ô˘Ó Ù· ·È‰È¿ ÙÔ˘˜. OÈ 550 Ì·ıËÙ¤˜ Ù˘ English First ÛÙË ™ÂÓÙ˙¤Ó ‹Ù·Ó οÔÙ ÂÓ‹ÏÈΘ. ™‹ÌÂÚ·, ÙÔ 70% ÙˆÓ Ì·ıËÙÒÓ Â›Ó·È ·È‰È¿. øÛÙfiÛÔ, Ë ·È‰Â›· ·Ú·Ì¤ÓÂÈ ¤Ó·˜ ·fiÏ˘Ù· ÂÏÂÁ¯fiÌÂÓÔ˜ ¯ÒÚÔ˜ ·fi ÙËÓ Î˘‚¤ÚÓËÛË. ∆Ô ÙÌ‹Ì· ∫Ú·ÙÈ΋˜ ¶ÚÔ·Á¿Ó‰·˜ ·ÛΛ ¤ÏÂÁ¯Ô ÙÔ ˘Ô˘ÚÁÂ›Ô ¶·È‰Â›·˜, ÙÔ ÔÔ›Ô ÌfiÏȘ ÚfiÛÊ·Ù· Â¤ÙÚ„ ÙË ‰È·ÓÔÌ‹ ‚È‚Ï›ˆÓ ‰È‰·Ûηϛ·˜ Ù˘ ·Á-

ÁÏÈ΋˜ ÛÙÔ ÎÚ·ÙÈÎfi ÂÎ·È‰Â˘ÙÈÎfi Û‡ÛÙËÌ·. OÈ Í¤Ó˜ ÂΉÔÙÈΤ˜ ÂÙ·ÈÚ›˜ ‰ÂÓ ¤¯Ô˘Ó ÙÔ ‰Èη›ˆÌ· ÂÎÙ‡ˆÛ˘, ·ÏÏ¿ ·Ú¤¯Ô˘Ó ÙËÓ ¿‰ÂÈ· ÂÎÌÂÙ¿ÏÏ¢Û˘ ÙÔ˘ ÂÚȯÔ̤ÓÔ˘ ÙÔ˘˜ ·fi ÂÁ¯ÒÚȘ ÂÙ·ÈÚ›˜, fiˆ˜ Â›Ó·È Ë FLTRP. OÈ Í¤Ó˜ ·Ï˘Û›‰Â˜ ÊÚÔÓÙÈÛÙËÚ›ˆÓ Ú¤ÂÈ Ó· Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì ÎÈÓÂ˙ÈÎfi ÊÔÚ¤· Î·È Ó· ¤¯Ô˘Ó Â›ÛËÌË ¤ÁÎÚÈÛË ÙÔ˘ ÂÚȯÔ̤ÓÔ˘ Ô˘ ‰È‰¿ÛÎÂÙ·È. ∞Ó Î·È Â›Ó·È ·ÍÈÔı·‡Ì·ÛÙÔ ÙÔ ¿ıÔ˜ ÙˆÓ ∫ÈÓ¤˙ˆÓ ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË Ù˘ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜, ‰ÂÓ ‰‡Ó·Ù·È Ó· ÌÂÙ·ÙÚ·› Û ÌÈ· ·ÓÔȯً ·ÁÔÚ¿ ·Ú¿ ÌfiÓÔÓ Â¿Ó ÙÔ ÂÈÙÚ¤„ÂÈ Ë ÎÔÌÌÔ˘ÓÈÛÙÈ΋ ΢‚¤ÚÓËÛË Ù˘ ¯ÒÚ·˜. ¢ÈÛÙ¿˙ÂÈ Ó· οÓÂÈ ·˘Ùfi ÙÔ ‚‹Ì·, ηıÒ˜ Ì ÙË ‰È‰·Ûηϛ· Ù˘ ·ÁÁÏÈ΋˜ ÂÈÛÚ¤Ô˘Ó Î·È ÔÈ ÙÚfiÔÈ ÛΤ„˘ ÙÔ˘ ‰˘ÙÈÎÔ‡ ÎfiÛÌÔ˘ —ÙÚfiÔÈ Ô˘ ÌÈ· ̤ڷ ÌÔÚ› Ó’ ·ÂÈÏ‹ÛÔ˘Ó ÙËÓ ËÁÂÛ›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜. ™HMEIø™H LINGUA FRANCA: TfiÛÔ Ô ÂΉÔÙÈÎfi˜ Ô›ÎÔ˜ MM Publications fiÛÔ Î·È Ë Express Publishing, ‰Ú·ÛÙËÚÈÔÔÈÔ‡ÓÙ·È Ì ÌÂÁ¿ÏË ÂÈÙ˘¯›· ÛÙËÓ ÎÈÓÂ˙È΋ ·ÁÔÚ¿.

Make the leap across the digital divide ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 17

suggest that certain conditions should be met before ICT can be fully integrated into daily classroom life. For example: ñ students and teachers should have a shared conceptual understanding of the technology they are working with; ñ students and teachers should understand the application of technology and recognise its educational potential; ñ perhaps most significantly, though, technology has to be access-ible and work first time in order to inspire confidence and motivation so that teachers and students alike share the same level of enthusiasm and embrace the communicative potential of modern technology. We might well despair over the issues that define the digital divide. Clearly there is a need for more classroom experience and a more considered approach to teacher training. We have yet to unravel the mysteries that lurk in the shadows behind the technological classroom dynamic. We will continue to conceptually grapple with even more incredible technological possibilities, and struggle to work out their pedagogical value. But the digital gap is narrowing. The most significant element in this technological revolution is the individual and our desire to tame the beast. We are living through a technological revolution. It's

exciting, it's motivating and it's taking us to places that were previously inaccess-ible. The boundaries of communicative and pedagogical potential are being redefined by technology, and this is significant in the language classroom. The idea that students can communicate with real students in the target language across the world is truly remarkable. Technology means that global communication can take place in class. The days of spluttering out an annual request for an ice cream on holiday are on the wane, and scruffy letters to pen pals are being replaced by direct contact with e-pals . . . no stamp required. The 21st-century communicative classroom has arrived, like it or not. We are learning to accept that we don't need to know how something works in order to make it work for us. We can tolerate increasing levels of technological ambiguity. The key to the bridging of the digital gap is the power of humanity, our intrinsic motivation and a curiosity to overcome the unfathomable. Ø Miranda Hamilton is an EFL teacher and researcher looking into the effects of teacher beliefs and experience on the effective integration of technology in the EFL classroom at the University of Cambridge, [email protected]

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∆· 7 ı·Ó¿ÛÈÌ· ÂÈÎÔÈÓˆÓȷο ·Ì·ÚÙ‹Ì·Ù· ÔÈfiÙËÙ· Ù˘ ÂÈÎÔÈÓˆÓ›·˜ Ì·˜ ÙfiÛÔ Û ÚÔÛˆÈÎfi fiÛÔ Î·È Û Â·ÁÁÂÏÌ·ÙÈÎfi Â›‰Ô, Â›Ó·È ¿ÓÙ· ÛËÌ·ÓÙÈ΋ Î·È fiÛÔ ÈÔ Âȉ¤ÍÈÔ˜ Â›Ó·È Î·Ó›˜ ÙfiÛÔ ÈÔ ˆÊÂÏË̤ÓÔ˜ ‚Á·›ÓÂÈ ÛÙÔ Ù¤ÏÔ˜. ∞ÎfiÌ· ÂÚÈÛÛfiÙÂÚÔ ‰Â Û ηÈÚÔ‡˜ ‡ÊÂÛ˘. ªÂÚÈΤ˜ ÊÔÚ¤˜ ÙÔ ÎfiÛÙÔ˜ Ù˘ η΋˜ ÂÈÎÔÈÓˆÓ›·˜ ÏËÚÒÓÂÙ·È ¿ÌÂÛ· Î·È Î¿ÔȘ ¿ÏϘ ÊÔÚ¤˜ ·›ÚÓÂÈ Ï›ÁÔ ÂÚÈÛÛfiÙÂÚÔ ¯ÚfiÓÔ ÁÈ· Ó· Ê·ÓÔ‡Ó ÔÈ Û˘Ó¤ÂȘ. ∆· ηϿ Ó¤· Â›Ó·È fiÙÈ Â¿Ó Û˘ÓÂȉËÙÔÔÈ‹ÛÔ˘Ì ÌÂÚÈΤ˜ ·fi ÙȘ ¯ÂÈÚfiÙÂÚ˜ ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ, ÌÔÚԇ̠ӷ Á›ÓÔ˘Ì ÈÔ ÚÔÛÂÎÙÈÎÔ› Î·È Ó· ·˘Í‹ÛÔ˘Ì ÙËÓ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙËÙ¿ Ì·˜. ∆· ıÂÙÈο ·ÔÙÂϤÛÌ·Ù· ı· Ê·ÓÔ‡Ó ¿ÌÂÛ· ÛÙȘ ‰È·ÚÔÛˆÈΤ˜ Ì·˜ Û¯¤ÛÂȘ Î·È ÛÙË ‚ÂÏÙ›ˆÛË Ù˘ Â·ÁÁÂÏÌ·ÙÈ΋˜ Ì·˜ ÂÈÎÔÈÓˆÓ›·˜. ¶ÔȘ ›ӷÈ, ÏÔÈfiÓ, ÔÈ ¯ÂÈÚfiÙÂÚ˜ ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ; ñ ∂ÈÎÔÈÓˆÓÒ ÌfiÓÔ fiÙ·Ó ¯ÚÂÈ¿˙ÔÌ·È Î¿ÙÈ ™›ÁÔ˘Ú· Û·˜ ¤¯ÂÈ Û˘Ì‚Â› Î·È ›Ûˆ˜ (Â¿Ó Â›ÛÙ ÂÈÏÈÎÚÈÓ‹˜ Ì ÙÔÓ Â·˘Ùfi Û·˜) ÙÔ ¤¯ÂÙÂÈ Î¿ÓÂÈ ÎÈ ÂÛ›˜ Û ¿ÏÏÔ˘˜. O ¿ÓıÚˆÔ˜ Ô˘ ˘Ô›ÙÂÈ Û’ ·˘Ùfi ÙÔ ·‰›ÎËÌ· ÂÌÊ·Ó›˙ÂÙ·È ÌfiÓÔ fiÙ·Ó „¿¯ÓÂÈ ÁÈ· ‰Ô˘ÏÂÈ¿, fiÙ·Ó ¤¯ÂÈ ¤Ó· Úfi‚ÏËÌ·, fiÙ·Ó ¯ÚÂÈ¿˙ÂÙ·È Û˘ÛÙ¿ÛÂȘ, fiÙ·Ó ¯ÚÂÈ¿˙ÂÙ·È È‰¤Â˜, fiÙ·Ó Á›ÓÂÈ Ï·ÛȤ˜ ÌÈ·˜ ÂÙ·ÈÚ›·˜ Î.Ï. ∞Ó¿ÌÂÛ· ÛÙȘ ÂÚÈfi‰Ô˘˜ «·Ó¿Á΢» Ô‡Ù ʈӋ, Ô‡Ù ·ÎÚfi·ÛË, ›Ûˆ˜ Ì¿ÏÈÛÙ· Ó· ÌËÓ ··ÓÙ‹ÛÂÈ Û ‰ÈΤ˜ Û·˜ ÚÔÛ¿ıÂȘ ÂÈÎÔÈÓˆÓ›·˜. ∫·È ÛÈÁ¿ ÛÈÁ¿ ÙÔ Û¯¤‰ÈÔ Â·Ó·Ï·Ì‚¿ÓÂÙ·È fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔÈ Ó· ·›ÚÓÔ˘Ó Â›‰ËÛË Î·È ·ÚÓÔ‡ÓÙ·È Ó· ÙÔ˘˜ ÚÔÛʤÚÔ˘Ó ÙË ‚Ô‹ıÂÈ¿ ÙÔ˘˜. ñ ∫·È Ô‡Ù ¤Ó· ¢¯·ÚÈÛÙÒ ∞˘Ù‹ Â›Ó·È Û˘ÁÁÂÓ‹˜ ·Ì·ÚÙ›· Ì ÙËÓ ÚÔËÁÔ‡ÌÂÓË. O ÂÚ› Ô˘ Ô ÏfiÁÔ˜ ˙ËÙ¿ÂÈ ÙË Û˘Ì‚Ô˘Ï‹ Û·˜, ¤Ú¯ÂÙ·È Û Â·Ê‹ Ì ÁÓˆÛÙÔ‡˜ Û·˜ ÁÈ· Ó· ÙÔÓ Â͢ËÚÂÙ‹ÛÔ˘Ó, Û·˜ ¯ÚËÛÈÌÔÔÈ› Û·Ó Û‡ÛÙ·ÛË Î.Ï. ∫·Ï¿ ˆ˜ ‰Ò. ∆È Á›ÓÂÙ·È fï˜ fiÙ·Ó ·ÊÔ‡ ÔÏÔÎÏËÚˆı› Ë ‰Ô˘ÏÂÈ¿ ÙÔ˘ (ÂÈÙ˘¯Ò˜ ‹ ÌË ‰ÂÓ ¤¯ÂÈ ÛËÌ·Û›·) Ô Î‡ÚÈÔ˜ à ÂÍ·Ê·ÓÈÛÙ› ¯ˆÚ›˜ Ó· Û·˜ ÂÓËÌÂÚÒÛÂÈ ÁÈ· ÙËÓ ¤Î‚·ÛË ‹ ¯ˆÚ›˜ Ó· Û·˜ ÂÈ ¤ÛÙˆ ¤Ó· ¢¯·ÚÈÛÙÒ; ™ÙË ¯ÂÈÚfiÙÂÚË ÂÚ›ÙˆÛË ‰Â ı· Í·Ó·Ì¿ıÂÙ Ӥ· ÙÔ˘ ¤ˆ˜ ÙËÓ ÂfiÌÂÓË ÊÔÚ¿ Ô˘ ı· Û·˜ ¯ÚÂÈ·-

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ÛÙ›! ñ ¢ÂÓ ÂÈÛÙڤʈ ÙËÏÂʈӋ̷ٷ Î·È ‰ÂÓ ··ÓÙÒ Û e-mails Ÿˆ˜ Û˘Ì‚·›ÓÂÈ Î·È Ì ÙȘ ÏÔÈ¤˜ ·Ú·‚¿ÛÂȘ ÙÔ˘ Â·ÁÁÂÏÌ·ÙÈÎÔ‡ savoir vivre Î·È ·˘Ù‹ Ë Û˘Ó‹ıÂÈ· ··ÓÙ¿Ù·È fiÏÔ Î·È Û˘¯ÓfiÙÂÚ·. ™Â οÔÈ· ‰Â ˘„ËÏ¿ ÎÏÈÌ¿ÎÈ· Â›Ó·È ϤÔÓ Ô Î·ÓfiÓ·˜. ∞˘Ùfi fï˜ ‰ÂÓ ·ÏÏ¿˙ÂÈ ÙÔ ÁÂÁÔÓfi˜ fiÙÈ Â›Ó·È ·Ï¿ Î·È ÌfiÓÔ ÌÈ· η΋ Î·È ·ÚÂ‹˜ Û˘Ó‹ıÂÈ·. ∫·È Ê˘ÛÈο ‰ÂÓ ·Ó·ÊÂÚfiÌ·ÛÙ ÛÙ· Ï›ÛÙ· fiÛ· «ÚÔÛˆÈο» ÙËÏÂʈӋ̷ٷ ·fi ÙËÏÂÏ·ÛȤ Ô˘ ·Û¯›˙Ô˘Ó Ó· Û·˜ Ô˘Ï‹ÛÔ˘Ó ‰¿ÓÂÈ·, ÎÈÓËÙ¿ Î·È ·ÛÊ¿ÏÂȘ, ·ÏÏ¿ ÁÈ· ÚÔÛˆÈο, ·ÏËıÈÓ¿ ÌËӇ̷ٷ ·fi ·ÏËıÈÓÔ‡˜ ·ÓıÚÒÔ˘˜ Ô˘ ÂÙÈÔ‡ÓÙ·È ÛÙ· ÛÎÔ˘›‰È·. ñ ∞ÁÓÔÒ ÙÔ˘˜ ‚·ÛÈÎÔ‡˜ ηÓfiÓ˜ ¢Á¤ÓÂÈ·˜ ™ÙËÓ ·Ï‹ Ù˘ ÌÔÚÊ‹ ·˘Ù‹ Ë Î·Î‹ Û˘Ó‹ıÂÈ· ÂÌÊ·Ó›˙ÂÙ·È fiÙ·Ó Ì·˜ ‰È·Ê‡ÁÂÈ Ó· ԇ̠«Â˘¯·ÚÈÛÙÒ» ‹ «·Ú·Î·ÏÒ» fiÙ·Ó ˙ËÙ¿Ì ‹ Ï·Ì‚¿ÓÔ˘Ì οÙÈ. ªÔÚ› Ó· «Í¯¿ÛÔ˘Ì» Ó· ¢¯·ÚÈÛÙ‹ÛÔ˘Ì οÔÈÔÓ Ô˘ Ì·˜ Â͢ËÚ¤ÙËÛ ‹ Ó· ÛÙ›ÏÔ˘Ì e-mail Ô˘ ı· ·ÎÔ‡ÁÂÙ·È ÈÔ Ôχ Û·Ó ··›ÙËÛË ·Ú¿ Û·Ó ·Ú¿ÎÏËÛË ÁÈ· οÙÈ. ™ÙȘ ̤Ú˜ Ì·˜ Ë ‚·ÛÈ΋ ¢Á¤ÓÂÈ· ·Ú·ÁΈӛ˙ÂÙ·È ÁÈ· ÔÏÏÔ‡˜ ÏfiÁÔ˘˜: ÔÈ ¿ÓıÚˆÔÈ Û‹ÌÂÚ· ‚È¿˙ÔÓÙ·È ˘ÂÚ‚ÔÏÈο, Â›Ó·È ÂÓÔ¯ÏËÙÈο ÂÁˆÎÂÓÙÚÈÎÔ› («Í¤ÚÂȘ ÔÈÔ˜ Â›Ì·È ÂÁÒ, ÚÂ;») ‹ ·ÏÒ˜ ‰ÂÓ ‰È‰¿¯ıËÎ·Ó ·fi ÙÔ Û›ÙÈ ‹ ÙÔ Û¯ÔÏÂ›Ô ÙÔ˘˜ Ù· ‚·ÛÈο ÂÚ› ¢Á¤ÓÂÈ·˜. ŸÌˆ˜ οı ·Ú·‚›·ÛË ·˘ÙÒÓ ÙˆÓ ‚·ÛÈÎÒÓ Î·ÓfiÓˆÓ —fiÛÔ ÌÈÎÚ‹ ÎÈ ·Û‹Ì·ÓÙË ÎÈ ·Ó ›ӷȗ ηıÈÛÙ¿ ÙÔ ÂÚÈ‚¿ÏÏÔÓ Î·È ÙËÓ ÎÔÈÓˆÓ›· Ì·˜ Ï›ÁÔ ÈÔ ‰˘Û¿ÚÂÛÙ· Î·È Ì·˜ ÂÈ‚·Ú‡ÓÂÈ Ì ÎfiÛÙÔ˜, ‰ÈfiÙÈ Î·Ó›˜ ‰ÂÓ ·ÓÙ·ÔÎÚ›ÓÂÙ·È ıÂÙÈο ÛÙËÓ ·Á¤ÓÂÈ·. ñ ∞ÎÔ‡ˆ... ·ÏÏ¿ ‰ÂÓ ÛËÌÂÈÒÓˆ ∂›Ó·È ÙÚÔÌ·ÎÙÈÎfi˜ Ô ·ÚÈıÌfi˜ ÙˆÓ ‰˘Û¿ÚÂÛÙˆÓ Î·È ÎÔÛÙÔ‚fiÚˆÓ Î·Ù·ÛÙ¿ÛÂˆÓ Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÓÙ·È ·fi ÙËÓ ¤ÏÏÂÈ„Ë ÚÔÛÔ¯‹˜ ÛÙÔ ÙÈ ·ÎÔ‡ÌÂ. ŒÓ· ÛËÌ¿‰È fiÙÈ Ô Û˘ÓÔÌÈÏËÙ‹˜ Ì·˜ ‰ÂÓ ·ÎÔ‡ÂÈ Ú·ÁÌ·ÙÈο ÙÈ ÙÔ˘ ϤÌÂ, Â›Ó·È fiÙ·Ó ‰ÂÓ Î¿ÓÂÈ Î·ıfiÏÔ˘ ÂÚˆÙ‹ÛÂȘ. ŒÓ· ¿ÏÏÔ Î·Îfi ÛËÌ¿‰È Â›Ó·È fiÙ·Ó Ô Û˘ÓÔÌÈÏËÙ‹˜ Ì·˜, ·Ú·ÊÚ¿˙ÔÓÙ·˜ ·˘Ù¿ Ô˘ Ú·ÁÌ·ÙÈο ›·ÌÂ, Ì·˜ ‚¿˙ÂÈ «ÛÙÔ ÛÙfiÌ·» ÏfiÁÈ· Ô˘ Ô‡Ù ›·ÌÂ, Ô‡Ù ̷˜ ‚Ú›ÛÎÔ˘Ó Û‡Ìʈ-

ÓÔ˘˜. ™Â ÚÔÛˆÈÎfi Â›‰Ô, Ë ¤ÏÏÂÈ„Ë Ù˘ ÈηÓfiÙËÙ·˜ ‹ Ù˘ ‰È¿ıÂÛ˘ Ó· ·ÎÔ‡ÛÔ˘Ì Ú·ÁÌ·ÙÈο ÙÔÓ ¿ÏÏÔ Ì·˜ Ô‰ËÁ› Û ·ÚÂÍËÁ‹ÛÂȘ, ¯·Ì¤Ó˜ ¢ηÈڛ˜, ¯·ÌËÏ‹ ·Ú·ÁˆÁÈÎfiÙËÙ· Î·È ¿ÏÏ· ·ÎÚÈ‚¿ Ï¿ıË. ñ §¤ˆ „¤ÌÌ·Ù· ÕÏϘ ÊÔÚ¤˜ ϤÌ «Î·Ù¿ Û˘Óı‹ÎË „‡‰Ë» ÁÈ· Ó· ÌËÓ ÏËÁÒÛÔ˘Ì οÔÈÔÓ Î·È ¿ÏϘ ÊÔÚ¤˜ ·Ú·ÏËÚÔÊÔÚÔ‡ÌÂ Û˘ÓÂȉËÙ¿ οÔÈÔ˘˜ ÁÈ· ›‰ÈÔ fiÊÂÏÔ˜ —οÙÈ Ô˘ ·Ú·ÙËÚÂ›Ù·È Ì·˙Èο ÛÙȘ ‰È·ÊËÌ›ÛÂȘ .¯. ‰·Ó›ˆÓ ‹ ËÏÂÎÙÚÈÎÙÒÓ. °È· ·Ú¿‰ÂÈÁÌ·: «¿ÚÙ ‰¿ÓÂÈÔ Û 20 ÏÂÙ¿»... ÌfiÏȘ ·ԉ›ÍÂÙ fiÙÈ ‰ÂÓ ÙÔ ¯ÚÂÈ¿˙ÂÛÙ ‹ «·ÁÔÚ¿ÛÙ ÎÔ˘˙›Ó˜ ÛÙȘ ηχÙÂÚ˜ ÙÈ̤˜ Î·È ¯ˆÚ›˜ ÙfiÎÔ»... Â¿Ó Â›ÛÙ À‰ÚÔ¯fiÔ˜ Ì ˆÚÔÛÎfiÔ ∫¤ÓÙ·˘ÚÔ ‹ Ê˘ÛÈ΋ Í·ÓıÈ¿. ŸÏÔÈ ÔÈ ˘fiÏÔÈÔÈ ı· Ú¤ÂÈ Ó· ›¯·Ù ‰È·‚¿ÛÂÈ Ù· „ÈÏ¿ ÁÚ¿ÌÌ·Ù·. ∏ ÚÒÙË ÂÚ›ÙˆÛË Â›Ó·È Ì¿ÏÏÔÓ Î·Ù·ÓÔËÙ‹, Ë ‰Â‡ÙÂÚË ·Û˘Á¯ÒÚËÙË. ∫·È ÛÙȘ ‰‡Ô Ù›ıÂÙ·È ı¤Ì· ·ÓÂÈÏÈÎÚ›ÓÂÈ·˜. ∏ ·Ï‹ıÂÈ· ··ÈÙ› ÁÂÓÓ·ÈfiÙËÙ· Î·È ÂȉÂÍÈfiÙËÙ·. ∏ ·Ï‹ıÂÈ· ÌÔÚ› Ó· ÔÓ¿ÂÈ ÌÂÚÈΤ˜ ÊÔÚ¤˜, ÙÔ „¤Ì· fï˜ Â›Ó·È ÈÔ Î·Ù·ÛÙÚÔÊÈÎfi. ñ ¶¿Û¯ˆ ·fi Ã∂∞ (ÃÚfiÓÈ· ∂ÎÔÌ‹ ∞ÚÓËÙÈÛÌÔ‡) ∂›Ó·È Ôχ ‡ÎÔÏÔ Ó· ·Ú·ÙËÚ‹ÛÂȘ Î·È Ó· ˘ԉ›ÍÂȘ Ù· Ï¿ıË ÙˆÓ ¿ÏψÓ. O ¿Û¯ˆÓ ·fi Ã∂∞ fï˜ ÙÔ ¤¯ÂÈ ·Ó¿ÁÂÈ Û ÂÈÛÙ‹ÌË. ∂›Ó·È ‰È·ÚÎÒ˜ ·ÚÓËÙÈÎfi˜(Ë) Î·È ÂÎÊÚ¿˙ÂÈ ÙȘ ·ÚÓËÙÈΤ˜ ÙÔ˘ ·fi„ÂȘ Û˘Ó¯Ҙ Î·È Ì ¿ıÔ˜. º·ÓÙ·ÛÙ›Ù ӷ Û˘Ó·ÓÙ‹ÛÂÙ ¤Ó·Ó Ù¤ÙÔÈÔ ¿ÓıÚˆÔ, Ô ÔÔ›Ô˜ ‰ÂÓ ¤¯ÂÈ Ù›ÔÙ· ηÏfi Ó· ÂÈ ÁÈ· Î·Ó¤Ó·Ó Î·È ÁÈ· Ù›ÔÙ·. ªÂÙ¿ ÙÔ Ù¤ÏÔ˜ Ù˘ Û˘Ó¿ÓÙËÛ˘ ı· ·ÈÛı¿ÓÂÛÙ ı˘ÌˆÌ¤ÓÔÈ —¯ˆÚ›˜ ÏfiÁÔ Î·È ·ÈÙ›·— Î·È ·ÓÙÈ·Ú·ÁˆÁÈÎÔ›. ŒÓ·˜ Ù¤ÙÔÈÔ˜ ¿ÓıÚˆÔ˜ ÌÔÚ› Ó· Û‚‹ÛÂÈ ÙÔÓ ÂÓıÔ˘ÛÈ·ÛÌfi Î·È Ó· ÂËÚÚ¿ÛÂÈ ·ÚÓËÙÈο ÙËÓ „˘¯ÔÏÔÁ›· ÙˆÓ Û˘ÓÂÚÁ·ÙÒÓ ÙÔ˘ Î·È Î·Ïfi ı· Â›Ó·È Ó· ÂÓÙÔ›˙ÂÙ·È Î·È Ó· ·ÔÌÔÓÒÓÂÙ·È ÂÁη›Úˆ˜. ∂˘Ù˘¯Ò˜ fiÏ· ‰ÈÔÚıÒÓÔÓÙ·È ·Ó ÚÔÛ·ı‹ÛÔ˘Ì ӷ ηÏÏÈÂÚÁ‹ÛÔ˘Ì ηϤ˜ ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ fiˆ˜ Ë ÂÈÏÈÎÚ›ÓÂÈ·, Ô Û‚·ÛÌfi˜ ÙÔ˘ ÏËÛ›ÔÓ Ì·˜ Î·È Ë Â˘Á¤ÓÂÈ·. ™.º.

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When to say it and HÔw to say it: Dealing with Parents Effectively ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 10

to come up with a survival guide. Let us take a look at these tips: 1. Don’t wait for parents to come, go to them If there is a problem, parents should be the first to know. This helps to limit accountability. Teachers and schools should keep a record of each time parents are contacted. Informing parents can take all forms: written or oral, public or private. Personally, I like seeing parents in person, on their own when we are to talk about sensitive issues. Written comments can be lost or ignored and they are impersonal. It is always good to arrange a face to face meeting with the parent/s rather than to talk on the phone, especially if the teacher has never met the parent before. Face to face meetings are warmer, non intrusive (what’s a good time to call these days?) and they are more convenient when tests and marks need to be seen. 2. Preparing for a parent-teacher meeting is not plain sailing The bigger the problem, the more carefully we have to approach the parent. As it has been pointed out the parent is related to all or most of the aspects of the child’s personality and might be very sensitive. In a way we are passing judgments about their family life and despite the fact that we are the professionals, they are the parents and this is their child so what a teacher should do is find a window of intervention and stick to it. Our role is to inform them about the possible results of their choices and help them set their priorities straight. If this is what they truly want, we should just try to do the best out of a difficult situation. 2. Setting up a Parent-Teacher meeting. 2a. When? Parent and teacher meeting should not take place on the spur of the moment, and by that I do not mean the quick and informal update a parent asks us for between classes. If the student has done something which requires our attention, then the chat between classes is only good in order to schedule a meeting. 2b. How many? Accept only one set of parents, even if two students have the same problem or if they have both misbehaved. This guarantees privacy and we are all going to be more open to admit to things. It is

also easier to deal with one set of parents, in cace things go wrong. 2c. Where? Select the meeting place carefully. It should be quiet and private. The seating is also crucial. The teacher should avoid sitting behind a desk, as this puts a barrier between the two parties. Sitting side by side is friendlier and more convenient when looking at written material. 2d. Remove the blame or guilt from the parents. We should not start by saying «There is a problem». We can point out some good points the learners has and then move on to the «but...» section. When the parents try to explain why they cannot do something, we should wait for them to finish and then point out that we do not want them to actually study for or with their child, but to monitor his progress. Having a good list of suggestions or solustions and discussing these with the parents is also part of the homework we should do beforehand. 2e. The real bet Teachers should manage to stay silent. After the situation has been presented, we should let the parents express themselves. We sould use this opportunity to listen an learn a bit more about a side of our student we do not really know. There will also be questions from the parents’ side. We should answer only direct questions and we should insist that we get simple. Yes, No answers to the core questions we pose. 2f. Keep it short and sweet. A parent-teacher meeting should not take more than twenty minutes, or tops half an hour. A longer meeting is just a repetition of the same things and it is unnecessary. In my opinion, the only real problem between parents and teachers is lack of respect. If we respect parents and if parents respect us by accepting to see their child through our eyes, then we can both benefit, but most importantly, the precious one, the student, is the one who can benefit the most.

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