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ı· ÎÂÚ‰›ÛÔ˘Ó ·ÁÔÚ¤˜ 100 ¢ÚÒ
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MA´O™-IOYNIO™ 2007 AÚ. A‰Â›·˜ Y. T‡Ô˘ 3488

Angela Murphy in Greece

Pro Vice-Chancellor University of Central Lancashire
Angela Murphy, the Pro Vice-Chancellor Uni-
versity of Central Lancashire (International, Stu-
dent Affairs and Quality and Standards) visited A-
thens as a guest of the Panhellenic Association of
Language School Owners. Mrs Murphy spoke to
the general assembly of the Europalso members as
well as to Ant1 channel about the University’s co-
operation with Europalso for the administration of
the UCLan Language Examination and the Qual-
ity Assurance Systems in England.
Mrs Murhpy said:
My name is Angela Murphy, I’m Pro Vice – Chan-
cellor for the UCLan and I’m delighted to be here to-
day, this Europalso conference, Europalso is one of
our key – partners in Greece. First of all, I would like
to say a few words about my University. We are lo-
cated in the North – west of England in Preston, we
are a very large University, and we have 36.000 stu-
dents and many of our students are studying in China,
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 24

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K OSMOS B OOK E XHIBITIONS

A£HNA MËÓ ÙȘ £E™™A§ONIKH
1 Î·È 2 ™E¶TEMBPIOY 2007 ¯¿ÛÂÙÂ! TPITH 4 ™E¶TEMBPIOY 2007
HOLIDAY INN GRAND HOTEL PALACE

What remains of the teacher
By Cliff Parry
The British Council, Athens
ome seventy years
S ago, Keynes warned
us that nothing less
than democracy was
endangered by
globalisation.
Governments face a
dilemma which pits the
interests of their citizens
against those of the
“virtual government” –
investors, lenders and
foreign currency traders
who are able to shape and coerce the
economic and financial policies of
developing and developed countries
alike.
As rising rates of unemployment,
disillusionment and hopelessness
among all but the most favoured
minorities indicate, the competition is
highly unbalanced.
The fears extend to education yet few
question the right of
these “invisible hands”
to shape our children. In
truth we do not seem to
care very much. In
education, like all issues,
we cannot identify the
problems – as intended.
Issues on which the
informed public may
differ from prescribed
opinion are generally off
the agenda – they are
non-issues.
We are entering a period of human
history which seems to refute the
claim that it is better to be smart than
stupid, educated rather than ignorant
– a period of biological as opposed to
intellectual values. And just as in the
world around us, intellect may not be
favoured by natural selection (bacteria
for example are far more successful
than humans in terms of survival), so
C M Y K
our society seems to promote
ignorance over intellect.
What remains of education is
heavily skewed towards
vocation and with our elected
representatives seemingly
powerless to rise to the
challenge of providing
(dignified) employment, it is
hardly surprising that
education seems to lack
purpose and be regarded as
an exercise in futility by all
those it involves.
And what remains for me as a
teacher? – the right to choose
among the deluge of similar If the answer is “yes” then it is fair to
commodities offered. Am I to forget hail the triumph of “virtual-
the ridiculous idea that I should education” in preparing people for
manage my own affairs? Am I to “virtual jobs” even though it fails to
abandon the fate of those entrusted to make any discernible effort to instill in
me to the self-described leaders of my people the ideals required to change
field who serve and administer power? our avarice-driven society.
C M Y K
 C M Y K

Michael Robbs
Meet the new Tesol Greece chairperson
Lingua Franca caught up with Michael Robbs, who succeeded anything in class, but we can’t do day convention with well-known
Lilika Couri as chaiperson of Tesol Greece in the recent everything. national and international
In response to the problem of speakers; improved career
elections. Michael, who has been living in Greece for quite some
students getting younger and prospects; the latest information
time now, spoke to us about himself, his views on some “hot” younger, I have tried repeatedly to on resources available; the Special
issues regarding English Language teaching in Greece and of have frank dialogues with parents Interest Groups (Young Learners,
course about his immediate plans for Tesol Greece. about how examinations are English for Special purposes and
geared towards certain age groups English for Academic Purposes,
So, Michael, could you tell us a few pressure on teachers, pressure on and that it might not be in their Multimedia and Computer
things about yourself? students, and the importance child’s best interests to sit for Assisted Language Learning,
I’m from a small village on the attached to examinations. proficiency examinations at the Drama and Literature); a forum; a
border between England and Firstly, there seems to be a great Michael Robbs age of 11 (seriously!). Sometimes rapidly growing resource room; a
Wales, I hold a BA in psychology deal of pressure on teachers (and Tesol Greece chairperson they listen, sometimes they don’t, quarterly newsletter; regular email
and literature, an MA in students) to finish as much but I think that if we keep parents bulletins; and TESOL Greece
TESL/TEFL, and I have lived in material as possible. Teachers Finally, it’s an undeniable fact that informed, they’ll start to take our scholarships and awards. However,
Greece for thirteen years. I must be seen to be covering the tests drive teaching. The emphasis professional advice more seriously. the thing that drew me more than
originally came when I was 18, entire course book so that the in education (both private and As for the question of tests, if we anything else to TESOL Greece
while hitchhiking around Europe, parents of students feel they have public) here is on tests and grades. have good tests then we’ll have was the chance to socialize and
and I loved it so much that I got their value for money. Thus, students rarely see the value good teaching. I think the CEFR network with like minded teachers
vowed to return after completing There is also pressure on students of learning and activities if they (Common European Framework and ELT professionals who really
my studies. I stayed for all the to pass examinations as early as are not tested. of Reference) is having an care about the quality of EFL in
usual reasons (love, good friends, possible so that they can focus on Can anything be done about these important influence on test Greece. I love being able to share
the weather, Greek food, the their university entrance factors? developers, and so tests are getting lessons, ideas and approaches, and
opportunities I have been afforded examinations. Thus, the average I think we need to start focusing better. hear about the trials and
here, and so on) and have never age of students taking formal more on the quality of material we Why did you join TESOL Greece? tribulations of fellow teachers.
regretted leaving the U.K. international examinations is use, rather than the quantity. There are many reasons why Belonging to TESOL Greece
What are your views on the teaching falling annually. Unfortunately, There are many excellent anyone involved in the EFL field reminds me that I’m not alone in
of English as a foreign language in this doesn’t come with a resources available nowadays but in Greece would want to join the classroom.
Greece? corresponding rise in the number we should be selective about what TESOL Greece: professional What are your views on the
There are three factors which of students passing these we use in class, depending on the development through seminars ‘eparkia’ issue?
dominate the EFL field in Greece; examinations. students’ needs. We can do and workshops; the annual two- ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 19

¶ÈÛÙÔÔ›ËÛË ÁψÛÛÔÌ¿ıÂÈ·˜
·Ô‰ÂÎÙ‹ ·fi ÙÔ A™E¶ ηÈ
·fi Ù· BÚÂÙ·ÓÈο ·ÓÂÈÛÙ‹ÌÈ·
™‡Ìʈӷ Ì ÙÔ UCAS, ÙÔÓ ÎÂÓÙÚÈÎfi ÔÚÁ·ÓÈÛÌfi ÂÂ-
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Ù·ÓÈο ·ÓÒٷٷ ȉڇ̷ٷ
Cambridge English for Speakers of Other Languages
(ESOL)
ñ First Certificate in English
ñ Certificate in Advanced English
ñ Certificate of Proficiency in English
University of Central Lancashire English Language
Examinations
Examinations have Reading, Writing, Listening,
Speaking and Use of English components graded
separately from the overall grade on the transcript.
Each examination has pass, merit or distinction.
ñ Certificate in English (Council of Europe Level C2)
Level 3 - Proficient User - pass or above sufficient for
most postgraduate programmes.
ñ Certificate in English (Council of Europe Level C1)
Level 3 - Proficient User - pass or above sufficient for
entry to most undergraduate programmes; merit or
distinction may be sufficient for some postgraduate
programmes.
ñ Certificate in English (Council of Europe Level B2)
Level 2 - Independent User- pass or above sufficient
for some undergraduate programmes.
ñ Certificate in English (Council of Europe Level B1)
Level 2 - Independent User
International English Language Testing System
(IELTS)
T· ÂÚÈÛÛfiÙÂÚ· ȉڇ̷ٷ ··ÈÙÔ‡Ó ÛÎÔÚ ·Ô 5,0-7,5
Trinity
ñ Integrated Skills Test in English (ISE) - Level II and
above.
Test of English as a Foreign Language (TOEFL)
TÔ ··ÈÙÔ‡ÌÂÓÔ ÛÎÔÚ ÔÈΛÏÏÂÈ ·Ó¿ÏÔÁ· Ì ÙËÓ
Û¯ÔÏ‹, ÙÔ ·ÓÙÈΤÈÌÂÓÔ ·ÏÏ¿ Î·È ÙÔÓ ÙÚfiÔ ÂͤٷÛ˘
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ÈÛÙfiÙÔÔ ÙÔ˘ ucas ÛÙËÓ ÂÍ‹˜ ‰È¤˘ı˘ÓÛË
http://www.ucas.co.uk/studyuk/englang.html
C M Y K
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31/8
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̤ۈ Internet)
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·˘Ù‹ ÁÚ¿ÊÔ˘Ì ÛÙËÓ Î·Ù¿ÛÙ·ÛË ÚÔÛˆÈÎÔ‡ ÌfiÓÔ
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MÈ· ¢ÁÂÓÈ΋ ÚÔÛÊÔÚ¿ ÙÔ˘ ¶·ÓÂÏÏËÓ›Ô˘ ™˘Ó‰¤ÛÌÔ˘
I‰ÈÔÎÙËÙÒÓ K¤ÓÙÚˆÓ •¤ÓˆÓ °ÏˆÛÛÒÓ Î·È ÙÔ˘ Aı·Ó¿ÛÈÔ˘
¶··Ï˘Ì¤ÚË §ÔÁÈÛÙ‹, ºÔÚÔÙ¯ÓÈÎÔ‡ ™˘Ì‚Ô‡ÏÔ˘ ÙÔ˘
¶·ÓÂÏÏËÓ›Ô˘.
C M Y K

In this column we will be presenting you with new words, or new uses of old words so that you will always be up to date!
n this column we will be
I presenting you with new
words, or new uses of
old words so that you
will always be up to date !
Starchitect
Britain is in the grip of celebrity
mania: witness the rows of lurid
gossip magazines in your local
newsagent's, or the number of
TV programmes with the word
‘celebrity’ in the title. But in a
world where many of those in the
public eye are simply ‘famous for
being famous’, it's reassuring to
know that talent and skill are still
celebrated.
The cult of celebrity means it's
no longer enough to be quietly
good at something — you need
to be recognized by the public,
preferably rising above your
contemporaries into a class of
your own. Thus the most
successful models are referred to
as ‘supermodels’, while top
international footballers have
been dubbed ‘galacticos’. Now,
even traditionally behind-the-
scenes jobs have their famous
New Word on the Block
faces: just look at the ‘celebrity
chefs’ taking over our screens
and shelves. The latest
professionals to emerge blinking
into the spotlight are architects:
the highest-profile figures are
now being labelled starchitects (a
blend of ‘star’ and ‘architect’)
and fast becoming household
names. The likes of Norman
Foster, Richard Rogers, Frank
Gehry and Santiago Calatrava
have become almost as well
known as their creations, and
their landmark designs can really
boost a city’s cool quotient. (In a
different context, the word
‘starchitect’ has also been
applied to Hollywood actor and
design enthusiast Brad Pitt, with
the slightly pejorative meaning of
‘star turned architect’.)
Of course, this coinage works
particularly well because of the
shared sound in ‘star’ and
‘architect’. It opens up some
other interesting possibilities:
will Damien Hirst and Tracey
Emin become known as
‘startists’, or the Time Team
crew as ‘starchaeologists’?
Perhaps limelight–loving minor
Source: Chambers Wordwatch
Column Editor: Lawrence Mamas
(Betsis ELT) lmamas@yahoo.com
royals could become
‘staristocrats’?
Ecosexual
There once was a time when
people could be classed – at least
in terms of their sexuality – as
either 'heterosexual',
'homosexual' or 'bisexual'. You
might think that this
arrangement would not give
much scope for further
refinement, but in recent years a
number of words have emerged
that play on these terms in an
attempt to define newly
emerging classes of people.
It all started with the idea of the
'metrosexual', the straight urban
male who affects an interest in
traditionally non-male matters
such as fashion and personal
grooming. This cheeky blend of
'metropolitan' and 'heterosexual'
seemed unlikely to make much
of an impact on the English
language when it was coined in
the mid-1990s, but the term hung
around, and by 2003 its time had
definitely come. It seemed to
embody a concept that had
reached the height of fashion,
and as a result it became widely
used and widely understood.
Moreover, it served as a handy
model for other words that were
coined to describe categories of
trendsetting individuals.
So now we also have the
'pomosexual', the post-modernist
who rejects traditional labels
concerning sexuality, and the
'jetrosexual', the jet-setter who
travels the world in pursuit of
fashionable living. One of the
latest variations on this theme is
the ecosexual, the
environmentally aware person
for whom potential life-partners
are assessed not in terms of their
C M Y K
looks, nor in terms of their
wealth, but in terms of their
commitment to the wellbeing of
the planet. Devotees of
conspicuous consumption such
as the metrosexual and the
jetrosexual presumably need not
bother to apply.
Washlet
Japan has a long-standing
reputation as being a country of
innovators, and many cutting-
edge technologies have sprung
from the Land of the Rising Sun.
Now it seems that even the way
we perform our most basic bodily
functions is likely to be
transformed, owing to the rise of
the washlet — a device that has
revolutionized the humble loo in
Japan since its introduction in
1980, and which is now beginning
to gain international recognition.
The washlet is effectively a
combined toilet and bidet:
strategically placed jets of water
emerge from within the bowl to
ensure maximum intergluteal
hygiene. However, many versions
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 27
C M Y

10
TESOL Greece Summer Event
mong the many things
A TESOL Greece is famous
for is the Summer event
which its members look
forward to all year. This year it
was Chania, Crete where the
event was hosted.
The event had been carefully
planned, with arrangements
starting as early as last January.
The hotel for our stay (Porto
Veniziano) and the venue for the
talks (Hotel Kydon) had been
carefully chosen. Both were very
centrally located and our
accommodation gave us access to
a wonderful view of the old port.
PALSO Chania had been very
supportive of our event,
including a flyer advertising the
event in the conference bag they
gave to all attendees of the
Chania PALSO and offering us
free exhibition space there.
Unfortunately the local PALSO
board could not attend as they
Chania 22 – 24 June 2007
Eftichis Kantarakis
TESOL Greece
Newsletter Editor
had to be in Athens for the
PALSO elections. We thank
them for their support which is
greatly appreciated. The week
before the event, one of our
board members (the Newsletter
Editor), visited schools and gave
the flyer to about 25 teachers,
spreading the word that TESOL
Greece is there for all teachers
and ELT professionals.
About 25 local ELT
professionals along with about 25
others visiting from Athens
attended the seminars. The talks
“line-up” was a real mixture of
academic, practical and fun
genres.
Anna Petala started the “show”
with her talk on “Dealing with
C M Y K ME
students with Dyslexia”. Her talk
included some theoretical
background, but focused on
practical ways of helping students
in the classroom with both
reading and writing.
Michael Anetopoulos presented
ways of using the European
Language Portfolio to implement
the Common European
Framework. His animated talk
grabbed the interest of all
attendees.
Fun time started when Fiona
Scott-Barrett presented three
writing games. Always a pleasure
to watch, Fiona took real life
contexts and turned them into The context may have been Of course, the Summer event
activities that were enjoyable for familiar to all, but the way Nick was not just about teaching.
all teachers present, and we all presented it was no less than a When TESOL Greece members
felt sure they would be fun for revelation. As he made clear, it is meet, we like to socialise and
our learners as well. probably one of the most familiar give something for everyone to
topics of discussion among our look forward to until next year.
Nick Micheloudakis wrapped up students and can be exploited for Fish taverns with plenty of raki
the show with a most intriguing listening, speaking and other drinking were on the menu, as
talk on “Sex and the classroom”. activities. ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 13
C M Y K

12
Réflexions sur la «médiation à l'école»
es études et les recherches actuelles en éducation nous
L amènent à faire le constat qu'il est maintenant
impossible de parler d'enseignement sans traiter
d'apprentissage. L'enseignement ne peut donc plus être
considéré comme une simple transmission de connaissances
même si les enseignants se définissent encore comme des
émetteurs ou/et des transmetteurs de connaissances. Or,
l'apprentissage, loin d'être purement cognitif, est d'abord et
avant tout un acte social et affectif qui assimile désormais la
discipline de la médiationÅ.
En effet, le mot médiation a fait récemment son apparition
en éducation. Il jouit actuellement d'une très bonne portée
même si son sens reste assez fluctuant. En fait, il sert le plus
souvent de substitut au mot enseigner, dévalorisé dans la
perspective constructiviste actuelle. Le professeur cherche à
se démarquer du rôle classique de dispensateur des
connaissances et, du coup, il tente de trouver son créneau
dans la relation d'aide, d'encouragement et
d'accompagnement. Donc, mieux vaut être aujourd'hui,
semble-t-il, médiateur que transmetteur de connaissances !
La médiation relève ainsi de tous les modes d'intervention
didactique qui n'hésitent pas à peser de diverses façons, au
profit d'un apprentissage espéré, tout en ne dessaisissant pas
l'apprenant de son engagement en première ligne dans le
processus, puisque personne n'apprend par procuration.
C'est donc tout à la fois une induction pour s'élancer et un
défi à réussir.
La médiation a permis progressivement d'améliorer
l'ambiance de la classe. En voici quelques réponses
enregistrées auprès de professeurs :
Par Constantin TEGOS
ñ Les élèves semblent apprécier l'évaluation continue sur
plusieurs semaines.
ñ Ils se sentent soutenus et s'aperçoivent que la
communication facilite les relations.
ñ Au fur et à mesure de la médiation, les élèves et le
professeur changent d'attitude.
ñ Un certain équilibre s'installe entre eux et une meilleure
relation entre les élèves et le professeur se crée.
ñ Les rôles sont redéfinis.
ñ Les élèves se sentent plus sereins.
ñ Il faut se rendre compte que privilégier l'écouteÇ et
l'interaction en classe les relations entre les élèves et les
professeurs se sont sensiblement améliorées et ce de
manière durable.
Mais, la médiation est un moyen pour apprendre aux élèves
à ne plus réagir dans une situation de conflit par la violence
mais par le dialogue et la négociation. L'idée n'est pas de
faire disparaître les conflits qui peuvent être nécessaires
dans un processus éducatif mais d'apprendre à gérer ces
conflits pour qu'ils deviennent constructifs.
Un enseignant-médiateur, c'est un facilitateur par définition,
celui qui introduit l'esprit méthodique et la systématisation
de l'étudeÑ, celui qui réduit les conflits, celui qui favorise le
dialogue, celui qui demeure l'intermédiaire, enfin c'est un
catalyseur qui met en action et favorise sa nouvelle fonction.
En verbalisant leurs problèmes, les élèves acquièrent des
notions de communication qui permettent la prise de
conscience des difficultés rencontrées dans une relation qui
dérape vers la violence.
La médiation permet de développer le concept de
C M Y K MEMº
citoyenneté car les
élèves intègrent des
règles qu'ils auront
eux-mêmes élaborées
et qui garantissent leur
liberté voire leur vraie
sécurité. Ils deviennent
plus responsables et
acquièrent un état
d'esprit qui devrait se
généraliser dans leur
vie quotidienne à l'école et au sein de la société.
Somme toute, la médiation scolaire combat le décrochage et
l'absentéisme à l'école. Elle réunit tous les acteurs présents
dans l'environnement social des élèves (les parents, les
éducateurs, les enseignants, l'entourage) dans un souci de
cohérence et de respect mutuel et elle vise à donner aux
élèves des outils leur permettant de découvrir et d'affirmer
leur personnalité mais aussi l'envie de réussir mieux leur
scolarité.
(Å) La médiation, en tant que discipline, propose un processus, constitué
d'étapes adaptables au contexte, et de règles de fonctionnement et de
communication dont le médiateur est le garant. Elle a pour objectif d'aboutir,
sans obligation pour le médiateur, au résultat le plus satisfaisant possible pour
les deux parties. Il s'agit d'un mode d'accompagnement des personnes en vue
de prendre une décision commune. cf. http://fr.wikipedia.org/
(Ç) L'enseignement du français au primaire en Grèce : Pourquoi et comment
faire ? cf. : www.editionstegos.com
(Ñ) «Réussir la production écrite des niveaux B1,B2,C1,C2» - La méthodologie
de la production écrite - EDITIONS TEGOS 2007
C M Y K
 13

GOING TO UNIVERSITY IN ENGLAND TESOL Greece

Clearing: Given a second chance Summer Event
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 10
he Higher Education sector fill university places and also

T in England has its very

distinct characteristics. One
of them, is achieving entry
into a university. There is no
central system that decides who
enters which university, and no
system imposes on any university
who to admit. This may sound
strange to us, as we have the very
centralised “esagogiges” which
decide where each candidate will
go, and leaves no room for a
university to choose who to
accept.
In order to achieve some degree
of order, the tertiary education
sector has created an
organisation, Universities and
Colleges Admissions Service,
UCAS, through which candidates
apply specifying a list of six
universities.
The application goes
electronically to the universities
selected by the candidate.
Universities decide to: (a) accept
Foulla Hadjicharou
University of Central Lancashire
Regional Manager, Eastern Mediterranean
a candidate unconditionally, (b)
accept a candidate after he/she
fulfils a condition, or (c) reject
the candidate.
All that is fine, especially if the
answer is an unconditional offer
of place, which secures a place,
or a rejection, in which case you
do not have a place. The
complications start where the
university offers a place
conditionally. In this case you
will have a place if you meet
certain conditions. There are
two university places reserved for
you on pending results. As soon
as the results come out a place is
reserved at the university you
indicated as first choice. The
second place becomes available
at clearing. At the same time
some candidates may not satisfy
any of the conditions of any
university.
The result is that thousands of
university places remain unfilled
while thousands of candidates
remain without a university offer
of place.
The system has foreseen that this
can be corrected by having a
period of time, called “clearing”
during which the universities
change slightly their entry
requirements so that many of the
candidates who may otherwise
not have a university place can
be offered one.
At the same time many of the
candidates modify their
expectations and apply to less
competitive universities. This
two-sided compromise helps to
leave a smaller number of
candidates without a university
place.
This period of clearing officially
starts at the end of June, and it
gets to the peak after the middle
of August, ending to the very
date when universities start
delivering their courses.
Most universities will fill 25-30%
of the available places at about
this time.
Those candidates that have not
been able to secure a place in the
early days of selection do not
need to panic or worry. If one is
patient and looks at the
possibilities of clearing, then one
will be offered a place to fit one’s
abilities and qualifications.
For any further information
Mrs Hadjicharou can be
contacted at 0035 799 639 570
was an impromptu “shots”
session for the benefit of
younger members. Visiting the
city and the nearby beaches was
also included. Falasarna and
Elafonisi were two of the most
beautiful beaches we could ever
hope to visit and a contest was
organised for the best writing on
the sand. The design by Costas
Pitychoutis won unanimously,
and it will be featured as the
cover of our next Newsletter.
The design by our Newsletter
editor, Eftichis Kantarakis, was
rejected as he had merely
managed to get through one
letter by the time Costas had
finished it all.
This summer event left us that
much richer for the experience,
more dedicated to be active
members and with a bit of tan to
remind us that TESOL Greece is
the most fun teacher association
to be a member of. We hope to
see you all at our next event.

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

THE UNIVERSITY OF CENTRAL LANCASHIRE

PRESTON, UK

Announces that
The regional Representative
will interview students and offer “on-the-spot” admissions

The University is one of the largest in the UK, and in many

Areas of study, it is rated “excellent”

Also welcome candidates for Master’s Programmes

Main areas of study:

EDUCATION, ACCOUNTING,
BIOLOGY, BUILDING, CHEMISTRY, PHOTOGRAPHY,
DRAMA, , FINE ART, HOTEL MANAGEMENT,
COMPUTING, LINGUISTICS, MARKETING, MATHS,
MODERN LANGUAGES, PHYSICS, SOCIOLOGY,
SPORTS SCIENCE, TOURISM, TV PRODUCTION.

For further information: email: examsnet@cytanet.com.cy

Telephone: 00357 22449030

14
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TÔ ¿ÚıÚÔ ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ Special Education
http://www.specialeducation.gr/
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E›Ó·È, ÏÔÈfiÓ, ÙÔ˘Ï¿¯ÈÛÙÔÓ ¿‰ÈÎÔ Ó· ˘Ê›ÛÙ·ÓÙ·È ÔÈ Ì·ıË-
Ù¤˜ Ì ‰˘ÛÏÂÍ›·, Ô˘ ¤¯Ô˘Ó fï˜ ·ÚÎÂÙ¤˜ ÈηÓfiÙËÙ˜, ÙȘ Û˘-
Ó¤ÂȘ Ù˘ ¿ÁÓÔÈ·˜ ÙˆÓ ¿ÌÂÛ· ÂÌÏÂÎÔÌ¤ÓˆÓ ÛÙË ‰È··È‰·-
ÁÒÁËÛË ÙÔ˘˜. AÓÙ›ıÂÙ·, fiÙ·Ó ÔÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ ÁÓˆ-
Ú›˙Ô˘Ó fiÙÈ ¤Ó·˜ Û˘ÁÎÂÎÚÈ̤ÓÔ˜ Ì·ıËÙ‹˜ ·ÚÔ˘ÛÈ¿˙ÂÈ ÙËÓ ÂÈ-
‰È΋ Ì·ıËÛȷ΋ ‰˘ÛÎÔÏ›· Î·È ¤¯Ô˘Ó ÂÓËÌÂÚˆı› Â·ÚÎÒ˜
ÁÈ· ÙË Û˘ÌÂÚÈÊÔÚ¿ ÙˆÓ ‰˘ÛÏÂÎÙÈÎÒÓ Ì·ıËÙÒÓ ÁÂÓÈο, ÙfiÙÂ
ı· ÓÈÒıÔ˘Ó ÈÔ ‰˘Ó·ÙÔ› Î·È ı· ¤¯Ô˘Ó ÌÂÁ·Ï‡ÙÂÚË ·˘ÙÔÂ-
Ô›ıËÛË fiÛÔÓ ·ÊÔÚ¿ ÙËÓ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ (Peer & Reid,
2003). £· ¤¯Ô˘Ó ÂÈÛı› fiÙÈ Ë ‰È·Ù‹ÚËÛË Ù˘ ·˘ÙÔÂÎÙ›ÌËÛ˘
ÙÔ˘ Ì·ıËÙ‹ Û ¤Ó· ÈηÓÔÔÈËÙÈÎfi Â›Â‰Ô Â›Ó·È ÚˆÙ·Ú¯È΋˜
ÛÔ˘‰·ÈfiÙËÙ·˜. K·È ·˘Ùfi ‰ÈfiÙÈ ·fi ÙÔ ˘„ËÏfi ‹ ÌË Â›‰Ô
Ù˘ ·˘ÙÔÂÎÙ›ÌËÛ‹˜ ÙÔ˘, ÂËÚ¿˙ÔÓÙ·È ·ÓÙ›ÛÙÔȯ· ‚·ÛÈΤ˜
Ù˘¯¤˜ Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ÙÔ˘ Ì·ıËÙ‹, fiˆ˜ Ë Û˘Ó·ÈÛıËÌ·ÙÈ-
΋ ÙÔ˘ ¢ÛÙ¿ıÂÈ·, ÔÈ ‰È·ÚÔÛˆÈΤ˜ ÙÔ˘ Û¯¤ÛÂȘ, Ë Ì·ıËÛÈ·-
΋ ·Ô‰ÔÙÈÎfiÙËÙ· ÙÔ˘, ÔÈ ÂȉÈÒÍÂȘ ÙÔ˘ ÎÙÏ. °È· Ó· ‰È·ÌÔÚ-
ÊÒÛÂÈ Ô ‰˘ÛÏÂÎÙÈÎfi˜ Ì·ıËÙ‹˜ ÙËÓ ÂÓÙ‡ˆÛË fiÙÈ Â›Ó·È ¿ÍÈÔ˜
Î·È ÈηÓfi˜, Â›Ó·È ·Ó¿ÁÎË «ÔÈ ÛÔ˘‰·›ÔÈ ¿ÏÏÔÈ ÛÙË ˙ˆ‹ ÙÔ˘»,
‰ËÏ·‰‹ ÔÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ, Ó· ÙÔ˘ Û˘ÌÂÚÈÊÂÚıÔ‡Ó ÌÂ
ηٷÓfiËÛË Î·È ˘ÔÌÔÓ‹, Ó· Û‚·ÛÙÔ‡Ó ÙËÓ È‰È·ÈÙÂÚfiÙËÙ·
ÙÔ˘, Ó· ÌËÓ ·Ó‚¿˙Ô˘Ó „ËÏ¿, ¿Óˆ ·fi ÙȘ ‰˘Ó·ÙfiÙËÙ¤˜ ÙÔ˘,
ÙÔÓ ‹¯Ë ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ÙÔ˘ ÂȉfiÛˆÓ, Ó· ÙÔ˘ ·Ó·ı¤ÙÔ˘Ó
‰Ú·ÛÙËÚÈfiÙËÙ˜ ÛÙȘ Ôԛ˜ Ë ÂÈÙ˘¯›· ÙÔ˘ ı· Â›Ó·È ÈÔ Û›-
ÁÔ˘ÚË, Ó· ·ÔʇÁÔ˘Ó ÙÔ˘˜ ÌÂȈÙÈÎÔ‡˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜ ÁÈ'
·˘ÙfiÓ Î.¿.
C M Y K MEMºI™ 52.40.728
H ·ÍÈÔÏfiÁËÛË ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹ ·fi ÙÔÓ ÂÎ·È‰Â˘-
ÙÈÎfi ‰Â ı· Á›ÓÂÙ·È ·ÔÎÏÂÈÛÙÈο Ì ‰È·ÙÔÌÈÎfi ÎÚÈÙ‹ÚÈÔ, ÌÂ
ÙËÓ ÂÎÙ›ÌËÛË ‰ËÏ·‰‹ Ù˘ Â›‰ÔÛ˘ ÙÔ˘ Û ۇÁÎÚÈÛË Ì ÂΛ-
ÓË ÙˆÓ Û˘ÌÌ·ıËÙÒÓ ÙÔ˘. £· Ú¤ÂÈ Ó· ¤¯ÂÈ ÂÚÈÛÛfiÙÂÚÔ ÂÓ-
‰Ô·ÙÔÌÈÎfi ¯·Ú·ÎÙ‹Ú·, Ó· Á›ÓÂÙ·È ‰ËÏ·‰‹ Û ۇÁÎÚÈÛË Ì ÙËÓ
Â›‰ÔÛË ÙÔ˘ Ù˘ ÚÔËÁÔ˘Ì¤Ó˘ ÂÚÈfi‰Ô˘. ŒÙÛÈ Ô ÂÎ·È‰Â˘-
ÙÈÎfi˜ ‰ÂÓ ·Ú·‚ϤÂÈ ÙË ÌÂÈÔÓÂÍ›· ÙÔ˘ Ì·ıËÙ‹ Î·È ‰ÂÓ ·-
Ú·‚È¿˙ÂÈ Ù· ‰ÈηÈÒÌ·Ù· ÙÔ˘ Ô˘ ·ÔÚÚ¤Ô˘Ó ·fi ·˘Ù‹.
OÈ ÁÔÓ›˜ Î·È ÔÈ ‰¿ÛηÏÔÈ, ÁÓˆÚ›˙ÔÓÙ·˜ ÙȘ ȉÈÔÌÔÚʛ˜
ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, ‰Â ı· ÂÎÓ¢ڛ˙ÔÓÙ·È, fiÙ·Ó ·Ú·ÙË-
ÚÔ‡Ó fiÙÈ ÎÔ˘Ú¿˙ÂÙ·È ÁÚ‹ÁÔÚ· ·fi ÙÔ ‰È¿‚·ÛÌ· ÙÔ˘ Î·È ‰Â ı·
ÙÔ˘ ·¢ı‡ÓÔ˘Ó Ù·ÂÈÓˆÙÈÎÔ‡˜ ¯·Ú·ÎÙËÚÈÛÌÔ‡˜, ‰ÈfiÙÈ ı· ͤ-
ÚÔ˘Ó fiÙÈ ÙÔ ·È‰› Û˘Ó·ÓÙ¿ Ú¿ÁÌ·ÙÈ ÔÏϤ˜ ‰˘ÛÎÔϛ˜ ÛÙË
ÁÓˆÛÙÈ΋ ÂÂÍÂÚÁ·Û›· ÙˆÓ Ï¤ÍÂˆÓ ÂÓfi˜ ÎÂÈ̤ÓÔ˘ Î·È Î·Ù·-
Ó·ÏÒÓÂÈ ·ÚÎÂÙfi ¯ÚfiÓÔ ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË ÙÔ˘. E›Û˘, ‰Â ı·
·Á·Ó·ÎÙÔ‡Ó, fiÙ·Ó ‚ϤÔ˘Ó fiÙÈ ‰È·Û¿Ù·È Û˘¯Ó¿ Ë ÚÔÛÔ¯‹
ÙÔ˘ Ì·ıËÙ‹ ‹ fiÙ·Ó Î·ı˘ÛÙÂÚ› ÛÙÔ ÁÚ¿„ÈÌÔ ÙÔ˘ ·ÎfiÌË Î·È
ÛÙËÓ ·ÓÙÈÁÚ·Ê‹.
H ‰˘ÛÎÔÏ›· Ô˘ Û˘Ó·ÓÙ¿ Ô Ì·ıËÙ‹˜ ÛÙËÓ ·ÔÌÓËÌfiÓ¢ÛË
ÔÚÈÛÌÒÓ, ¯ÚÔÓÔÏÔÁÈÒÓ, ÛÙËÓ ÂÎÌ¿ıËÛË Ù˘ ÚÔ·›‰ÂÈ·˜ Î.¿.
Â›Ó·È ·Ó·ÌÂÓfiÌÂÓË Î·È ‰ÂÓ ÚÔ‚ÏËÌ·Ù›˙ÂÈ ÙÔ˘˜ ÂÓËÌÂڈ̤-
ÓÔ˘˜ ÁÔÓ›˜ Î·È ÂÎ·È‰Â˘ÙÈÎÔ‡˜. E›Ó·È ÏÔÈfiÓ ÚÔÂÙÔÈÌ·-
Ṳ̂ÓÔÈ Ó· ‰Â›ÍÔ˘Ó ˘ÔÌÔÓ‹, ·ÏÏ¿ Î·È Ó· ÚÔ¯ˆÚ‹ÛÔ˘Ó ÛÙËÓ
ÂÈÓfiËÛË ÌÓËÌÔÓÈÎÒÓ Ì˯·ÓÈÛÌÒÓ ÚÔ˜ ‰È¢ÎfiÏ˘ÓÛË ÙÔ˘ Ì·-
ıËÙ‹. H ‡ÏÔÁË Î·È ÂÈ‚·ÏÏfiÌÂÓË ÂÈÂÈ΋˜ ÛÙ¿ÛË ÙˆÓ ÁÔÓ¤-
ˆÓ Î·È ÙˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ ·¤Ó·ÓÙÈ ÛÙË ÌÂȈ̤ÓË Â›‰ÔÛË
ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, Î·È ÂӉ¯Ô̤ӈ˜ ·¤Ó·ÓÙÈ Û ο-
ÔȘ ÂÓÔ¯ÏËÙÈΤ˜ ÂÓ¤ÚÁÂȘ ÙÔ˘, ÌÂ Î·Ó¤Ó·Ó ÙÚfiÔ ‰ÂÓ Ú¤-
ÂÈ Ó· ÊÙ¿ÛÂÈ ÛÙËÓ ˘ÂÚ‚ÔÏ‹ Î·È Ó· ηٷϋÍÂÈ ÛÙÔ Ó· ·È-
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 16
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16

E›Ì·È ‰˘ÛÏÂÍÈÎfi˜, fi¯È «Î·Îfi˜» Ì·ıËÙ‹˜!!!

Dr. Theodora Papadopoulou
Educational Consultant-Teacher
theodora_papadopoulou@yahoo.com
ñ Ï¿ıË ÛËÌ›ˆÓ ÛÙ›Í˘
Œ¯Ô˘Ó Ôχ ·˘ÍË̤ÓË Û˘Ó›‰ËÛË ÙÔ˘ ÂÚÈ-
‚¿ÏÏÔÓÙfi˜ ÙÔ˘˜ Î·È Â›Ó·È ÈÔ ÂÚ›ÂÚÁÔÈ ·fi
Ù· ¿ÏÏ· ¿ÙÔÌ· Ù˘ ËÏÈΛ·˜ ÙÔ˘˜. E›Ó·È ÁÓˆ-
ÛÙfi fiÙÈ Ë ÂÚȤÚÁÂÈ· Ô‰ËÁ› ÛÙËÓ ·Ó·˙‹ÙËÛË,
ÙËÓ ÂÍÂÚ‡ÓËÛË Î·È Û˘ÓÂÒ˜ ÙË ÁÓÒÛË. ™Î¤-
ÊÙÔÓÙ·È Î˘Ú›ˆ˜ Ì ÂÈÎfiÓ˜ Î·È Â›Ó·È ÂÍ·ÈÚÂÙÈ-
ÙÔ˘˜ ‰·ÛοÏÔ˘˜ ÙÔ˘˜ fiÙ·Ó ·˘ÙÔ› Â›Ó·È ÈÔ
ηıÔ‰ËÁËÙÈÎÔ›, ‰ÈÔÚıˆÙÈÎÔ› Î·È ‰È·ÎÚÈÙÈÎÔ›
·¤Ó·ÓÙÈ ÙÔ˘˜.
™ÎÔfi˜ ÙÔ˘ ‰·ÛοÏÔ˘ Ú¤ÂÈ Ó· Â›Ó·È Ë ÂÏ·-
¯ÈÛÙÔÔ›ËÛË ÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ Î·È Ë ÚÔ‚Ô-
Ï‹ ÙˆÓ ‰˘Ó·ÙÔÙ‹ÙˆÓ ÙˆÓ ‰˘ÛÏÂÍÈÎÒÓ Ì·ıË-

T
o ÚÒÙÔ ñ Û˘ÓÙ·ÎÙÈο Ï¿ıË
ο ‰È·ÈÛıËÙÈÎÔ›. §fiÁˆ Ù˘ ˙ˆËÚ‹˜ Ê·ÓÙ·Û›·˜ ÙÒÓ.
Ú¿ÁÌ· Ô˘ OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ «ÚÔ‰›‰ÔÓÙ·È» Â›Û˘
ÙÔ˘˜, ‚ÈÒÓÔ˘Ó ¤ÓÙÔÓ· ÙȘ ÛΤ„ÂȘ ÙÔ˘˜ Î·È ‰›- T· ·È‰È¿ Ì ÂȉÈΤ˜ Ì·ıËÛȷΤ˜ ‰˘ÛÎÔ-
¤Ú¯ÂÙ·È ÛÙÔ ·fi ÙËÓ ÂÈÎfiÓ· ÙÔ˘ ÁÚ·ÙÔ‡ ÏfiÁÔ˘ ÙÔ˘˜, Ô˘
ÓÔ˘Ó ÔÏÏ·Ϥ˜ ÂÈÏÔÁ¤˜ Û ‰È¿ÊÔÚ· ÚÔ- ϛ˜ ÌÔÚÔ‡Ó Ó· ‰È‰·¯ÙÔ‡Ó ÙȘ ‰ÂÍÈfiÙËÙ˜
Ì˘·Ïfi ÂÓfi˜ Â›Ó·È Û˘Ó‹ıˆ˜ ·Î·Ù¿ÛÙ·ÙË. ¶·ÚÔ˘ÛÈ¿˙Ô˘Ó
‚Ï‹Ì·Ù·. XÚËÛÈÌÔÔÈÔ‡Ó fiϘ ÙÔ˘˜ ÙȘ ·ÈÛı‹- ÁÚ·Ê‹˜ Î·È ·Ó¿ÁÓˆÛ˘ Û ÁÂÓÈ΋ Ù¿ÍË ·ÎÔ-
·ÓıÚÒÔ˘ fiÙ·Ó ·‰˘Ó·Ì›· ÛÙËÓ Â˘ı˘ÁÚ¿ÌÌÈÛË Î·È ÙÔ ‰È·¯ˆ-
ÛÂȘ, ÁÂÁÔÓfi˜ Ô˘ ÙÔ˘˜ ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ· Ó· ÏÔ˘ıÒÓÙ·˜ ¤Ó· ¢¤ÏÈÎÙÔ Î·È ÈÛÔÚÚÔË̤ÓÔ
Ì·ı·›ÓÂÈ fiÙÈ ¤Ó· ÚÈÛÌfi ÙˆÓ Ï¤ÍÂˆÓ Î·È ‰˘ÛÎÔχÔÓÙ·È Ó· ·ÓÙÈ-
·ÓÙÈÏ·Ì‚¿ÓÔÓÙ·È Ù· Ú¿ÁÌ·Ù· Î·È ÙȘ ηٷ- ÂÎ·È‰Â˘ÙÈÎfi ÚfiÁÚ·ÌÌ· Ô˘ ı· Â͢Ë-
·È‰› Â›Ó·È ‰˘ÛÏÂÍÈÎfi Â›Ó·È Ù· ÚÔ‚Ï‹Ì·Ù· ÁÚ¿„Ô˘Ó Î¿ÙÈ ·fi ÙÔÓ ›Ó·Î·.
ÛÙ¿ÛÂȘ ÔÏ˘‰È¿Ûٷٷ. ÚÂÙ› Î·È ÙȘ ‰ÈΤ˜ ÙÔ˘˜ ·Ó¿ÁΘ.
Ô˘ Û˘Û¯ÂÙ›˙ÔÓÙ·È Ì ÙË Ì¿ıËÛË Î·È Ô‰ËÁÔ‡Ó ŸÛÔ ·ÊÔÚ¿ ÙÔ ÚÔÊÔÚÈÎfi ÏfiÁÔ, ·Ú·ÙËÚÔ‡-
A˘Ùfi Ô˘ ¯ÚÂÈ¿˙ÔÓÙ·È ÔÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ §fiÁˆ ÙˆÓ ‰˘ÛÎÔÏÈÒÓ Ô˘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó, ÔÈ
ÛÙË ÊÙˆ¯‹ Û¯ÔÏÈ΋ ·fi‰ÔÛË. E¿Ó ÙÔ˘ ˙ËÙ‹- ÓÙ·È ÚÔ‚Ï‹Ì·Ù·
Â›Ó·È Î·Ï¿ η- ‰¿ÛηÏÔÈ ·ÛÎÔ‡Ó Â˘ÎÔÏfiÙÂÚ· ÎÚÈÙÈ΋ ÛÙ·
ÛÔ˘Ì ӷ Ê·ÓÙ·ÛÙ› ÙÔ Ì¤ÏÏÔÓ ·˘ÙÔ‡ ÙÔ˘ ·È- Û ˘ Á Î Â Î Ú È Ì ¤ Ó Ô ˘
Ù·ÚÙÈṲ̂ÓÔ˘˜ ‰·- ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ ·ÁÓÔÒÓÙ·˜
‰ÈÔ‡ fiÛÔ ·ÊÔÚ¿ ÙȘ ÛÔ˘‰¤˜ ÙÔ˘ Î·È ÙȘ ·Î·- Ù‡Ô˘ fiˆ˜:
ÛοÏÔ˘˜ Ô˘ η- ÙȘ ÂÚÈÛÛfiÙÂÚ˜ ÊÔÚ¤˜ ÙËÓ Ú·ÁÌ·ÙÈ΋ ʇ-
‰ËÌ·˚Τ˜ ÙÔ˘ ÂȉfiÛÂȘ, ÚÔÊ·ÓÒ˜ ı· Ì·˜ ñ KfiÌÈ·ÛÌ·-
Ù·ÓÔÔ‡Ó ÙË Ê‡ÛË ÛË ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜.
ÂÈ fiÙÈ ÔÈ ·ÔÙ˘¯›Â˜ ÙÔ˘ ‰˘ÛÏÂÍÈÎÔ‡ ·ÙfiÌÔ˘ ÛÙ·Ì¿ÙËÌ· ·Ó¿-
ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜, ¶Ú¤ÂÈ Ó· ÁÓˆÚ›˙Ô˘Ì fï˜ fiÙÈ Ë ÛÙ¿ÛË ÙÔ˘
ı· Â›Ó·È ÂÚÈÛÛfiÙÂÚ˜ ·fi ÙȘ ÂÈÙ˘¯›Â˜ ÙÔ˘ ÌÂÛ· ÛÙȘ ϤÍÂȘ.
ÁÓˆÚ›˙Ô˘Ó Î·Ï¿ ‰·ÛοÏÔ˘ ·¤Ó·ÓÙÈ ÛÙ· ¿ÙÔÌ· Ì ̷ıËÛÈ·-
ÌÈ·˜ Î·È Ë Û¯ÔÏÈ΋ ÙÔ˘ ˙ˆ‹ ÚÔηıÔÚ›˙ÂÙ·È ñ ÊÙˆ¯fi Î·È ÛÙÂ-
ÙȘ ·‰˘Ó·Ì›Â˜ η- Τ˜ ‰˘ÛÎÔϛ˜ Â›Ó·È Î·ıÔÚÈÛÙÈ΋ ÁÈ· ÙȘ η-
‰‡ÛÎÔÏË Î·È Â›ÌÔ¯ıË. ÚÂfiÙ˘Ô ÏÂÍÈÏfiÁÈÔ ıÒ˜ Î·È ÙȘ ‰˘Ó·- Ϥ˜ ‹ ¿Û¯Ë̘ Û¯¤ÛÂȘ ÙˆÓ ·È‰ÈÒÓ Ì ÙÔ˘˜ Ô-
H ·Ï‹ıÂÈ· Â›Ó·È fiÙÈ Ô ‰˘ÛÏÂÍÈÎfi˜ Ì·ıËÙ‹˜ ·- Û ۯ¤ÛË Ì ÙËÓ Ë-
ÙfiÙËÙ˜ ÙˆÓ Ì·ıË- ÌÔÏfiÁÔ˘˜ ÙÔ˘˜.
ÓÙÈÌÂÙˆ›˙ÂÈ ÌÈ· ÛÂÈÚ¿ ÚÔ‚ÏËÌ¿ÙˆÓ Ô˘ ÏÈΛ· ÙÔ˘˜.
ÙÒÓ ÙÔ˘˜ Î·È Â›Ó·È Œ¯ÂÈ ˘ÔÛÙËÚȯÙ› fiÙÈ ÂÓ›ÔÙ ÔÈ ‰¿ÛηÏÔÈ ¤-
ηıÈÛÙÔ‡Ó ÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘ ‰‡- ñ MÂÚÈΤ˜ ‰˘ÛÎÔ-
Úfiı˘ÌÔÈ Ó· ÚÔ- ¯Ô˘Ó ÙËÓ Ù¿ÛË Ó· ‰›ÓÔ˘Ó ˘ÂÚ‚ÔÏÈο ÌÂÁ¿ÏË
ÛÎÔÏË. T· ÚÔ‚Ï‹Ì·Ù· ·˘Ù¿ ÂÛÙÈ¿˙ÔÓÙ·È Î˘- ϛ˜ ÛÙËÓ ¿ÚıÚˆÛË
Û·ÚÌfiÛÔ˘Ó ÙÔ ÂÎ- ÚÔÛÔ¯‹ Û ¯·Ú·ÎÙËÚÈÛÙÈο Ô˘ ÙÔÓ›˙Ô˘Ó ÙË
Ú›ˆ˜ ÛÙÔ ÁÚ·Ùfi Î·È ÚÔÊÔÚÈÎfi ÏfiÁÔ. ñ MÔÓfiÙÔÓË Î·È ·È‰Â˘ÙÈÎfi ÙÔ˘˜ ‰È·ÊÔÚÂÙÈÎfiÙËÙ· ÙˆÓ ·È‰ÈÒÓ Ì ̷ıËÛȷΤ˜
AÍ›˙ÂÈ Ó· ÛËÌÂÈÒÛÔ˘Ì fiÙÈ Ë ÁÚ·Ê‹ Â›Ó·È ÌÈ· · Ó ¤ Î Ê Ú · Û Ù Ë
ÚfiÁÚ·ÌÌ· ÛÙ· ‰˘ÛÎÔϛ˜ (Weinstein, 1982). H ÚÔÛÔ¯‹ ·˘Ù‹
ÁÚ·ÊÔÎÈÓËÙÈ΋ ÂÓ¤ÚÁÂÈ· Î·È ‰È·ÎÚ›ÓÂÙ·È Û : ¯ÚÔÈ¿ ʈӋ˜ Ô˘
Ó¤· ‰Â‰Ô̤ӷ Ô˘ ÌÔÚ›, ¤ÛÙˆ Î·È ¯ˆÚ›˜ Ó· ˘¿Ú¯ÂÈ Ë ·Ó¿ÏÔ-
ñ AÓÙÈÁÚ·Ê‹ ‰ËÏÒÓÂÈ ·Ó·ÛÊ¿- ÚÔ·ÙÔ˘Ó ·fi ÁË ÚfiıÂÛË, Ó· ‰›ÓÂÈ ÙËÓ ÂÓÙ‡ˆÛË Ù˘ ·ÚÓË-
ñ K·ı’ ˘·ÁfiÚ¢ÛË ÏÂÈ· ÙËÓ ‡·ÚÍË ‰˘- ÙÈ΋˜ ÂÎÙ›ÌËÛ˘ ‹ Î·È Ó· ˘ÔÓÔ› ÚÔÛ‰ÔΛ·
ñ Afi ÌÓ‹Ì˘ ñ XÚ‹ÛË Û˘ÁÎÂ- ÛÏÂÍÈÎÒÓ ·ÙfiÌˆÓ ÁÈ· ηÙÒÙÂÚË ‹ ¯ÂÈÚfiÙÂÚË ·fi‰ÔÛË ·fi Ù·
ñ A˘ıfiÚÌËÙË ÁÚ·Ê‹ ÎÚÈÌ¤ÓˆÓ Ï¤ÍÂˆÓ Û ̛· ÂÓÈ·›· Ù¿- ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜. TÔ ÁÂÁÔÓfi˜
OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜ ·ÚÔ˘ÛÈ¿˙Ô˘Ó ÚÔ- Î·È ÂÎÊÚ¿ÛˆÓ
ÍË. O ÚfiÏÔ˜ ÙÔ˘ ·˘Ùfi ÌÔÚ› Ó· ÂËÚ¿ÛÂÈ ÙËÓ ÎÔÈÓˆÓÈ΋ ı¤-
‚Ï‹Ì·Ù· Û fiÏ· Ù· ›‰Ë ÁÚ·Ê‹˜. AÓ¿ÏÔÁ· Ì ÙË Ê‡- ‰·ÛοÏÔ˘ ÛÙËÓ ÛË ·˘ÙÒÓ ÙˆÓ ·È‰ÈÒÓ Î·È ÂÓ‰¤¯ÂÙ·È ·ÎfiÌ·
O Ì·ıËÙ‹˜ ·ÚÔ˘ÛÈ¿˙ÂÈ Â›Û˘ ·Ó·ÁÓˆÛÙÈο ÛË ÙÔ˘ ÚÔ‚Ï‹Ì·-
ÂÎ·›‰Â˘ÛË ÙÔ˘ Î·È Ó· ÂÓı·ÚÚ‡ÓÂÈ ÙËÓ ÂΉ‹ÏˆÛË ¿Û¯Ë̈Ó
ÚÔ‚Ï‹Ì·Ù· Î·È Ë ¤ÎÊÚ·ÛË ÙÔ˘ Â›Ó·È ÊÙˆ¯‹ ÙÔ˜, Ô ‰˘ÛÏÂÍÈÎfi˜
Ì·ıËÙ‹ Ì ÂȉÈΤ˜ Û˘ÌÂÚÈÊÔÚÒÓ ÂΠ̤ÚÔ˘˜ ÙˆÓ Û˘ÌÌ·ıËÙÒÓ
Û ۯ¤ÛË Ì ·˘Ù‹ ÙˆÓ ÔÌÔÏfiÁˆÓ ÙÔ˘. Ì·ıËÙ‹˜ ·ÓÙÈÌÂ- Sylvia Kar Publications Ì·ıËÛȷΤ˜ ‰˘- ÙÔ˘˜. E›Ó·È ÛËÌ·ÓÙÈÎfi ÁÈ· ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈ-
¶ÈÔ Û˘ÁÎÂÎÚÈ̤ӷ, Ë ·Ó¿ÁÓˆÛË ÂÓfi˜ ‰˘ÛÏÂÍÈ- Ùˆ›˙ÂÈ ÌÈ· ÛÂÈÚ¿ Contact Us: 210-6390030, 210-6081673 ÛÎÔϛ˜ Â›Ó·È ÏÂ- ÎÔ‡˜ Î·È ÙÔ˘˜ ÁÔÓ›˜ Ó· ηٷÓÔ‹ÛÔ˘Ó Ì ۷-
ÎÔ‡ ·ÙfiÌÔ˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÔÚÈṲ̂Ó˜ ‰˘ÛÎÔ- ÚÔ‚ÏËÌ¿ÙˆÓ Ô˘
Ùfi˜ Î·È Î·ıÔÚÈ- Ê‹ÓÂÈ· ÙÈ ·ÎÚÈ‚Ò˜ Â›Ó·È Ë ‰˘ÛÏÂÍ›· Î·È ÙÈ ÙËÓ
ϛ˜ ΢ڛˆ˜ ÛÙ· ÁÚ¿ÌÌ·Ù·, ÙȘ Û˘ÏÏ·‚¤˜, ÙȘ ηıÈÛÙÔ‡Ó ·Ó·Áη›· ÙË ‰È·ÊÔÚÂÙÈ΋ ÂÎ·È-
ÛÙÈÎfi˜. MÂÁ¿ÏÔ˜ ·ÚÈıÌfi˜ ÂÚ¢ÓÒÓ ·Ô‰ÂÈ- ÚÔηÏ›. H ÁÓÒÛË Ì·˜ ‰›ÓÂÈ ÙË ‰˘Ó·ÙfiÙËÙ·
ϤÍÂȘ, ÙȘ ÚÔÙ¿ÛÂȘ, ÙÔ Î›ÌÂÓÔ, ÙÔÓ ÙÔÓÈÛÌfi ‰Â˘ÙÈ΋ ÚÔÛ¤ÁÁÈÛË ÚÔÎÂÈ̤ÓÔ˘ Ó· ÙÔ˘ ‰Ô-
ÎÓ‡ÂÈ fiÙÈ Ù· ·È‰È¿ Ì ̷ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜ Ó· ·ÓÙÈÌÂÙˆ›ÛÔ˘Ì ÙÔ˘˜ ‰˘ÛÏÂÍÈÎÔ‡˜ Ì·ıË-
Î·È Ù· ÛËÌ›· ÛÙ›Í˘. ı› Ë Â˘Î·ÈÚ›· Ó· ‰È·Ú¤„ÂÈ Û ¤Ó· ÊÈÏfiÍÂÓÔ ·ÏÏËÏÂȉÚÔ‡Ó ÂÚÈÛÛfiÙÂÚÔ Ì ÙÔ˘˜ ‰·Ûο- Ù¤˜ ÛˆÛÙ¿, Ó· οÓÔ˘Ì ¤ÁηÈÚË ·Ú¤Ì‚·ÛË
MÂÚÈΤ˜ ·fi ·˘Ù¤˜ ÙȘ ‰˘ÛÎÔϛ˜ Â›Ó·È ÔÈ: Û¯ÔÏÈÎfi ÂÚÈ‚¿ÏÏÔÓ. ÏÔ˘˜ ÙÔ˘˜ ·fi fiÙÈ Ù· ·È‰È¿ ¯ˆÚ›˜ Ì·ıËÛÈ·- Î·È Ó· Û˘Ì‚¿ÏÏÔ˘Ì ÛÙË ‰ËÌÈÔ˘ÚÁ›· Ì·ıË-
ñ ·ÓÙÈηٷÛÙ¿ÛÂȘ ¢ÂÓ Ú¤ÂÈ Ó· ͯӿÌ fiÙÈ ÔÈ ‰˘ÛÏÂÍÈÎÔ› Ì·- ο ÚÔ‚Ï‹Ì·Ù·. ÙÒÓ Ô˘ ¯·›ÚÔÓÙ·È ÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıË-
ñ ÚÔÛı¤ÛÂȘ-·ÚÂÌ‚ÔϤ˜ ıËÙ¤˜ ¤¯Ô˘Ó fiÏ· Ù· ÚÔÛfiÓÙ· ÁÈ· Ó· Á›ÓÔ˘Ó Â- H ‡·ÚÍË ·˘ÙÔ‡ ÙÔ˘ Ê·ÈÓÔ̤ÓÔ˘ ÂÈÛËÌ·›ÓÂÈ Û˘ Î·È Â›Ó·È ¤ÙÔÈÌÔÈ Ì¤Û· ·fi ÂÈÙ˘¯Ë̤Ó˜
ñ ·Ê·ÈÚ¤ÛÂȘ-·Ú·Ï›„ÂȘ Í·›ÚÂÙÔÈ ÂÈÛÙ‹ÌÔÓ˜. E›Ó·È Â˘Ê˘‹ ¿ÙÔÌ· Ì ÙË ÛËÌ·Û›· Ù˘ ÛˆÛÙ‹˜ Û¯¤Û˘ ‰·ÛοÏÔ˘- ÚÔÛ¿ıÂȘ Ó· ‚¿ÏÔ˘Ó Ó¤Ô˘˜ ÛÙfi¯Ô˘˜ ÛÙË
ñ ·ÓÙÈÛÙÚÔʤ˜-·ÓÙÈÌÂÙ·ı¤ÛÂȘ ˘„ËÏfi ‰Â›ÎÙË ÓÔËÌÔÛ‡Ó˘. Œ¯Ô˘Ó ˘„ËÏfi Â- Ì·ıËÙ‹ Ì ̷ıËÛȷο ÚÔ‚Ï‹Ì·Ù·. ˙ˆ‹ ÙÔ˘˜.
ñ Ì·Ó٤̷ٷ-ÚÔÏ‹„ÂȘ ÛˆÙÂÚÈÎfi ΛÓËÙÚÔ Â›Ù¢Í˘ Ô˘ Ì ηٿÏÏË- OÈ ‰˘ÛÏÂÍÈÎÔ› Ì·ıËÙ¤˜, ηıÒ˜ Î·È fiÏÔÈ ÔÈ Ì·- A˜ ‰Ô‡Ì ÏÔÈfiÓ ÙË ‰˘ÛÏÂÍ›· ˆ˜ ¯¿ÚÈÛÌ· ÁÈ·
ñ ·Ú·ÙÔÓÈÛÌÔ› ÏË Î·ıÔ‰‹ÁËÛË ÌÔÚ› Ó· ÙÔ˘˜ Ô‰ËÁ‹ÛÂÈ ÛÙËÓ ıËÙ¤˜ Ô˘ ·ÓÙÈÌÂÙˆ›˙Ô˘Ó Ì·ıËÛȷο ÚÔ- ÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜ Î·È ˆ˜ ÚfiÎÏËÛË ÁÈ· ÂÌ¿˜
ñ Â·Ó·Ï‹„ÂȘ ÂÈÙ˘¯›·. ‚Ï‹Ì·Ù·, ·ÏÏËÏÂȉÚÔ‡Ó ÂÚÈÛÛfiÙÂÚÔ Ì ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜.

™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 14 ·›‰Â˘ÛË Ì ÙÔ˘˜ Û˘ÌÌ·ıËÙ¤˜ ÙÔ˘˜.

Ûı·ÓıÔ‡Ó Ô›ÎÙÔ ÁÈ· ÙÔ Ì·ıËÙ‹.
OÈ ÂÓËÌÂڈ̤ÓÔÈ ÁÔÓ›˜ Î·È ‰¿-
ÛηÏÔÈ ı· Â›Ó·È ·‰ÈηÈÔÏfiÁËÙÔÈ,
·Ó ‰ËÌÈÔ˘ÚÁ‹ÛÔ˘Ó ÙËÓ ÂÓÙ‡ˆÛË
ÛÙÔ ‰˘ÛÏÂÎÙÈÎfi Ì·ıËÙ‹ fiÙÈ, ÂÍ·È-
Ù›·˜ ÙˆÓ Ú·ÁÌ·ÙÈÎÒÓ ‰˘ÛÎÔÏÈÒÓ
Ô˘ ·ÚÔ˘ÛÈ¿˙ÂÈ ÛÙË Ì¿ıËÛË, ‰È-
ηÈÔ‡Ù·È Ó· ˘ÈÔıÂÙ‹ÛÂÈ ÙËÓ Ù·ÎÙÈ΋
Ù˘ ‹ÛÛÔÓÔ˜ ÚÔÛ¿ıÂÈ·˜ ÛÙÔ Ì·-
ıËÛÈ·Îfi ¤ÚÁÔ ÙÔ˘.
M ÙȘ „˘¯Ô·È‰·ÁˆÁÈΤ˜ ·˘Ù¤˜
ÂÓ¤ÚÁÂȘ ÙˆÓ ÁÔÓ¤ˆÓ Î·È ÙˆÓ ÂÎ-
·È‰Â˘ÙÈÎÒÓ ÛÙËÓ ·ÓÙÈÌÂÙÒÈÛË
ÙÔ˘ ‰˘ÛÏÂÎÙÈÎÔ‡ Ì·ıËÙ‹, Ô˘ Èı·-
ÓfiÓ Â›Ó·È Î·È ÔÈ ÛËÌ·ÓÙÈÎfiÙÂÚ˜,
‚ÔËıÔ‡ÓÙ·È ÔÈ Ì·ıËÙ¤˜ Ì ‰˘ÛÏÂ-
Í›· Ó· ·ԉ¯ÙÔ‡Ó ÙÔÓ Â·˘Ùfi ÙÔ˘˜
Ì ÙȘ οÔȘ ·‰˘Ó·Ì›Â˜ ÙÔ˘, ÁÂ-
ÁÔÓfi˜ Ô˘ Û˘ÓÈÛÙ¿ ÙËÓ Î·ıÔÚÈÛÙÈ-
ÎfiÙÂÚË ·Ú¿ÌÂÙÚÔ Ù˘ „˘¯È΋˜ È-
ÛÔÚÚÔ›·˜, Î·È Ó· ‰È·Ê˘Ï¿ÍÔ˘Ó ÙË
Û˘Ó·ÈÛıËÌ·ÙÈ΋ ÛÙ·ıÂÚfiÙËÙ·
ÙÔ˘˜. N· ÓÈÒıÔ˘Ó Â˘¯¿ÚÈÛÙ· ·Ó¿-
¶Èı·Ó¤˜ Û˘Ó¤ÂȘ Ù˘ ¿ÁÓÔÈ·˜ ÙˆÓ ÁÔÓ¤ˆÓ
ÌÂÛ· ÛÙÔ˘˜ Û˘ÌÌ·ıËÙ¤˜ ÙÔ˘˜ ηÈ
Ó· ¯·›ÚÔÓÙ·È ÙȘ ‰È¿ÊÔÚ˜ ÛÙÈÁ̤˜
Ù˘ Û¯ÔÏÈ΋˜ ÙÔ˘˜ ˙ˆ‹˜. N· ηٷ-
ÓÔ‹ÛÔ˘Ó fiÙÈ Ë ÁÓÒÛË Â›Ó·È ¤Ó· Ô-
χÙÈÌÔ ÔÏÈÙÈÛÙÈÎfi ·Á·ıfi, ÁÈ· ÙËÓ
ηٿÎÙËÛË ÙÔ˘ ÔÔ›Ô˘ ··ÈÙ›ٷÈ
Û˘Ó¯‹˜ ·ÁÒÓ·˜ Î·È Â›ÌÔÓË ÚÔ-
Û¿ıÂÈ·, Ù· ·ÔÙÂϤÛÌ·Ù· fï˜
·˘ÙÒÓ, fiÔÈ· Î·È ·Ó ›ӷÈ, ı· Ú¤-
ÂÈ Ó· Ù˘Á¯¿ÓÔ˘Ó ÌÈ·˜ ÛÎfiÈÌ· ÂÎ-
‰ËÏÔ‡ÌÂÓ˘ ÂȉÔÎÈÌ·Û›·˜ ·fi
ÙÔ˘˜ ¿ÏÏÔ˘˜. ŒÙÛÈ Ë Ì¿ıËÛË ı·
·‡ÛÂÈ Ó· Â›Ó·È ÌÈ· ‰È·‰Èηۛ·
Ô˘ ÚÔηÏ› ÌÔӛ̈˜ Î·È ÙËÓ ·Ô-
ÛÙÚÔÊ‹ ÙÔ˘˜. N· ÚÔۂϤÔ˘Ó ÌÂ
·ÈÛÈÔ‰ÔÍ›· ÛÙÔ Ì¤ÏÏÔÓ, fiˆ˜ Î·È ÔÈ
Ê›ÏÔÈ ÙÔ˘˜, Î·È Ó· ÔÚ·Ì·Ù›˙ÔÓÙ·È
ÙËÓ Â·ÁÁÂÏÌ·ÙÈ΋ Î·È ÎÔÈÓˆÓÈ΋
ηٷ͛ˆÛË ÙÔ˘˜.
H ˘‡ı˘ÓË ÂÓË̤ڈÛË Î·È Ë
¢·ÈÛıËÙÔÔ›ËÛË ÙˆÓ ÂÎ·È‰Â˘ÙÈ-
ÎÒÓ Ù˘ ¶ÚˆÙÔ‚¿ıÌÈ·˜ Î·È Ù˘
¢Â˘ÙÂÚÔ‚¿ıÌÈ·˜ EÎ·›‰Â˘Û˘ ‰ÂÓ
ÌÔÚÔ‡Ó ¿ÏÏÔ Ó· ηı˘ÛÙÂÚ‹ÛÔ˘Ó.
O‡ÙÂ Â›Ó·È ‰˘Ó·ÙfiÓ Ó· Û˘Ó¯ÈÛÙ› Ë
¤ÏÏÂÈ„Ë ÂȉÈο ۯ‰ȷṲ̂Ó˘ ÂÍ·-
ÙÔÌÈÎÂ˘Ì¤Ó˘ ˘ÔÛÙËÚÈÎÙÈ΋˜ ‰È-
‰·Ûηϛ·˜ ÁÈ· ηı¤Ó·Ó ·fi ÙÔ˘˜
Ì·ıËÙ¤˜ Ì ‰˘ÛÏÂÍ›·. H ÂÓË̤ڈ-
ÛË ı· ‚ÔËı‹ÛÂÈ ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈ-
ÎÔ‡˜ Î·È ÛÙËÓ ÂÁ΢ÚfiÙÂÚË ·Ó›¯Ó¢-
ÛË ÙˆÓ ÂȉÈÎÒÓ Ì·ıËÛÈ·ÎÒÓ ‰˘-
ÛÎÔÏÈÒÓ, fiÔ˘ ˘¿Ú¯Ô˘Ó, Î·È ÛÙËÓ
ÂÈÛÙÈÎfiÙÂÚË ·ÚfiÙÚ˘ÓÛË ÙˆÓ ÁÔ-
Ó¤ˆÓ Ó· ηٷʇÁÔ˘Ó Û οÔÈÔ Î¤-
ÓÙÚÔ ÁÈ· ÙËÓ ¤ÁηÈÚË ‰È¿ÁÓˆÛË È-
ı·Ó‹˜ ‰˘ÛÏÂÍ›·˜. ¢ÈfiÙÈ fiÛÔ ÚˆÈ-
ÌfiÙÂÚ· ‰È·ÁÓˆÛÙ› Ë ‰˘ÛÏÂÍ›· ηÈ
·Ú·Û¯Âı› ÛÙÔ˘˜ Ì·ıËÙ¤˜ ·˘ÙÔ‡˜
Û˘ÛÙËÌ·ÙÈ΋-‰È‰·ÎÙÈ΋ ·ÁˆÁ‹ Ùfi-
ÛÔ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙÂÚ· «ı· ÌÔ-
Ú¤ÛÔ˘Ó Ó· ÍÂÂÚ¿ÛÔ˘Ó ÙȘ ÈÔ ÔÏ-
Ϥ˜ ·Ó·ÁÓˆÛÙÈΤ˜ Î·È ÔÚıÔÁÚ·ÊÈ-
Τ˜ ‰˘ÛÎÔϛ˜» (¶fiÚÔ‰·˜, 1981,
Û. 18).
E›Ó·È ηٷʷӤ˜ ˆ˜ Ë ‰È·ÈÒÓÈ-
ÛË Ù˘ ·Ú·Í›·˜ ·¤Ó·ÓÙÈ ÛÙÔ Úfi-
‚ÏËÌ· Ù˘ ‰˘ÛÏÂÍ›·˜ Û˘ÓÂ¿ÁÂÙ·È,
ÂÎÙfi˜ ·fi ÙËÓ ·‰ÈΛ· Û ‚¿ÚÔ˜ ÙˆÓ
Ì·ıËÙÒÓ ·˘ÙÒÓ Î·È ÙËÓ ·Ú·‚›·ÛË
ÙÔ˘ ‰ÈηÈÒÌ·ÙÔ˜ ÙÔ˘˜ ÁÈ· ›ÛË ÂÎ-
BÈ‚ÏÈÔÁÚ·Ê›·
- Bruner, J. S. (1966). Toward a theory of
instruction. New York: W. W. Norton &
Company, INC.
- Howe, M. J. A. (1990). Does intelligence exist?
The Psychologist of the British Psychological
society, 3 (11), 490-493.
- Ldonline Organization (2003). Specific
Learning Disabilities: "Finding Common
Ground" in Learning Disabilities On line
Report-January 2003: http://WWW. ldonline.
org/news/commonground. html
- Lyon, G. R. (1996). Special education for
students with disabilities. The fucture of
children. E- Learning disabilities, 6 (1).
- Peer, L., & Reid, G. (2003). Introduction to
dyslexia. London: David Fulton Publishers.
- ¶fiÚÔ‰·˜, K. (1981). ¢˘ÛÏÂÍ›·, H ÂȉÈ΋
‰È·Ù·Ú·¯‹ ÛÙË Ì¿ıËÛË ÙÔÓ ÁÚ·ÊÙÔ‡ ÏfiÁÔ˘.
°È· ÌÈ· ÂÎ·›‰Â˘ÛË Ô˘ ı· ÂӉȷ-
ʤÚÂÙ·È ·ÊÂÓfi˜ ÁÈ· ÙËÓ Î·Ù¿ÏÏËÏ·
ηıÔ‰ËÁÔ‡ÌÂÓË ÚÔÒıËÛË Ù˘ Ì¿-
ıËÛ˘ ÙÔ˘˜ Î·È ·ÊÂÙ¤ÚÔ˘ ÁÈ· ÙË
‰È·ÌfiÚʈÛË ÙÔ˘˜ ˆ˜ ·ÙfiÌˆÓ ÌÂ
„˘¯È΋ ˘Á›· Î·È ÎÔÈÓˆÓÈ΋ ¢·È-
ÛıËÛ›·, ˘¢ı‡ÓˆÓ Î·È ‰ËÌÈÔ˘ÚÁÈ-
ÎÒÓ.
Aı‹Ó·: ·˘ÙԤΉÔÛË.
- Rosenthal, R., & Jacobson, L. (1968).
Pygmalion in the classroom. Holt: Rinehart &
Winston, Inc.
- Rothman, H. R., & Cosden, M. (1995). Self-
perception of a learning disability: self-concept
and social support. Learning disability
Quarterly, 18, 203-212.
- Rutter, M., & Giller, H. (1983). Juvenile
Delinquency:Trends and perspectives.
Harmoudswarth, Middlesex: Penguin.
- T·Ófi˜, °. XÚ. (1995). °ÓˆÚ›˙ÔÓÙ·˜ ηχÙÂÚ·
ÙÔ ·È‰›. Aı‹Ó·: ·˘ÙԤΉÔÛË.
TÔ ¿ÚıÚÔ ÚÔ¤Ú¯ÂÙ·È ·fi ÙÔ Special Education
http://www.specialeducation.gr/
H URL ·˘ÙÔ‡ ÙÔ˘ ¿ÚıÚÔ˘ ›ӷÈ:
http://www.specialeducation.gr/modules.php?o
p=modload&name=News&file=article&sid=
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T ·ÔÙÂÏ› ¤Ó· ·fi Ù· Ó¤· ÂȉÔÙÔ‡-
ÌÂÓ· ÚÔÁÚ¿ÌÌ·Ù· Ù˘ E˘Úˆ·˚-
΋˜ ŒÓˆÛ˘ Ì ‚·ÛÈÎfi ÛÙfi¯Ô ÙËÓ
ÂÓË̤ڈÛË ÙÔ˘ ÎfiÛÌÔ˘ ÙˆÓ Í¤ÓˆÓ
ÁψÛÛÒÓ ·Ó¿ ÙËÓ E˘ÚÒË, Û¯ÂÙÈο Ì 6
ÚˆÙÔÔÚȷο ÚÔÁÚ¿ÌÌ·Ù·. ŸÏ· Ù·
ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È ÂÁÎÂÎÚÈ̤ӷ ·fi
ÙÔ ˘ÔÚfiÁÚ·ÌÌ· SOCRATES-
LINGUA II Ô˘ ¤¯ÂÈ ˆ˜ ‚·ÛÈÎfi ÙÔ˘
ÛÎÔfi ÙË ‰È¿‰ÔÛË Î·È ÚÔÒıËÛË ÙˆÓ
Í¤ÓˆÓ ÁψÛÛÒÓ Î·È ÙËÓ ·Ó¿Ù˘ÍË Ó¤ˆÓ
ÙÚfiˆÓ ÂÎ·›‰Â˘Û˘.
™Ùfi¯Ô˜ ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ AT EVERY
HOME Â›Ó·È Ó· ÂÍÔÈÎÂÈÒÛÂÈ ÙÔ ÎÔÈÓfi
Ì Ӥ· Î·È Û‡Á¯ÚÔÓ· ÂÚÁ·Ï›· Ô˘ ¯ÚË-
ÛÈÌÔÔÈÔ‡ÓÙ·È ÛÙË ‰È‰·Ûηϛ· Î·È ÛÙËÓ
ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ ÁÈ· Ó· ÌÔ-
Ú¤ÛÔ˘Ó fiÏÔÈ ÔÈ E˘Úˆ·›ÔÈ Ôϛ٘ Ó·
Ï¿‚Ô˘Ó ÁÓÒÛË ÁÈ· ÙȘ Ӥ˜ Ù¯ÓÈΤ˜ Ô˘
‰‡Ó·Ù·È Ó· ÂÊ·ÚÌÔÛÙÔ‡Ó. TÔ ÚfiÁÚ·Ì-
Ì· ·˘Ùfi ·ÔÙÂÏ› Ì›· ÊÈÏfi‰ÔÍË Û˘ÓÂÚ-
Á·Û›· ÌÂٷ͇ EÏÏ¿‰·˜, AÁÁÏ›·˜, IÙ·-
Ï›·˜, BÂÏÁ›Ô˘, TÔ˘ÚΛ·˜, BÔ˘ÏÁ·Ú›·˜
Î·È O˘ÁÁ·Ú›·˜.
O EΉÔÙÈÎfi˜ O›ÎÔ˜ ™Ù·Ê˘Ï›‰Ë ‰Ú·ÛÙË-
ÚÈÔÔÈ›ٷÈ, Ù· ÙÂÏÂ˘Ù·›· ¯ÚfiÓÈ·, Ì ÌÂ-
Á¿ÏË ÂÈÙ˘¯›· ÛÙË Û˘ÁÁÚ·Ê‹ ÍÂÓfiÁψÛ-
ÛˆÓ ÁψÛÛÈÎÒÓ Î·È ÂÈÛÙËÌÔÓÈÎÒÓ ÏÂ-
ÍÈÎÒÓ. ¶·Ú¿ÏÏËÏ·, Û˘ÌÌÂÙ¤¯ÂÈ Û ‰È¿-
ÊÔÚ· Â˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· Ì ÙË
Û˘ÓÂÚÁ·Û›· ¿ÏÏˆÓ Â˘Úˆ·˚ÎÒÓ È‰Ú˘-
Ì¿ÙˆÓ ‰ÈÂıÓÔ‡˜ ·Ó·ÁÓÒÚÈÛ˘. ŒÓ· ·-
fi ·˘Ù¿ Ù· ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È Î·È ÙÔ
AT EVERY HOME, ÙÔ ÔÔ›Ô ·ÔÙÂÏ›
ÙÔ ÙÂÏÂ˘Ù·›Ô Â›Ù¢ÁÌ· ÙˆÓ Â˘Úˆ·˚-
ÎÒÓ ‰Ú·ÛÙËÚÈÔÙ‹ÙˆÓ ÙÔ˘ EΉÔÙÈÎÔ‡
O›ÎÔ˘.
™Ù· Ï·›ÛÈ· ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜, ı·
Ú·ÁÌ·ÙÔÔÈËıÔ‡Ó ‰È¿ÊÔÚ˜ ·ÚÔ˘-
ÛÈ¿ÛÂȘ Û fiÏË ÙËÓ EÏÏ¿‰· ÁÈ· ÙËÓ ÂÓË-
̤ڈÛË ÙˆÓ Ó¤ˆÓ ÂÎ·È‰Â˘ÙÈÎÒÓ ÌÂıfi-
‰ˆÓ. OÈ ·ÚÔ˘ÛÈ¿ÛÂȘ ·˘Ù¤˜ ÎÚ›ÓÔÓÙ·È
··Ú·›ÙËÙ˜ ·fi ÙËÓ E˘Úˆ·˚΋ ŒÓˆ-
ÛË ÁÈ· Ó· ¤ÚıÂÈ ÌÂ ¿ÌÂÛÔ ÙÚfiÔ ÙÔ ÎÔÈ-
Ófi Û Â·Ê‹ Ì ÚÔ˚fiÓÙ· Ù· ÔÔ›· ¤-
¯Ô˘Ó ‰ËÌÈÔ˘ÚÁËı› ˘fi ÙËÓ ¤ÁÎÚÈÛË Ù˘
·ÏÏ¿ ‰ÂÓ ¤¯Ô˘Ó Á›ÓÂÈ ·ÎfiÌ· ¢ڤˆ˜
ÁÓˆÛÙ¿.
H ÚÒÙË ·ÚÔ˘Û›·ÛË, Ú·ÁÌ·ÙÔÔÈ‹-
ıËΠÙÔÓ AÚ›ÏÈÔ ÙÔ˘ 2007 ÛÙËÓ Aı‹Ó·
Ì ÌÂÁ¿ÏË ÂÈÙ˘¯›·. O ÎfiÛÌÔ˜ ÙˆÓ Í¤-
ÓˆÓ ÁψÛÛÒÓ ·ÓÙ·ÔÎÚ›ıËΠ̠ÂÓıÔ˘-
ÛÈ·ÛÌfi ÛÙÔ Î¿ÏÂÛÌ· ÙˆÓ EΉfiÛˆÓ
™Ù·Ê˘Ï›‰Ë Î·È ‹Úı Û Â·Ê‹ Ì ٷ
ÚÔÁÚ¿ÌÌ·Ù· ÂÎÌ¿ıËÛ˘. OÈ ÏËÚÔÊÔ-
ڛ˜ Î·È ÔÈ ÂÌÂÈڛ˜ Ô˘ ·ÔÎÔÌ›ÛÙË-
Î·Ó ·fi ÙȘ ·ÚÔ˘ÛÈ¿ÛÂȘ ÌÔÚÔ‡Ó Ó·
·ÔÙÂϤÛÔ˘Ó ÂÊ·ÏÙ‹ÚÈÔ ÁÈ· Ì›· Ó¤· ‰È-
‰·ÎÙÈ΋ ÚÔÛ¤ÁÁÈÛË. T· ÚÒÙ· ‰Â›ÁÌ·-
Ù· ·ÔηχÙÔ˘Ó fiÙÈ ÔÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜
ÂÈ˙ËÙÔ‡Ó Ó¤Â˜ ÚÔÛÂÁÁ›ÛÂȘ ÛÙÔÓ ÙÔ-
̤· Ù˘ ‰È‰·Ûηϛ·˜ Î·È Ù˘ ÂÎÌ¿ıËÛ˘
ÁψÛÛÒÓ. Afi ·˘Ùfi ÙÔ ÛËÌÂ›Ô ·ÔÚÚ¤-
ÂÈ Î·È ÙÔ ¤ÓÙÔÓÔ ÂӉȷʤÚÔÓ ÙfiÛÔ ÙˆÓ
ηıËÁËÙÒÓ fiÛÔ Î·È ÙˆÓ Ì·ıËÙÒÓ.
AÓÙ›ÛÙÔȯ· ÙËÓ ›‰È· ÂÚ›Ô‰Ô Ú·ÁÌ·ÙÔ-
ÔÈ‹ıËÎ·Ó ·ÚÔ˘ÛÈ¿ÛÂȘ Î·È ÛÙȘ ¿Ï-
Ϙ Û˘ÓÂÚÁ·˙fiÌÂÓ˜ ¯ÒÚ˜. H Û˘ÌÌÂÙÔ-
¯‹ ÙÔ˘ ÎÔÈÓÔ‡ Î·È ÂΛ ‹Ù·Ó ȉȷ›ÙÂÚ·
AT EVERY HOME
ÂÓı·ÚÚ˘ÓÙÈ΋. T· ·ÚÔ˘ÛÈ·˙fiÌÂÓ·
ÚÔÁÚ¿ÌÌ·Ù· ¤Ù˘¯·Ó ˙ÂÛÙ‹˜ ˘Ô‰Ô¯‹˜.
TÔ ÎÔÈÓfi ÂÓıÔ˘ÛÈ¿ÛÙËΠ·fi ÙËÓ ‡·Ú-
ÍË ÂÚÁ·Ï›ˆÓ Ô˘ ı· Â͢ËÚÂÙ‹ÛÔ˘Ó
ηχÙÂÚ· ÙȘ ·Ó¿ÁΘ ÙÔ˘˜ ÁÈ· ÂÎÌ¿ıË-
ÛË. H ÂÊ·ÚÌÔÁ‹ ÙˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ Â-
ͤÏËÍ ¢¯¿ÚÈÛÙ· ÙÔ˘˜ Û˘ÌÌÂÙ¤¯ÔÓÙ˜
Î·È ‚Ô‹ıËÛ ӷ ·ÓÙÈÏËÊıÔ‡Ó ÙËÓ Â‡ÎÔ-
ÏË ¯Ú‹ÛË ÙÔ˘˜.
TÔ ÁÂÁÔÓfi˜ fiÙÈ ÔÈ ÚÒÙ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ
ÛÙ¤ÊıËÎ·Ó Ì ÂÈÙ˘¯›· ·ÔÙÂÏ› ·fi-
Ï˘ÙË ÂÎÏ‹ÚˆÛË ÙˆÓ ÛÙfi¯ˆÓ Î·È ÛÎÔ-
ÒÓ Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘.
AÓ¿ÏÔÁË ·Ó·Ì¤ÓÂÙ·È Î·È Ë Û˘ÌÌÂÙÔ¯‹
Î·È Ë ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ÎÔÈÓÔ‡ Ô˘ ·-
Û¯ÔÏÂ›Ù·È Ì ÙȘ ͤÓ˜ ÁÏÒÛÛ˜ Î·È ÛÙȘ
˘fiÏÔÈ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ ÙfiÛÔ ÛÙËÓ
EÏÏ¿‰· fiÛÔ Î·È ÛÙȘ ¯ÒÚ˜ ÙÔ˘ E͈ÙÂ-
ÚÈÎÔ‡. ◊‰Ë ÂΉËÏÒÓÂÙ·È ÂӉȷʤÚÔÓ
ÁÈ· Â¤ÎÙ·ÛË ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ ÌÂ
Û˘ÌÌÂÙÔ¯‹ Ó¤ˆÓ ÂÈÚfiÛıÂÙˆÓ ÚÔ-
ÁÚ·ÌÌ¿ÙˆÓ Î·È ¯ˆÚÒÓ.
OÈ ÂfiÌÂÓ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ ÛÙËÓ EÏÏ¿-
‰· ¤¯Ô˘Ó ÚÔÁÚ·ÌÌ·ÙÈÛÙ› Ó· Ú·ÁÌ·-
ÙÔÔÈËıÔ‡Ó ÙÔ ™Â٤̂ÚÈÔ ÙÔ˘ 2007
ÛÙËÓ Aı‹Ó· Î·È ÙË £ÂÛÛ·ÏÔÓ›ÎË.
£· ‰Ôı› Í·Ó¿ ÛÙÔ ÎÔÈÓfi ÔÈ Â˘Î·ÈÚ›·
̤ۈ ÙˆÓ ·ÚÔ˘ÛÈ¿ÛÂˆÓ Ó· «ÁÓˆÚ›-
ÛÂÈ» 6 Â˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· Ù· Ô-
Ô›· ÌÔÚÔ‡Ó Ó· Ê·ÓÔ‡Ó ¯Ú‹ÛÈÌ· ÙfiÛÔ
Û ηıËÁËÙ¤˜ fiÛÔ Î·È Û ̷ıËÙ¤˜.
£· Ú¤ÂÈ Ó· ÛËÌÂȈı› fiÙÈ Ù· ÚÔ-
ÁÚ¿ÌÌ·Ù· ·˘Ù¿ ·ÚÔ˘ÛÈ¿˙ÔÓÙ·È ÁÈ·
ÚÒÙË ÊÔÚ¿ ÛÙËÓ EÏÏ¿‰· Î·È fiÏ· ›ӷÈ
·ÔÙ¤ÏÂÛÌ· ·ÓÂÈÛÙËÌȷ΋˜ ÂÚÁ·-
Û›·˜ Î·È ÌÂϤÙ˘.
§›Á· ÏfiÁÈ· ÁÈ· ·˘Ù¿ Ù· ÂÚÁ·Ï›·:
1) TÔ ÚfiÁÚ·ÌÌ· HERMES Â›Ó·È ¤Ó·
ηÈÓÔÙfiÌÔ ÂÚÁ·ÏÂ›Ô Ô˘ ¯ÚËÛÈÌÔÔÈ›
Ӥ˜ ·È‰·ÁˆÁÈΤ˜ ÌÂıfi‰Ô˘˜ Î·È Û˘Ó-
‰˘¿˙ÂÈ ÙËÓ ÂÎÌ¿ıËÛË Í¤ÓˆÓ ÁψÛÛÒÓ
Ì ÙËÓ „˘¯·ÁˆÁ›·. ¶ÂÚÈÏ·Ì‚¿ÓÂÈ CD-
ROM, ‚È‚Ï›Ô ÁÚ·ÌÌ·ÙÈ΋˜ Î·È Ô‰ËÁfi
ÛÔ˘‰·ÛÙ‹. (www.hermes-world.com).
2) TÔ ÚfiÁÚ·ÌÌ· SOCCERLINGUA,
Ô˘ ·ÔÙÂÏÂ›Ù·È ·fi DVD Î·È ‚È‚Ï›Ô,
¯ÚËÛÈÌÔÔÈ› ÙÔ Ô‰fiÛÊ·ÈÚÔ ˆ˜ ̤ÛÔ
ÁÓˆÚÈÌ›·˜ Ì ¿ÏÏÔ˘˜ ÔÏÈÙÈÛÌÔ‡˜ ηÈ
ÂÎÌ¿ıËÛ˘ Í¤ÓˆÓ ÁψÛÛÒÓ.
(www.soccelingua.net).
3) TÔ ÚfiÁÚ·ÌÌ· LINC Â›Ó·È ¤Ó· ·-
ΤÙÔ ÔÏ˘Ì¤ÛˆÓ ÙÔ ÔÔ›Ô Û˘Ó‰˘¿˙ÂÈ ÙË
ÁψÛÛÈ΋ ÂÎÌ¿ıËÛË Ì ÙËÓ ·fiÎÙËÛË
ÎÔÈÓˆÓÈÎÔÔÏÈÙÈÛÙÈ΋˜ ÁÓÒÛ˘.
(www.lingueges.net).
4) TÔ ÚfiÁÚ·ÌÌ· EASY 2 Â›Ó·È ¤Ó·
ÁψÛÛÈÎfi ÂÚÁ·ÏÂ›Ô ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË
Í¤ÓˆÓ ÁψÛÛÒÓ online, Ô˘ ·¢ı‡ÓÂ-
Ù·È ÂȉÈο ÛÙÔ˘˜ Ó¤Ô˘˜.
(www.easy2.org).
5) TÔ ÚfiÁÚ·ÌÌ· GALANET Â›Ó·È ÌÈ·
‰È·‰ÈÎÙ˘·Î‹ «Ï·ÙÊfiÚÌ·» Ô˘ ÂÚÈ-
Ï·Ì‚¿ÓÂÈ ÔÈΛϷ ÂÚÁ·Ï›· Î·È Ì¤Û·
Î·È ¤¯ÂÈ ˆ˜ ÛÙfi¯Ô ÙË ‰È·Î·Ù·ÓfiËÛË ·-
Ó¿ÌÂÛ· Û 4 ڈ̷ÓÈΤ˜ ÁÏÒÛÛ˜.
(www.galanet.be).
6) TÔ ÚfiÁÚ·ÌÌ· BULGARIAN FOR
FOREIGNERS, Â›Ó·È ¤Ó· Û‡Á¯ÚÔÓÔ
Û‡ÛÙËÌ· ÔÏ˘Ì¤ÛˆÓ Û ÙÚ›· Â›‰·
(CD-ROM, ‚›ÓÙÂÔ Î·È Î·Û¤Ù˜ ˯Ô-
17
ÁÚ¿ÊËÛ˘, ÂÁ¯ÂÈÚ›‰È· Î·È ÈÛÙÔÛÂÏ›‰·)
ÁÈ· Ó· ‰È‰¿ÍÂÈ Ù· ‚Ô˘ÏÁ·ÚÈο Û ͤ-
ÓÔ˘˜.
°È· Ó· ¤ÚıÂÙ Û Â·Ê‹ Î·È Ó· ÂÓËÌÂ-
Úˆı›Ù ۯÂÙÈο Ì ÙȘ ‰Ú·ÛÙËÚÈfiÙËÙ˜
Ù˘ E˘Úˆ·˚΋˜ ŒÓˆÛ˘ ÛÙÔÓ ÙÔ̤·
Ù˘ ÂÎÌ¿ıËÛ˘ Í¤ÓˆÓ ÁψÛÛÒÓ ÌÔÚ›-
Ù ӷ ·Ú·ÎÔÏÔ˘ı‹ÛÂÙ ÙȘ ÂΉËÏÒÛÂȘ
ÔÈ Ôԛ˜ ı· Ú·ÁÌ·ÙÔÔÈËıÔ‡Ó ÙÔ
™¿‚‚·ÙÔ 1 ™ÂÙÂÌ‚Ú›Ô˘ 2007 ÛÙÔ ÍÂÓÔ-
‰Ô¯Â›Ô HOLIDAY INN Î·È ÙËÓ TÚ›ÙË 4
™ÂÙÂÌ‚Ú›Ô˘ 2007, ÛÙÔ ÍÂÓԉԯ›Ô
GRAND HOTEL PALACE ÛÙ· Ï·›-
ÛÈ· Ù˘ ¤ÎıÂÛ˘ KOSMOS BOOK
EXHIBITIONS 2007, Ô˘ ‰ÈÔÚÁ·ÓÒÓÂ-
Ù·È ·fi Ù· ‚È‚ÏÈÔˆÏ›· º§øPA™
–KOSMOS.
TÔ ÚfiÁÚ·ÌÌ· ÙˆÓ ·ÚÔ˘ÛÈ¿ÛÂˆÓ Â›-
Ó·È:
¶APOY™IA™H 1
™YMMETEXONTE™:
M·ıËÙ¤˜ Î·È ÛÔ˘‰·ÛÙ¤˜.
11:00-13:30 ¶APOY™IA™H
¶PO°PAMMATøN.
13:30 ºOPMA A•IO§O°H™H™,
¶I™TO¶OIHTIKO ™YMMETOXH™,
ENHMEPøTIKO Y§IKO,
¢IAºHMI™TIKA ¢øPA
¶APOY™IA™H 2
™YMMETEXONTE™: K·ıËÁËÙ¤˜
Î·È ÊÚÔÓÙÈÛÙ‹ÚÈ· Í¤ÓˆÓ ÁψÛÛÒÓ.
14:30-17:00 ¶APOY™IA™H
¶PO°PAMMATøN.
17:00 ºOPMA A•IO§O°H™H™,
¶I™TO¶OIHTIKO ™YMMETOXH™,
ENHMEPøTIKO Y§IKO,
¢IAºHMI™TIKA ¢øPA
™ÙȘ ·ÚÔ˘ÛÈ¿ÛÂȘ ·Ú¢ڛÛÎÂÙ·È Î·È
·ÍÈÔÏÔÁËÙ‹˜ ÂÓÙÂÙ·Ï̤ÓÔ˜ ·fi ÙËÓ
E.E., Ô ÚfiÏÔ˜ ÙÔ˘ ÔÔ›Ô˘ Â›Ó·È Ó· ‰È·-
ÈÛÙÒÛÂÈ Î·È Ó· ·ÍÈÔÏÔÁ‹ÛÂÈ ÙËÓ ÂÈÙ˘-
¯›· Ù˘ ·ÚÔ˘Û›·Û˘.
OÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ Ï·Ì‚¿ÓÔ˘Ó ÂÓËÌÂÚˆ-
ÙÈο Ê˘ÏÏ¿‰È· Û¯ÂÙÈο Ì ٷ ÚÔ˚fiÓÙ·,
demo ÔÚÈÛÌ¤ÓˆÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ, ‰È·-
ÊËÌÈÛÙÈÎfi ˘ÏÈÎfi Î·È ‰ÒÚ·. ¶·Ú¿ÏÏËÏ·
fiÏÔÈ ÔÈ Û˘ÌÌÂÙ¤¯ÔÓÙ˜ Ï·Ì‚¿ÓÔ˘Ó È-
ÛÙÔÔÈËÙÈÎfi ·fi ÙËÓ E˘Úˆ·˚΋ ŒÓˆ-
ÛË, ÁÈ· ÙË Û˘ÌÌÂÙÔ¯‹ ÙÔ˘˜ ÛÙËÓ ·ÚÔ˘-
Û›·ÛË.
¶Ú¤ÂÈ Ó· ÙÔÓÈÛÙ› fiÙÈ Ë Û˘ÌÌÂÙÔ¯‹ ÛÙȘ
·Ú·¿Óˆ ÂΉËÏÒÛÂȘ Â›Ó·È ‰ˆÚ¿Ó!
°È· Û˘ÌÌÂÙÔ¯‹ ÛÙÔ E˘Úˆ·˚Îfi ¶Úfi-
ÁÚ·ÌÌ· AT EVERY HOME, Â›Ó·È ·-
·Ú·›ÙËÙË Ë ÂÈÎÔÈÓˆÓ›· ÁÈ· ÎÚ¿ÙËÛË
ı¤ÛÂˆÓ ·fi ÙȘ 20 A˘ÁÔ‡ÛÙÔ˘ Ì ÙÔÓ
EΉÔÙÈÎfi O›ÎÔ ™Ù·Ê˘Ï›‰Ë (9,30-16,00,
ÂÎÙfi˜ ™·‚‚¿ÙÔ˘), ÛÙÔ ÙËÏ. 2103813773.
KÚ¿ÙËÛË ı¤ÛÂˆÓ Á›ÓÂÙ·È Î·È Ì ·Ô-
ÛÙÔÏ‹ ÛÙÔȯ›ˆÓ ̤ۈ e-mail ÛÙË ‰È‡-
ı˘ÓÛË pub@stafildis.gr.
E›Ó·È Ì›· ÌÔÓ·‰È΋ ¢ηÈÚ›· Ó· Û˘Ì-
ÌÂÙ¤¯ÂÙ Û ¤Ó· Â˘Úˆ·˚Îfi ÚfiÁÚ·Ì-
Ì·, ÙÔ ÔÔ›Ô ÊÈÏÔ‰ÔÍ› Ó· ‰È·‰ÒÛÂÈ Ó¤-
˜ ηÈÓÔÙfiÌÔ˘˜ ÌÂıfi‰Ô˘˜ ‰È‰·Ûηϛ·˜
ÛÙÔ ¯ÒÚÔ Ù˘ ÂÎ·›‰Â˘Û˘.

18
Laugh and the whole class learns with you
Experienced teachers know the value of mirth, says Rose Senior
Reprinted from Guardian Unlimited
When asked, most experienced language
teachers will readily admit that they
encourage humour and laughter in their
classrooms and plan it into their lessons. So
what is the role of unplanned and
spontaneous humour - moments when the
whole class momentarily erupts in laughter
before returning to the task at hand?
In the early days of each coursewhen they
meet their class for the first time, language
teachers convey many hidden messages
through their body language, their overall
demeanour and the manner in which they
address their students. One clear message
(usually implicit) relates to the kind of
atmosphere they wish to foster in their
classroom.
In order to develop a spirit of informality
within their classes such teachers attempt to
reduce the social distance between
themselves and their students by behaving in
friendly and approachable ways. They
smilingly encourage students to speak and
applaud their efforts, being supportive when
errors are made.
They may sometimes demonstrate in a
humorous way that they themselves find
unfamiliar sounds difficult to pronounce. If
they make an error on the board (as most
teachers do from time to time) they may
make a quick quip to show that they are not
embarrassed - and to demonstrate that
mistakes are a natural part of the learning
process.
C M Y K MEMºI™ 52.40.728
When it is appropriate to pull individuals
into line, teachers tend to do so firmly but
with a light touch, returning to the business
of the lesson as quickly as possible. (By
disciplining students with humour, teachers
reduce the risk of alienating potentially
tricky individuals.)
Language learners quickly absorb the
message that their teacher welcomes
spontaneous laughter within the classroom
(provided it is of the supportive "laughing
with" and not of the destructive "laughing at"
kind). Sensing that their teacher has given
them permission to laugh, many classes start
to relax and to behave in readily responsive
ways.
They then find themselves laughing
spontaneously at the myriad unexpected
events, unwitting errors and unanticipated
misunderstandings that routinely occur in
language classes. Once it is understood that teacher relaxes, feels more confident - and is point for the class, enabling shyer individuals
laughter is acceptable, students will see the inspired to teach more imaginatively and to enjoy the interaction by watching and
funny side of daily occurrences that an enthusiastically. listening and laughing on cue.
outsider might not even consider funny. Language teachers use a number of specific Over the years experienced teachers develop
Not all language classes respond equally techniques to ensure that their classes personal tried-and-tested techniques, in the
readily to the humorous initiatives of their continue to be laughter-filled environments form of facial expressions, exaggerated
teachers. For a variety of reasons students in that they consider conducive to language gestures, plays on words, well-worn quips
some classes remain relatively unresponsive practice. In the early days of their classes and so on that they know from experience
throughout their courses. Sometimes it takes experienced teachers are on the alert for are likely to engender laughter and give a
longer for classes to relax and become quick-witted, extroverted individuals with quick injection of vitality into the lesson.
whom they can develop a bantering They know, too, which interactive language
readily responsive.
relationship. learning activities are likely to enliven the
Teachers can often pinpoint a particular
Students who are prepared to act as the class. They are aware, however, that students
moment when the class laughed
can become overexcited and that laughter
spontaneously for the first time - often at a teacher's foil, even to the extent of light-
quite trivial event. When this happens the hearted cheekiness, can provide a focal ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 20
C M Y K MEMºI™ 52.40.728

ŸÏÁ· °. °ÂÚÈÙÛ›‰Ô˘
EÎ·È‰Â˘ÙÈ΋ æ˘¯ÔÏfiÁÔ˜ B.A., M.A.,
·ÓÂÈÛÙËÌ›Ô˘ McGill K·Ó·‰¿,
EÈÎÂÊ·Ï‹˜ ÂÚ¢ÓËÙÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜
MindPower Publishing,
EÈÎÂÊ·Ï‹˜ K¤ÓÙÚÔ˘ EÏ¢ı¤ÚˆÓ ™Ô˘‰ÒÓ
e-mail:olgay@mindpoweredu.org
site: www.mindpower.gr
«™Â ·ÚÎÂÙ¤˜ ·fi ÙȘ Ù¿ÍÂȘ Ô˘
‰È‰¿ÛΈ ˘¿Ú¯Ô˘Ó ·È‰È¿ ‘‰˘-
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ÓÙ·È ÛÙȘ ÚÔÛ¿ıÂȘ ÌÔ˘. TÈ Â›-
Ó·È ÙÔ Î·Ï‡ÙÂÚÔ Ô˘ ÌÔÚÒ Ó·
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(Û˘Ó¤¯ÂÈ· ÙÔ˘
æ˘¯ÔÁÚ·Ê‹Ì·ÙÔ˜ M·˝Ô˘)
TÔ ·ÚfiÓ „˘¯ÔÁÚ¿ÊËÌ·, Û˘-
Ó¯›˙ÔÓÙ·˜ ÙËÓ ·ÚÔ˘Û›·ÛË Ù˘
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ΠÛÙÔ „˘¯ÔÁÚ¿ÊËÌ· ÙÔ˘ M·˝Ô˘,
ÂÈÎÂÓÙÚÒÓÂÙ·È ÛÙËÓ ÂÈÛ‹Ì·ÓÛË
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Ì·ıËÛÈ·Îfi ÚÔÊ›Ï ÂοÛÙÔ˘ Ì·-
ıËÙÔ‡ ÒÛÙ ӷ Â›Ó·È ÂÁÁ˘Ë̤ÓË fi-
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Â›Û˘ Ó· ÂÍ·ÛÊ·Ï›˙ÂÙ·È Î·È Ë
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Ù˘ ··ÏÔÈÊ‹˜ ÙˆÓ Ì·ıËÛÈ·ÎÒÓ
‰˘ÛÎÔÏÈÒÓ Ô˘ ÂÌÊ·Ó›˙ÔÓÙ·È Î·È
·Ú·ÙËÚÔ‡ÓÙ·È ÛÙËÓ ÂÚ›ÙˆÛË
Ù˘ ÍÂÓfiÁψÛÛ˘ ÂÎ·›‰Â˘Û˘.
TÔ Â›‰Ô: Â›Ó·È ·˘ÙÔÓfiËÙÔ
fiÙÈ ÙÔ ÂÎ·È‰Â˘ÙÈÎfi Â›‰Ô
Ú¤ÂÈ Ó· ·ÓÙ·ÔÎÚ›ÓÂÙ·È ¿ÌÂ-
Û· Î·È ÂÈ Ù˘ Ô˘Û›·˜ ÛÙÔ ÁÓˆ-
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˘¿Ú¯Ô˘Û˜ ÁÓÒÛÂȘ) ÙÔ˘ Ì·ıË-
Ù‹ ÒÛÙÂ Ë fiÏË Ì·ıËÛȷ΋ ‰È·‰È-
ηۛ· Ô˘ ı· ·ÎÔÏÔ˘ı‹ÛÂÈ Ó· ¤-
¯ÂÈ ÂÈÙ˘¯Ë̤ӷ ·ÔÙÂϤÛÌ·Ù·
Î·È ÓfiËÌ·. ŸÌˆ˜ Ë Â·ÙË̤ÓË
Û¯ÔÏ›ˆÓ, ÊÚÔÓÙÈÛÙËÚ›ˆÓ Î·È È‰È-
·ÈÙ¤ÚˆÓ ÁÈ· ÙËÓ Î·Ù¿Ù·ÍË ÂÓfi˜
Ì·ıËÙ‹ Û ¤Ó· Â›Â‰Ô Á›ÓÂÙ·È ÌÂ
‚¿ÛË ÎÚÈÙ‹ÚÈ· ‰Â˘ÙÂÚ¢ԇÛ˘
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ÚÔËÁÔ‡ÌÂÓÔ Â›Â‰Ô Ô˘ ·Ú·-
ÎÔÏÔ‡ıËÛÂ Ô Ì·ıËÙ‹˜, ÙËÓ ‡ÏË
Ô˘ Ê·ÈÓÔÙ˘Èο ¤¯ÂÈ Î·Ï‡„ÂÈ,
ÙȘ ··ÈÙ‹ÛÂȘ Î·È ÂÈı˘Ì›Â˜ ÙˆÓ
ÁÔÓ¤ˆÓ ÙÔ˘, Î.Ï.) Ù· ÔÔ›· ÂÈ-
ηχÙÔ˘Ó ÙËÓ Ú·ÁÌ·ÙÈ΋ ÁÓˆ-
Ûȷ΋ ηٿÛÙ·ÛË ÙÔ˘ Ì·ıËÙ‹.
E›Ó·È Û˘ÓÂÒ˜ ÂfiÌÂÓÔ ·˘ÙÔ‡
ÙÔ˘ ›‰Ô˘˜ Ë Ú·ÎÙÈ΋ Ù˘ ‘·˘ı·›-
ÚÂÙ˘ ηٿٷ͢’ Ó· Ô‰ËÁ› ÌÂ
Ì·ıËÌ·ÙÈ΋ ·ÎÚ›‚ÂÈ· ÙÔÓ Ì·ıËÙ‹
Ô˘ ‰ÂÓ ¤¯ÂÈ Î·Ù·Ù·¯ı› ÛÙÔ Ûˆ-
ÛÙfi ÁÈ· ·˘ÙfiÓ Â›Â‰Ô ÛÙËÓ ÂÌ-
Ê¿ÓÈÛË Î¿ÔÈÔ˘ ›‰Ô˘˜ Ì·ıËÛÈ·-
ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ‹ ÛÙËÓ ÂÈ‚¿Ú˘Ó-
ÛË ÙˆÓ ‹‰Ë ˘·Ú¯Ô˘ÛÒÓ.
KÏ·ÛÛÈΤ˜ „˘¯ÔÏÔÁÈΤ˜ ¤Ú¢-
Ó˜ ·Ó·Ù˘ÍÈ·ÎÔ‡ Î·È Ì·ıËÛÈ·-
ÎÔ‡ ·ÓÙÈÎÂÈ̤ÓÔ˘ ¤¯Ô˘Ó ·ԉ›-
ÍÂÈ Î·È ÙÂÎÌËÚÈÒÛÂÈ ¤Ú· ·fi
οı ·ÌÊÈÛ‚‹ÙËÛË ÙËÓ ·ÔÊ·ÛÈ-
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ÌÂÛ· ÛÙËÓ ÔÈfiÙËÙ· Î·È ·ÔÙÂÏÂ-
ÛÌ·ÙÈÎfiÙËÙ· Ù˘ Ì·ıËÛȷ΋˜ ‰È·-
‰Èηۛ·˜ ·ÏÏ¿ Î·È ¤ÌÌÂÛ· ÛÙÔ˘˜
ÛÙfi¯Ô˘˜ (ÙȘ ÂȉÈÒÍÂȘ), ÙËÓ ‡-
æ˘¯Ô...ÁÚ¿ÊËÌ·
™Â οı Ù‡¯Ô˜ Ë ¤ÁÎÚÈÙË „˘¯ÔÏfiÁÔ˜ ŸÏÁ· °ÂÚÈÙÛ›‰Ô˘ ı· ··ÓÙ¿ ÛÙ· ÁÚ¿ÌÌ·Ù· Î·È Ù·
e-mails Û·˜ Î·È ı· ‰›ÓÂÈ ··ÓÙ‹ÛÂȘ ÛÙ· ı¤Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÙ ηıËÌÂÚÈÓ¿ ÛÙËÓ Ù¿ÍË.
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ÍË ‹ ·Ôı¿ÚÚ˘ÓÛË Î·È Î·Ù·ÛÙÔ-
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̤ÓË, ÌÂÚÈÎÒ˜ ÂÈÙ˘¯Ë̤-
ÓË ‹ ·ÓÙÂÏÒ˜ ·ÔÙ˘¯Ë̤-
ÓË Ì·ıËÛȷ΋ ‰È·‰Èηۛ·)
ÙÔ˘ Ì·ıËÙ‹.
E›Ó·È Û˘ÓÂÒ˜ ηıÔÚÈ-
ÛÙÈ΋˜ ÛËÌ·Û›·˜ ÁÈ· ÙËÓ
·ÔÊ˘Á‹, ÙÔÓ ¤ÏÂÁ¯Ô ηÈ
ÙËÓ ·¿ÏÂÈ„Ë Ì·ıËÛÈ·-
ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ÙfiÛÔ ÙÔ
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ÔÔ›Ô Î·Ù·Ù¿ÛÛÂÙ·È Ô Ì·-
ıËÙ‹˜ fiÛÔ Î·È Ô ‰È‰¿ÛΈÓ
ηıËÁËÙ‹˜ Ô˘ ÙÔÓ ·Ó·-
Ï·Ì‚¿ÓÂÈ.
TÔ ÙÌ‹Ì·: Ë Û‡ÓıÂÛË Â-
Ófi˜ ÏÂÈÙÔ˘ÚÁÈÎÔ‡ ÙÌ‹Ì·-
ÙÔ˜ Ô˘ ‰È¢ÎÔχÓÂÈ ÙËÓ
Ì·ıËÛȷ΋ ‰È·‰Èηۛ·,
Û¯ËÌ·Ù›˙ÂÙ·È Ì ‚¿ÛË ÙËÓ
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ÎÙËÚÈÛÙÈÎÒÓ Î·È Ù˘ „˘¯Ô-
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ÓÙˆÓ ÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÙÌ‹-
Ì· Ì·ıËÙÒÓ ¤ÙÛÈ ÒÛÙÂ Ó· ÂÍ·-
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ÛË ÙˆÓ Ì·ıËÛÈ·ÎÒÓ ‰˘Ó·ÙÔÙ‹-
ÙˆÓ ÙˆÓ Ì·ıËÙÒÓ ·˘ÙÒÓ Î·Ù¿ ÙËÓ
Ì·ıËÛȷ΋ ·ÏÏËÏÂ›‰Ú·ÛË ÙÔ˘˜
Î·È Ó· ·ÔʇÁÂÙ·È Î¿ı ›‰Ô˘˜
·Ó·Û¯ÂÙÈÛÌfi˜ Î·È ¤ÎÙˆÛË ÙˆÓ
Ì·ıËÛÈ·ÎÒÓ ÂȉfiÛÂˆÓ Ô ÔÔ›Ô˜
ÚÔ·ÙÂÈ ·fi ÙËÓ ·Û˘Ì‚·ÙfiÙË-
Ù· ÙÔ˘ ÚÔÊ›Ï, Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜
Î·È ÙˆÓ Ô˘ÛÈ·ÛÙÈÎÒÓ ÂȉÈÒ͈Ó
ÙˆÓ Ì·ıËÙÒÓ.
O ηıËÁËÙ‹˜: Ë ÛËÌ·ÓÙÈÎfiÙË-
Ù· Ù˘ ÌÂÙ·‚ÏËÙ‹˜ ÙÔ˘ ‰È‰¿ÛÎÔ-
ÓÙÔ˜ ÛÙÔ ·ÔÙ¤ÏÂÛÌ· Ù˘ Ì·ıË-
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·Ú·ÁÓˆÚÈÛı› ·ÏÏ¿ Î·È fiÙ·Ó
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Û ÂÓÙÂÏÒ˜ Ï·Óı·Ṳ̂ÓÔ ÁÈ· ÙÔ˘˜
ÛÙfi¯Ô˘˜ Î·È ÙËÓ ÂÈÙ˘¯›· Ù˘ fiÏ˘
‰È·‰Èηۛ·˜ Ï·›ÛÈÔ. H ‚¿ÛË
ÙˆÓ Ù˘ÈÎÒÓ ÚÔ¸Ôı¤ÛÂˆÓ Î·È
ÚÔÛfiÓÙˆÓ Ô˘ ηıÔÚ›˙ÂÈ ÙÔ ÂÎ-
·È‰Â˘ÙÈÎfi Û‡ÛÙËÌ· (ÙfiÛÔ ÛÙÔÓ
‰ËÌfiÛÈÔ fiÛÔ Î·È ÛÙÔÓ È‰ÈˆÙÈÎfi
ÙÔ̤·) ‰ÂÓ ˘ÂÈÛ¤Ú¯ÂÙ·È Ô‡Ù η-
χÙÂÈ ÙȘ ··ÈÙ‹ÛÂȘ ÙˆÓ Ú·Á-
Ì·ÙÈο ÛËÌ·ÓÙÈÎÒÓ ÌÂÙ·‚ÏËÙÒÓ
Ô˘ ÌÔÚÔ‡Ó Ó· ÂËÚ¿ÛÔ˘Ó ÙËÓ
Ì·ıËÛȷ΋ ‰È·‰Èηۛ·.
™˘ÁÎÂÎÚÈ̤ӷ Ë „˘¯ÔÛ‡ÓıÂÛË
ÙÔ˘ ηıËÁËÙ‹, Ë ·˘ÙÔÂÎÙ›ÌËÛË
ÙÔ˘, Ë ÂÔ›ıËÛË ÛÙËÓ ·ÔÙÂÏÂ-
ÛÌ·ÙÈÎfiÙËÙ· ÙÔ˘, Ë ·ÔÊ·ÛÈÛÙÈ-
ÎfiÙËÙ· Î·È ÙÔ Î›ÓËÙÚÔ ÁÈ· ÙËÓ Â-
›Ù¢ÍË ÙÔ˘ ‰ÈÎÔ‡ ÙÔ˘ ÛÙfi¯Ô˘ ˆ˜
‰È‰¿ÛÎÔÓÙÔ˜, Î·È Ë ÂÈÎÔÈÓˆÓÈ·-
΋ ÙÔ˘ ÈηÓfiÙËÙ· (ÌÂÙ·‰ÔÙÈÎfiÙË-
Ù· ÙÔ˘) Â›Ó·È ÔÈ Î·Ù·Ï˘ÙÈÎÔ› ·-
Ú¿ÁÔÓÙ˜ ÔÈ ÔÔ›ÔÈ Ì·˙› Ì ÙËÓ
ÛÙ¿ÛË Ô˘ ‰È·ÙËÚ› ·¤Ó·ÓÙÈ
ÛÙÔÓ ‰È‰·ÛÎfiÌÂÓÔ Î·ıÔÚ›˙Ô˘Ó ÙÔ
·ÔÙ¤ÏÂÛÌ· Ù˘ Ì·ıËÛȷ΋˜ ‰È·-
‰Èηۛ·˜.
ŸÌˆ˜ ÔÈ ·Ú¿ÁÔÓÙ˜ ·˘ÙÔ› fi¯È
ÌfiÓÔ ‰ÂÓ Ï·Ì‚¿ÓÔÓÙ·È Î·ıfiÏÔ˘
˘’ fi„Ë ·ÏÏ¿ ˘¿Ú¯ÂÈ Ï‹Ú˘ ·-
ÔÚÔÛ·Ó·ÙÔÏÈÛÌfi˜ ÛÙËÓ ·ÍÈÔ-
ÏfiÁËÛË Ù˘ ÛËÌ·ÓÙÈÎfiÙËÙ·˜ ÙˆÓ
ÁÓˆÚÈÛÌ¿ÙˆÓ ÙÔ˘ ‰È‰¿ÛÎÔÓÙÔ˜
ηıÒ˜ ‚·ÛÈÎfi˜ ÁÓÒÌÔÓ·˜ ÙˆÓ
ÎÚÈÙËÚ›ˆÓ ·ÍÈÔÏfiÁËÛ˘ Ù˘ ‰È‰·-
ÎÙÈ΋˜ ÙÔ˘˜ ÈηÓfiÙËÙ·˜ Ï·Ì‚¿ÓÂ-
Ù·È Ë Èı·Á¤ÓÂÈ· ÙÔ˘˜ (‰ËÏ·‰‹ Ë
¯ÒÚ· ηٷÁˆÁ‹˜ Î·È ÚÔ¤Ï¢Û˘
ÙÔ˘˜). AÁÓÔÔ‡ÓÙ·È fï˜ Ì ·˘Ùfi
ÙÔÓ ÙÚfiÔ fiÏ· Ù· „˘¯ÔÎÔÈÓˆÓÈο
Î·È ·È‰·ÁˆÁÈο ÂÈÛÙËÌÔÓÈο
‰Â‰Ô̤ӷ Ù· ÔÔ›· ÂÈÛËÌ·›ÓÔ˘Ó
ÙËÓ ‡„ÈÛÙË ÛËÌ·ÓÙÈÎfiÙËÙ· ÙÔ˘
ÎÔÈÓÔ‡ ÔÏÈÙÈÛÙÈÎÔ‡ Î·È ÔÏÈÙÈ-
ÛÌÈÎÔ‡ ˘Ô‚¿ıÚÔ˘ Î·È ÙËÓ ·ÎÚÔ-
ÁˆÓÈ·›· Û˘Ì‚ÔÏ‹ Ù˘ ÎÔÈÓ‹˜ ÌË-
ÙÚÈ΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ fiÏË Ì·ıË-
Ûȷ΋ ‰È·‰Èηۛ·. EÈ ϤÔÓ ·-
ÁÓÔÂ›Ù·È Ë ÛËÌ·ÓÙÈÎfiÙËÙ· Ù˘
ÂӉ‰ÂÈÁ̤Ó˘ ¯ÚÔÓÈ΋˜ ÛÙÈÁÌ‹˜
·Ú¤Ì‚·Û˘ ÂÓfi˜ ‘native
speaker’ ÛÙËÓ ÁÂÓÈ΋ ÔÚ›· Ù˘
Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜, Ë Û¯¤-
ÛË Ô˘ ¤¯ÂÈ Ì ·˘Ù‹Ó Î·È Ë ‚·Ú‡-
ÙËÙ· ·˘Ù‹˜ Ù˘ ·Ú¤Ì‚·Û˘ ÂÈ
ÙˆÓ ÂÈ̤ÚÔ˘˜ ‰È‰·ÛÎÔÌ¤ÓˆÓ ‰Â-
ÍÈÔÙ‹ÙˆÓ Î·È ÛÙfi¯ˆÓ ·˘Ù‹˜ Ù˘
Ì·ıËÛȷ΋˜ ‰È·‰Èηۛ·˜ (fiˆ˜
.¯. speaking) ¤ÙÛÈ ÒÛÙÂ Ó· ˘-
¿Ú¯ÂÈ ÌÂÁÈÛÙÔÔ›ËÛË ÙˆÓ ÂÈı˘-
ÌËÙÒÓ ıÂÙÈÎÒÓ ·ÔÙÂÏÂÛÌ¿ÙˆÓ.
°ÂÓÈο ÛÙËÓ ÂÏÏËÓÈ΋ ÎÔÈÓ‹
ÁÓÒÌË ÂÈÎÚ·Ù› ·ÓÙÂÏ‹˜ ¿-
ÁÓÔÈ· Î·È Ï¿ÓË Û¯ÂÙÈο Ì ÙËÓ
ÛËÌ·ÓÙÈÎfiÙËÙ· Î·È ÙËÓ Â˘ÂÚÁÂÙÈ-
΋ Â›‰Ú·ÛË ÙˆÓ ÔÌÔÈÔÁÂÓÒÓ
ÛÙÔȯ›ˆÓ Ù˘ ÎÔÈÓ‹˜ ÔÏÈÙÈÛÙÈ-
΋˜ ˘Ô‰ÔÌ‹˜ Î·È ÚÔ¤Ï¢Û˘
Ì·ıËÙÔ‡ Î·È ‰È‰·ÛοÏÔ˘, ȉȷ›-
ÙÂÚ· ηٿ Ù· ÚÒÙ· ÛÙ¿‰È· Ù˘
ÍÂÓfiÁψÛÛ˘ Ì·ıËÛȷ΋˜ ‰È·‰È-
ηۛ·˜, Ë ÔÔ›· Û˘Ó¯Ҙ ˘Ô‰ÂÈ-
ÎÓ‡ÂÙ·È, ·Ô‰ÂÈÎÓ‡ÂÙ·È Î·È ÂÈ-
ÛËÌ·›ÓÂÙ·È ·fi ¤Á΢Ú˜ „˘¯Ô-
ÎÔÈÓˆÓÈΤ˜ ıˆڛ˜ Î·È ÂÚ¢ÓË-
ÙÈο ‰Â‰Ô̤ӷ ·ÁÎÔ-
ÛÌ›ˆ˜.
T¤ÏÔ˜ ‰ÂÓ Ú¤ÂÈ Ó· ÏË-
ÛÌÔÓÂ›Ù·È Ô‡Ù ӷ ·ÓÙÈÌÂ-
Ùˆ›˙ÂÙ·È ‘ÂÏ·ÊÚ¿ ÙË Î·Ú-
‰›·’ Ë ˘¿Ú¯Ô˘Û· ÂÈÎÔÈ-
ÓˆÓÔ‡ÌÂÓË ˘Ô‚¿ıÌÈÛË
ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ ·ÚÔ˘˜
ÙÔ˘ Â·ÁÁÂÏÌ·Ù›· ηıË-
ÁËÙ‹ Í¤ÓˆÓ ÁψÛÛÒÓ Ë Ô-
Ô›· ·Ú·Ï·Ó› ÁÈ· ÙËÓ
ÛËÌ·ÓÙÈÎfiÙËÙ· Ù˘ ‚·Ú‡-
ÙËÙ·˜ ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ Úfi-
ÏÔ˘ Ô˘ Ô˘ÛÈ·ÛÙÈο ‰È·-
‰Ú·Ì·Ù›˙ÂÈ Î·È Ù˘ ÎÔÈÓˆ-
ÓÈ΋˜ ·ÔÛÙÔÏ‹˜ ÙÔ˘ ȉȷ›-
ÙÂÚ· ηٿ ÙËÓ ÛËÌÂÚÈÓ‹
ÌÂÙ·‚·ÙÈ΋ ÂÔ¯‹ Ù˘ ‘·-
ÁÎÔÛÌÈÔÔ›ËÛ˘’ Î·È ÙÔ˘
·Ó·ÚÔÛ‰ÈÔÚÈÛÌÔ‡ ·ÍÈÒÓ
Î·È ıÂÛÌÒÓ. B·Ú‡ÙËÙ· ηÈ
·ÔÛÙÔÏ‹ ÔÈ Ôԛ˜ ı· ¤-
ÚÂ ӷ ÙÔ˘ ÂÈÛËÌ·›ÓÔ-
ÓÙ·È Î·È Ó· ÙÔ˘ ·Ó·ÁÓˆÚ›-
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¯·ÌËÏ¿ ÏÂÈÙÔ˘ÚÁÈο ¤ÍÔ‰· Î·È Î·Ï¤˜
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°ÂÚÌ·ÓÈÎÒÓ, IÛ·ÓÈÎÒÓ ÁÈ· K•° ÛÙ· Â-
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ÛÈ΋ ÚÔ¸fiıÂÛË Ó· ‰È·ı¤ÙÔ˘Ó ‰ÈÎfi
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H ¯·ÌËÏ‹ Â·ÁÁÂÏÌ·ÙÈ΋ ·˘-
ÙÔÂÎÙ›ÌËÛË Ô˘ ηÏÏÈÂÚÁ›ٷÈ
Î·È ÛÙÔÓ Î·ıËÁËÙ‹ Í¤ÓˆÓ ÁψÛ-
ÛÒÓ ¤¯ÂÈ ·Ô‰Âȯı› ÂÚ¢ÓËÙÈο
fiÙÈ ÂËÚ¿˙ÂÈ ÙËÓ ÂÈÎfiÓ· Ô˘ ¤-
¯ÂÈ ÁÈ· ÙÔÓ Â·˘Ùfi Î·È ÙȘ ‰˘Ó·Ùfi-
ÙËÙ˜ ÙÔ˘ ¤Ó·˜ Â·ÁÁÂÏÌ·Ù›·˜ ,
ÌÂ Û˘Ó¤ÂÈ· Ó· ÌÂÈÒÓÂÙ·È ÙÔ Î›-
ÓËÙÚÔ Ô˘ ¤¯ÂÈ ÁÈ· Â›Ù¢ÍË Î·È
˘¿Ú¯Ô˘Ó ·ÚÓËÙÈΤ˜ ÂÈÙÒÛÂȘ
ÛÙËÓ ·ÔÙÂÏÂÛÌ·ÙÈÎfiÙËÙ· ÙÔ˘.
ŸÏÔÈ ÔÈ ·ÓˆÙ¤Úˆ ·Ú¿ÁÔÓÙ˜
(ηıÒ˜ Î·È ÂΛÓÔÈ Ô˘ ı· ÂÍÂÙ·-
ÛıÔ‡Ó ÛÙÔ ÂfiÌÂÓÔ „˘¯ÔÁÚ¿ÊË-
Ì·) ÔÈ ÔÔ›ÔÈ ÂÌϤÎÔÓÙ·È ‰˘Ó·-
ÌÈο Î·È ·ÔÊ·ÛÈÛÙÈο ÛÙËÓ ‰Ë-
ÌÈÔ˘ÚÁ›· Î·È ÙËÓ ·Ó¿Ù˘ÍË ÙˆÓ
Ì·ıËÛÈ·ÎÒÓ ‰˘ÛÎÔÏÈÒÓ ·Ú·-
‚ϤÔÓÙ·È Î·È ·ÔÛȈÔ‡ÓÙ·È ÌÂ
ÙËÓ Ù·ÎÙÈ΋ Ô˘ ÂÈ‚¿ÏÏÂÙ·È Î·È
ηıÈÂÚÒÓÂÙ·È: ÙËÓ ·Ï‹ ·fi‰ÔÛË
ÙÔ˘ ÚÔ‚Ï‹Ì·ÙÔ˜ ÙˆÓ Ì·ıËÛÈ·-
ÎÒÓ ‰˘ÛÎÔÏÈÒÓ, ÛÙȘ ‘‰˘Ó·ÙfiÙË-
Ù˜’ Î·È ÙËÓ Ì·ıËÛȷ΋ ÈηÓfiÙËÙ·
ÙˆÓ Ì·ıËÙÒÓ, Ù·ÎÙÈ΋ Ô˘ Ù¯ÓË-
¤ÓÙˆ˜ ηÏÏÈÂÚÁÂ›Ù·È ·fi ÙËÓ ‰Â-
ηÂÙ›· ÙÔ˘ 1990.
¶ø§OYNTAI 6 ‰Èı¤ÛÈ· ıÚ·-
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ÿÏÈÔÓ-¶·Ï·ÙÈ·Ó‹. ™‡Á¯ÚÔÓ˜ ÎÏÈÌ·ÙÈ˙fi-
ÌÂÓ˜ ·›ıÔ˘Û˜, ·‡ÏÂÈÔ˜ ¯ÒÚÔ˜ Î·È ¿ÚÈ-
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KA£H°HTPIA Á·ÏÏÈÎÒÓ, Ù˘¯ÈÔ‡¯Ô˜ ÙÔ˘
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ÓÔÈÎÈ¿˙ÂÙ·È Ô ¯ÒÚÔ˜ ÛÙ¤Á·Û˘ ÙÔ˘ Τ-
ÓÙÚÔ˘ 210 Ù.Ì. Û ηÈÓÔ‡ÚÁÈÔ ÎÙ›ÚÈÔ, ÛÂ
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20
a première séance du cours ainsi le plan de la classe et marquer

L que les cours suivants seront

cruciaux afin qu'on crée une
atmosphère chaleureuse et former
l'attitude de nos élèves. Dans ma
propre expérience autrefois, j'étais
préoccupée par mon arrivée dans la
classe notamment dans la
préparatoire le premier jour des
cours. En effet, voila quelques
conseils pour connaître mieux vos
élèves et bien partir avec eux.
ñ Tout d'abord, tenez compte du
fameux adage que ''la première
impression compte toujours'' alors,
appliquez-le dans la classe.
ñ Amusez-vous bien ! essayez de
se détendre et de rire. Le sens de
Se présenter dans la classe
Par Vasiliki Boltsi
Boltsi Vasiliki est professeur de français et d'anglais ainsi que traductrice. Elle s'occupe de l'enseignement des LE et
elle parle aussi l'anglais et l'italien. Elle a comme but de suivre des études post-universitaires sur la didactique de FLE.
l'humour aide aussi ! ñ Ayez l'air de professionnel : ne Concentrez-vous sur vos étudiants
ñ Vous ferez mieux d'exprimer vos changez pas votre style mais en leur prêtant une attention
soucis qui que ce soient ! habillez-vous selon la culture de constante et à la fois encouragez-
ñ Vous n'avez qu'à poser des l'école. Respectez le ''dress code'' les avec des sourires, louez
règles des le début du cours, voire pour que vos élèves vous également leurs efforts. Il vaudrait
faites-les bien claires. apercevoir comme ''professeur''. mieux que vous disiez ''Tu vas
ñ Vous devriez vous être patient. C'est à vous de gagner ce titre réussir, j'en suis sur !'', ''Bravo !''
Donnez-leur du temps pour vous honore. ou ''Allez, encore un petit effort !''
poser des questions et se ñ Soyez positif : souriez même Aussi obtient-on de meilleurs
familiariser avec votre voix. quand vous êtes à bout de nerfs ! résultats et on gagne leur confiance
en même temps.
ñ Il est nécessaire
que vous maintenez
une distance bien
évidente et amicale
car vous n'êtes pas
leur ''bonhomme''.
Vous n'avez pas
intérêt à établir des
relations
personnelles.
Essayez d'être un
enseignant amical et
sympathique mais
non un ami.
ñ Il faut absolument
s'efforcer de se
souvenir de leurs
prénoms. De plus,
pour le faire vous
pouvez soit dessiner
leurs coordonnées soit poser des
cartons sur les tables tout en
écrivant leurs prénoms.
ñ Dans un premier temps, tapez
dans vos mains pour éveiller leur
intérêt. Dans un deuxième temps,
postez des autocollants sur leur
front ou sur leurs mains. Ils vont
s'exciter !
ñ Montrez que vous êtes vraiment
intéressés de leurs réponses et
réagissez : ''C'est une très bonne
réponse ! Je partage la même
opinion.'', ''Vous avez aussi un
portable ?''. Bougez entre les
tables, donnez la parole tour à
tour. Ils aiment s'exprimer.
ñ Passez professionnel : soyez
attentifs en ce qui concerne votre
voix (claire et douce) et votre
posture. Les apprenants ont besoin
de sentir que tout est en ordre
autrement, vous allez perdre le
contrôle.
ñ Planifiez à plusieurs reprises
avant se présenter et organisez une
activité de façon que vous fassiez
connaissance avec eux. Qu'est-ce
que vous allez écrire sur le tableau
? Combien de temps va durer
l'activité proposée ? Qu'est-ce que
vous allez faire s'ils font du bruit ?
Suggestion : présentez-vous en
disant : ''Je m'appelle X, je fais du
tennis et j'aime les chips, toi ?''. On
s'ouvre sur eux-mêmes et on établit
un premier contact anodin et
animé.

Laugh and the whole class learns with you

™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 18
can get out of control.
As they progress, language classes develop their
individual cultures: bodies of shared understandings
about the personalities, passions, strengths, weaknesses
and foibles of individuals within the class. Each class also
develops a collective memory of the various incidents
that have occurred within that particular class. This sense
of friendly intimacy enables short bursts of laughter to be
invoked by reference (either by the teacher or by a
student) to previous events that the class found amusing.
Humour is, of course, a powerful force in any situation
and a highly complex phenomenon. There are obviously
times when humour is detrimental to the well-being of
individuals. Teasing is a case in point. While some
students are happy to be foregrounded (for example, by
being given a nickname) others are not. Jokes that were
funny first time round can quickly wear thin. Most
teachers who include teasing in their personal repertoire
of laughter-engendering techniques back off quickly if
they see that they are causing offence.
Although it has the potential to be used unwisely,
experienced language teachers see laughter as a positive
force in their classrooms. They regard whole-class
laughter as a welcome behaviour in their classrooms and
actively cultivate it. For teachers regular small bursts of
laughter are a vital and reassuring sign that their class as
a whole is functioning cohesively and is in a responsively.
Experienced language teachers demonstrate through
their words and their classroom actions that good
teaching involves far more than simply teaching in
technically proficient ways: it involves encouraging each
class to function as cohesively as possible. Judicious use
of humour is a key way to encourage classes to develop
into friendly, lively, mutually supportive social groups.
Ø Rose Senior is a senior lecturer at Curtin University,
Perth, Western Australia
Guardian unlimited

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È ÂÎ·È‰Â˘ÙÈÎÔ› ÁÓˆÚ›˙Ô˘Ó Ú¿ÁÌ·Ù·
O Ô˘ ηӤӷ˜ ¿ÏÏÔ˜ Â·ÁÁÂÏÌ·Ù›·˜ ÙÔ˘
¯ÒÚÔ˘ ‰Â ÁÓˆÚ›˙ÂÈ: fiÙÈ ‰ÂÓ ˘¿Ú¯ÂÈ ¤Ó·
Û‡Ó‰ÚÔÌÔ ™E¶/Y, ·ÏÏ¿ ÔÏÏ¿Ø fiÙÈ ÙÔ
™E¶/Y Û¿ÓÈ· ÂÌÊ·Ó›˙ÂÙ·È "ÌfiÓÔ ÙÔ˘", ·ÏÏ¿
fiÙÈ Û˘Ó‹ıˆ˜ ÂÌÊ·Ó›˙ÂÙ·È ÂÎ ·Ú·ÏÏ‹ÏÔ˘ ÌÂ
¿ÏÏ· ÚÔ‚Ï‹Ì·Ù·, fiˆ˜ ÔÈ Ì·ıËÛȷΤ˜ ‰˘-
ÛÎÔϛ˜ ‹ Ù· Û˘Ó·ÈÛıËÌ·ÙÈο ÚÔ‚Ï‹Ì·Ù·Ø fi-
ÙÈ ÙÔ ÚfiÛˆÔ ÙÔ˘ ™E¶/Y ·ÏÏ¿˙ÂÈ, fiˆ˜ Û˘Ì-
‚·›ÓÂÈ Î·È Ì ÙÔÓ Î·ÈÚfi, ·Ú¿ÏÔÁ· Î·È ·Úfi-
ÛÌÂÓ·Ø fiÙÈ Ë ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ ™E¶/Y, ·Ú¿
ÙȘ ‰È·ÊˆÙÈÛÙÈΤ˜ ÂÂÍËÁ‹ÛÂȘ Ô˘ ··ÓÙÔ‡-
ÓÙ·È Û ‰È¿ÊÔÚ· ΛÌÂÓ·, ÂÍ·ÎÔÏÔ˘ı› Ó· ·-
·ÈÙ› ÛÎÏËÚ‹ ‰Ô˘ÏÂÈ¿ Î·È È‰È·›ÙÂÚË ·ÊÔÛ›ˆ-
ÛË.
¢ÂÓ ˘¿Ú¯ÂÈ Â‡ÎÔÏÔ˜ ÙÚfiÔ˜ ÁÈ· Ó· ·ÓÙÈ-
ÌÂÙˆ›ÛÔ˘Ì ÙÔ ™E¶/Y ÛÙËÓ Ù¿ÍË - Ô‡Ù ·Îfi-
Ì· Î·È ÛÙÔ Û›ÙÈ. ⁄ÛÙÂÚ· ·fi fiÛ· ¤¯Ô˘Ó ÂÈ-
ˆı› Î·È Á›ÓÂÈ, ı· ϤÁ·Ì fiÙÈ Ë ·ÔÙÂÏÂÛÌ·-
ÙÈ΋ ·ÓÙÈÌÂÙÒÈÛË ÙÔ˘ Û˘Ó‰ÚfiÌÔ˘ ÛÙÔ Ï·›-
ÛÈÔ ÙÔ˘ Û¯ÔÏ›Ԣ ÂÍ·ÚÙ¿Ù·È ·fi ÙËÓ Î·Ù¿ÚÙÈ-
ÛË Î·È ÙËÓ ÂÈÌÔÓ‹ Ô˘ ¤¯Ô˘Ó ÙfiÛÔ ÙÔ Û¯ÔÏ›Ô
fiÛÔ Î·È Ô ÂÎ·È‰Â˘ÙÈÎfi˜.
AÓ Ô ÂÎ·È‰Â˘ÙÈÎfi˜ ÂÊ·ÚÌfiÛÂÈ ÙȘ ·ÎfiÏÔ˘-
ı˜ ¯Ú‹ÛÈ̘ Û˘Ì‚Ô˘Ï¤˜, ÙfiÙÂ Ë ‰È‰·Ûηϛ·
Û ̷ıËÙ¤˜ Ì ™E¶/Y ı· Â›Ó·È ÈÔ Â‡ÎÔÏË Î·È
ÂÚÈÛÛfiÙÂÚÔ ·ÔÙÂÏÂÛÌ·ÙÈ΋. T· ·È‰È¿ ·˘-
Ù¿ ÌÔÚÔ‡Ó Ó· ÌÂÙ·ÌÔÚʈıÔ‡Ó Î·Ù¿ ÙË ‰È¿Ú-
ÎÂÈ· ÙÔ˘ Û¯ÔÏÈÎÔ‡ ¤ÙÔ˘˜Ø ÂΛ ‰ËÏ·‰‹ Ô˘ ‹-
Ù·Ó ÔÈ ÈÔ ‰‡ÛÎÔÏÔÈ Ì·ıËÙ¤˜ ÁÈ· Û·˜, ÌÔÚÔ‡Ó
Ó· Á›ÓÔ˘Ó ÛÙË Û˘Ó¤¯ÂÈ· ÔÈ ÈÔ ÈηÓÔÔÈËÙÈÎÔ›.
M ÙËÓ Â›ÌÔÓË Î·È ÙË Û˘ÓÂ‹ ÂÊ·ÚÌÔÁ‹ ÙˆÓ
Ù¯ÓÈÎÒÓ Ô˘ ÂÚȤ¯ÔÓÙ·È Û ·˘Ù¤˜ ÙȘ Û˘Ì-
‚Ô˘Ï¤˜, Ì ÙË Û˘ÓÂÚÁ·Û›· ÙˆÓ Û˘Ó·‰¤ÏʈÓ,
ÙˆÓ ÁÔÓ¤ˆÓ Î·È ÙÔ˘ Ì·ıËÙ‹, ÌÔÚ›Ù ӷ ‰Â›-
Ù ÙËÓ ·ÔÙ˘¯›· Ó· ·ÏÏ¿˙ÂÈ ÚfiÛˆÔ, Ó· Á›-
ÓÂÙ·È ÈηÓfiÙËÙ· Î·È ÂÈÙ˘¯›·.
OÈ Û˘Ì‚Ô˘Ï¤˜ ·¢ı‡ÓÔÓÙ·È Û ÂÎ·È‰Â˘-
ÙÈÎÔ‡˜ fiÏˆÓ ÙˆÓ ‚·ıÌ›‰ˆÓ, οÔȘ ı· ›ӷÈ
ÚÔÊ·ÓÒ˜ ÂÚÈÛÛfiÙÂÚÔ Î·Ù¿ÏÏËϘ ÁÈ· ÌÈ-
ÎÚfiÙÂÚÔ˘˜ Ì·ıËÙ¤˜, ÂÓÒ ¿ÏϘ ÁÈ· ÌÂÁ·Ï‡ÙÂ-
ÚÔ˘˜Ø ı¤Ì·Ù· ˆÛÙfiÛÔ ‰ÔÌ‹˜, ÂÎ·›‰Â˘Û˘ ηÈ
ÂÓı¿ÚÚ˘ÓÛ˘ Â›Ó·È ÎÔÈÓ¿ Î·È ·ÊÔÚÔ‡Ó fiÏ· Ù·
·È‰È¿.
1. ¶ÚÒÙÔÓ, ÛÈÁÔ˘Ú¢Ù›Ù fiÙÈ ¤¯ÂÙ ӷ ο-
ÓÂÙ Ì ™E¶/Y. AÓ·ÌÊ›‚ÔÏ· ‰ÂÓ Â›Ó·È Î·ı‹-
ÎÔÓ ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ Ó· ‰È·ÁÓÒÛÂÈ ÙÔ
™E¶/Y, ÌÔÚ›Ù fï˜, Î·È ı· ¤ÚÂÂ, Ó· ο-
ÓÂÙ ÛÙÔ˘˜ ÁÔÓ›˜ ÌÂÚÈΤ˜ ÂÚˆÙ‹ÛÂȘ. ™˘ÁÎÂ-
ÎÚÈ̤ӷ, ‚‚·Èˆı›Ù fiÙÈ ¤¯ÂÈ ÂÏÂÁ¯ı› Úfi-
ÛÊ·Ù· Ë ·ÎÔ‹ Î·È Ë fiÚ·ÛË ÙÔ˘ ·È‰ÈÔ‡ Î·È fi-
ÙÈ Â›Û˘ ‰ÂÓ ˘¿Ú¯Ô˘Ó ¿ÏÏ· È·ÙÚÈο ÚÔ‚Ï‹-
Ì·Ù·. B‚·Èˆı›Ù fiÙÈ ÔÈ ·Ó¿ÏÔÁË ÂͤٷÛË ‹-
Ù·Ó Â·Ú΋˜. ™˘Ó¯›ÛÙ ӷ οÓÂÙ ÂÚˆÙ‹ÛÂȘ
̤¯ÚȘ fiÙÔ˘ ÂÈÛı›ÙÂ. TËÓ Â˘ı‡ÓË ÁÈ· fiÏ·
·˘Ù¿ ÙËÓ ¤¯Ô˘Ó ÔÈ ÁÔÓ›˜ Î·È fi¯È Ô ÂÎ·È‰Â˘-
ÙÈÎfi˜, Ô ÂÎ·È‰Â˘ÙÈÎfi˜ fï˜ ÌÔÚ› Ó· ˘Ô-
ÛÙËÚ›ÍÂÈ ÙË ‰È·‰Èηۛ·.
2. ¢Â‡ÙÂÚÔÓ, ÔÚÁ·ÓÒÛÙ ÙËÓ ˘ÔÛÙ‹ÚÈÍ‹
Û·˜. TÔ Ó· ›۷ÛÙ ÂÎ·È‰Â˘ÙÈÎfi˜ Û ÌÈ· Ù¿-
ÍË fiÔ˘ ˘¿Ú¯Ô˘Ó ‰‡Ô ÙÚ›· ·È‰È¿ Ì ™E¶/Y
Â›Ó·È ÙÚÔÌÂÚ¿ ÎÔ˘Ú·ÛÙÈÎfi. B‚·Èˆı›Ù fiÙÈ
¤¯ÂÙ ÙËÓ ˘ÔÛÙ‹ÚÈÍË ÙÔ˘ Û¯ÔÏ›Ԣ Î·È ÙˆÓ
ÁÔÓ¤ˆÓ. B‚·Èˆı›Ù fiÙÈ ˘¿Ú¯ÂÈ Î¿ÔÈÔ˜ ÂÈ-
‰ÈÎfi˜ Ô˘ Ó· ÌÔÚ›Ù ӷ ÙÔÓ Û˘Ì‚Ô˘Ï¢Ù›ÙÂ
Dr. ŒÓÙÔ˘·ÚÓÙ X¿ÏÔÁÔ˘ÂÏ
‰È‰¿ÛÎÂÈ ÛÙÔ ÙÌ‹Ì· I·ÙÚÈ΋˜ ÙÔ˘ ¶·ÓÂÈÛÙËÌ›Ô˘ X¿Ú‚·ÚÓÙ
fiÙ·Ó Û˘Ó·ÓÙ‹ÛÂÙ Úfi‚ÏËÌ· (ÂȉÈÎfi˜ Û ̷-
ıËÛȷΤ˜ ‰˘ÛÎÔϛ˜, ·È‰Ô„˘¯›·ÙÚÔ˜, ÎÔÈÓˆ-
ÓÈÎfi˜ ÏÂÈÙÔ˘ÚÁfi˜, Û¯ÔÏÈÎfi˜ „˘¯ÔÏfiÁÔ˜, ·È-
‰›·ÙÚÔ˜ - ÙÔ ‰›ψ̿ ÙÔ˘ ‰ÂÓ ¤¯ÂÈ ÛËÌ·Û›·).
EΛÓÔ Ô˘ Ú¤ÂÈ Ó· Û·˜ ··Û¯ÔÏ› Â›Ó·È ÙÔ
·Ó ÁÓˆÚ›˙ÂÈ ·ÚÎÂÙ¿ ÁÈ· ÙÔ ™E¶/Y Î·È ¤¯ÂÈ ‰ÂÈ
·ÚÎÂÙ¿ ·È‰È¿ Ì ™E¶/Y. B‚·Èˆı›Ù fiÙÈ ÔÈ
ÁÔÓ›˜ Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì·˙› Û·˜ Î·È fiÙÈ ÔÈ Û˘-
Ó¿‰ÂÏÊÔ› Û·˜ ÌÔÚÔ‡Ó Ó· Û·˜ ‚ÔËı‹ÛÔ˘Ó.
3. TÚ›ÙÔÓ, Ó· ͤÚÂÙ ٷ fiÚÈ¿ Û·˜. MË ‰È-
ÛÙ¿ÛÂÙ ӷ ˙ËÙ‹ÛÂÙ ‚Ô‹ıÂÈ·. EÛ›˜ ˆ˜ ÂÎ-
·È‰Â˘ÙÈÎfi˜ ‰ÂÓ Â›ÛÙ ˘Ô¯Úˆ̤ÓÔ˜ Ó· ›ÛÙÂ
Î·È ÂȉÈÎfi˜ ÛÙÔ ™E¶/Y. °È' ·˘Ùfi ‰Â ı· Ú¤ÂÈ
Ó· ‰ÈÛÙ¿ÛÂÙ ӷ ˙ËÙ‹ÛÂÙ ‚Ô‹ıÂÈ· fiÙ·Ó ıˆ-
Ú‹ÛÂÙ ˆ˜ ÙËÓ ¤¯ÂÙ ·Ó¿ÁÎË.
4. PˆÙ‹ÛÙÂ ÙÔ Ì·ıËÙ‹ ÁÈ· ÙÔ ÙÈ ı· ÙÔÓ ‚ÔË-
ıÔ‡ÛÂ. A˘Ù‹ Ë Â‡ÏÔÁË Î›ÓËÛË ·Ú·‚ϤÂÙ·È
ۯ‰fiÓ ¿ÓÙ·. EÌ›˜ ÔÈ ÂÓ‹ÏÈΘ ›̷ÛÙÂ Û˘-
Ó‹ıˆ˜ ÙfiÛÔ ··Û¯ÔÏË̤ÓÔÈ ÛÙËÓ ÚÔÛ¿ıÂÈ¿
Ì·˜ Ó· ·Ó·Î·Ï‡„Ô˘Ì ÌfiÓÔÈ Ì·˜ ÙÈ Â›Ó·È Î·-
Ïfi ÁÈ' ·˘Ù¿ Ù· ·È‰È¿ Î·È ÙÈ ÔÊ›ÏÔ˘Ì ӷ ο-
ÓÔ˘Ì ÁÈ' ·˘Ù¿, Ô˘ Ì·˜ ‰È·Ê‡ÁÂÈ Ó· ‰È·Ù˘-
ÒÛÔ˘Ì ÂÚˆÙ‹ÛÂȘ ÁÈ· ÙÔ ÙÈ ÓÔÌ›˙Ô˘Ó Ù· ›‰È·
fiÙÈ ı· Ù· ‚ÔËıÔ‡ÛÂ. A˘Ù¿ Ù· ·È‰È¿ ¤¯Ô˘Ó Û˘-
Ó‹ıˆ˜ ‰È·›ÛıËÛË. AÓ Ù· ÚˆÙ‹ÛÂÙÂ, ı· Û·˜
Ô˘Ó Ò˜ ÌÔÚÔ‡Ó Ó· Ì¿ıÔ˘Ó Î·Ï‡ÙÂÚ·.
NÙÚ¤ÔÓÙ·È Ôχ Ó· Û·˜ ÂÓËÌÂÚÒÛÔ˘Ó ·fi
ÌfiÓ· ÙÔ˘˜, ÁÈ·Ù› ÙÔ˘˜ Ê·›ÓÂÙ·È Î¿ˆ˜ ÙÚ·‚ËÁ-
̤ÓÔ. øÛÙfiÛÔ ÚÔÛ·ı‹ÛÙ ӷ ηı›ÛÂÙ ̷˙›
Ì ÙÔ Ì·ıËÙ‹ οÓÔÓÙ¿˜ ÙÔ˘ ÂÚˆÙ‹ÛÂȘ ÁÈ· ÙÔ
Ò˜ ı· ÌÔÚÔ‡Û ӷ Ì¿ıÂÈ Î·Ï‡ÙÂÚ·. O η-
χÙÂÚÔ˜ "ÂȉÈÎfi˜" ÁÈ· Ó· ÚÔÙ›ÓÂÈ ÙËÓ ·Ô‰Ô-
ÙÈÎfiÙÂÚË Ì¤ıÔ‰Ô ÂÎÌ¿ıËÛ˘ Â›Ó·È ÙÔ ›‰ÈÔ ÙÔ
·È‰›. E›Ó·È ÊÔ‚ÂÚfi fiÛÔ Û˘¯Ó¿ ·ÁÓÔÔ‡ÓÙ·È
‹ ‰ÂÓ ·ÎÔ‡ÁÔÓÙ·È ÔÈ ·fi„ÂȘ ÙÔ˘˜. EÈÚÔ-
Ûı¤Ùˆ˜, ÂȉÈο Û ۯ¤ÛË Ì ٷ ÌÂÁ·Ï‡ÙÂÚ·
·È‰È¿, ‚‚·Èˆı›Ù fiÙÈ ÙÔ ·È‰› ÁÓˆÚ›˙ÂÈ ÙÈ
Â›Ó·È ÙÔ ™E¶/Y. A˘Ùfi ı· ‚ÔËı‹ÛÂÈ ·ÚÎÂÙ¿
Î·È ÙÔ˘˜ ‰˘Ô Û·˜.
5. N· ı˘Ì¿ÛÙ ÙÔ Û˘Ó·ÈÛıËÌ·ÙÈÎfi ÎÔÌÌ¿ÙÈ
Ô˘ ÂÌÂÚÈÎÏ›ÂÈ Ë ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘.
A˘ÙÔ› ÔÈ Ì·ıËÙ¤˜ ¯ÚÂÈ¿˙ÔÓÙ·È ÂȉÈ΋ ‚Ô‹ıÂÈ·
ÁÈ· Ó· ‚ÚÔ˘Ó Â˘¯·Ú›ÛÙËÛË Ì¤Û· ÛÙË Ù¿ÍËØ ÁÈ·
Ó· ·ÓÙÈηٷÛÙ‹ÛÔ˘Ó Ì ÂÈÙ˘¯›· ÙËÓ ·ÔÙ˘¯›·
Î·È ÙË Ì·Ù·›ˆÛË, Ì ÂÓıÔ˘ÛÈ·ÛÌfi ÙËÓ ·Ó›·
Î·È ÙÔ Êfi‚Ô. E›Ó·È ··Ú·›ÙËÙÔ Ó· ‰ÒÛÂÙÂ
ÚÔÛÔ¯‹ ÛÙ· Û˘Ó·ÈÛı‹Ì·Ù· Ô˘ ÂÌϤÎÔÓÙ·È
ÛÙË ‰È·‰Èηۛ· Ù˘ Ì¿ıËÛ˘.
6. N· ı˘Ì¿ÛÙ fiÙÈ ÔÈ Ì·ıËÙ¤˜ Ì ™E¶/Y ¤-
¯Ô˘Ó ·Ó¿ÁÎË ·fi ÙË ‰ÔÌ‹ Î·È ÙËÓ ÔÚÁ¿ÓˆÛË.
TÔ ÂÚÈ‚¿ÏÏÔÓ ÙÔ˘˜ ÔÊ›ÏÂÈ Ó· ‰ÔÌ› Â͈ÙÂ-
ÚÈο ·˘Ùfi Ô˘ ÂΛÓÔÈ ‰ÂÓ ÌÔÚÔ‡Ó Ó· ‰ÔÌ‹-
ÛÔ˘Ó ÂÛˆÙÂÚÈο ·fi ÌfiÓÔÈ ÙÔ˘˜. ºÙÈ¿ÍÙ ϛ-
ÛÙ˜. T· ·È‰È¿ Ì ™E¶/Y ˆÊÂÏÔ‡ÓÙ·È Ôχ
·fi ¤Ó·Ó ›Ó·Î· ‹ ÌÈ· Ï›ÛÙ· Ô˘ ı· ¯ÚËÛÈÌÔ-
ÔÈÔ‡Ó ˆ˜ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜ fiÙ·Ó ¯¿ÓÔÓÙ·È
ηٿ ÙË ‰È¿ÚÎÂÈ· Ì›·˜ ‰Ú·ÛÙËÚÈfiÙËÙ¿˜ ÙÔ˘˜.
XÚÂÈ¿˙ÔÓÙ·È ˘ÂÓı˘Ì›ÛÂȘ. XÚÂÈ¿˙ÔÓÙ·È
ÚÔηٷÚÎÙÈΤ˜ ·ÚÔ˘ÛÈ¿ÛÂȘ. XÚÂÈ¿˙ÔÓÙ·È
Â·Ó¿ÏË„Ë. XÚÂÈ¿˙ÔÓÙ·È Î·Ù‡ı˘ÓÛË. XÚÂÈ-
¿˙ÔÓÙ·È fiÚÈ·. XÚÂÈ¿˙ÔÓÙ·È ‰ÔÌ‹.
7. AÓ·ÚÙ‹ÛÙ ηÓfiÓ˜. N· ÙÔ˘˜ ÁÚ¿„ÂÙ ÛÂ
¢‰È¿ÎÚÈÙÔ Ì¤ÚÔ˜. T· ·È‰È¿ ‰Â ı· ÓÈÒıÔ˘Ó
¿Á¯Ô˜ ·Ó ÁÓˆÚ›˙Ô˘Ó ÙÈ ÂÚÈ̤ÓÂÙ ·fi ·˘Ù¿.
8. N· Â·Ó·Ï·Ì‚¿ÓÂÙ ÙȘ Ô‰ËÁ›Â˜. N·
ÁÚ¿ÊÂÙ ÙȘ Ô‰ËÁ›Â˜. N· ϤÙ ÙȘ Ô‰ËÁ›Â˜. N·
Â·Ó·Ï·Ì‚¿ÓÂÙ ÙȘ Ô‰ËÁ›Â˜. T· ¿ÙÔÌ· ÌÂ
™E¶/Y ¤¯Ô˘Ó ·Ó¿ÁÎË Ó· ·ÎÔ‡Ó ٷ ›‰È·
Ú¿ÁÌ·Ù· ¿Óˆ ·fi Ì›· ÊÔÚ¿.
9. N· ¤¯ÂÙÂ Û˘¯Ó‹ ‚ÏÂÌÌ·ÙÈ΋ Â·Ê‹.
MÔÚ›Ù ӷ "Â·Ó·Ê¤ÚÂÙÂ" ¤Ó· ·È‰› ÌÂ
™E¶/Y ¯ÚËÛÈÌÔÔÈÒÓÙ·˜ ÙÔ ‚ϤÌÌ·. K¿ÓÙÂ
ÙÔ Û˘¯Ó¿. MÈ· Ì·ÙÈ¿ ÌÔÚ› Ó· Â·Ó·Ê¤ÚÂÈ ¤-
Ó· ·È‰› ·fi ÙËÓ ÔÓÂÈÚÔfiÏËÛË ‹ Ó· ÙÔ Î·ıË-
Û˘¯¿ÛÂÈ Ì ÙÚfiÔ ÛȈËÏfi.
10. B¿ÏÙ ÙÔ ·È‰› Ì ™E¶/Y Ó· ηı›ÛÂÈ
ÎÔÓÙ¿ Û·˜ ‹ Û ÂΛÓÔ ÙÔ ÛËÌÂ›Ô Ô˘ ‚Ú›ÛÎÂ-
ÛÙ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ Ù˘ ÒÚ·˜. A˘Ùfi ı·
21
Û˘ÓÙÂϤÛÂÈ ·ÔÙÂÏÂÛÌ·ÙÈο ÛÙË Ì›ˆÛË Ù˘ ¤-
ÓÙÔÓ˘ ÎÈÓËÙÈÎfiÙËÙ¿˜ ÙÔ˘˜, Ô˘ ÙfiÛÔ Ù· Ù·Ï·È-
ˆÚ›.
11. £¤ÛÙ fiÚÈ· Î·È ÂÚÈÔÚÈÛÌÔ‡˜. ™Ùfi¯Ô˜
Ù˘ ÂÈ‚ÔÏ‹˜ ÔÚ›ˆÓ Â›Ó·È Ó· Û˘ÁÎÚ·Ù‹ÛÂÙÂ
Î·È Ó· ηıËÛ˘¯¿ÛÂÙ ٷ ·È‰È¿, fi¯È Ó· Ù· ÙÈ-
̈ڋÛÂÙÂ. N· ÂÈ‚¿ÏÏÂÙ ٷ fiÚÈ· ÌÂ Û˘Ó¤-
ÂÈ·, ÏÔÁÈ΋, ÁÚ‹ÁÔÚ· Î·È ·Ï¿. MËÓ ÂÌϤ-
ÎÂÛÙ Û ÔχÏÔΘ, "‰ÈÎËÁÔÚ›ÛÙÈΘ" Û˘˙Ë-
Ù‹ÛÂȘ ÂÚ› ‰Èη›Ô˘. A˘Ù¤˜ ÔÈ Ì·ÎÚÔÛÎÂÏ›˜
Û˘˙ËÙ‹ÛÂȘ Û¿˜ ·ÔÌ·ÎÚ‡ÓÔ˘Ó ·fi ÙÔ ÛÙfi¯Ô
Û·˜. MË ¯¿ÓÂÙ ÙÔÓ ¤ÏÂÁ¯Ô Ù˘ ηٿÛÙ·Û˘.
12. N· ¤¯ÂÙ fiÛÔ ÙÔ ‰˘Ó·Ùfi ÂÚÈÛÛfiÙÂÚÔ
ÍÂοı·ÚÔ Î·È Û·Ê¤˜ ËÌÂÚ‹ÛÈÔ ÚfiÁÚ·ÌÌ·.
TÔÔıÂÙ‹ÛÙ ÙÔ ¿Óˆ ÛÙÔÓ ›Ó·Î· Ù˘ Ù¿Í˘
‹ ¿Óˆ ÛÙÔ ıÚ·Ó›Ô ÙÔ˘ ·È‰ÈÔ‡. N· ÙÔ ¯ÚËÛÈ-
ÌÔÔÈ›ÙÂ Û˘¯Ó¿ ˆ˜ ÛËÌÂ›Ô ·Ó·ÊÔÚ¿˜. AÓ
ÚÔÙ›ıÂÛÙ ӷ οÓÂÙ οÔȘ ·ÏÏ·Á¤˜, fiˆ˜
οÓÔ˘Ó ·ÚÎÂÙÔ› ¤ÌÂÈÚÔÈ ÂÎ·È‰Â˘ÙÈÎÔ›, ÂÓË-
ÌÂÚÒÛÙÂ Î·È ÚÔÂÙÔÈÌ¿ÛÙ ٷ ·È‰È¿. OÈ ·Ó·-
ηٷٿÍÂȘ Î·È ÔÈ Í·ÊÓÈΤ˜ ·ÏÏ·Á¤˜ ÙÔ‡˜ ›-
Ó·È ‰‡ÛÎÔϘ. T· ·ÔÚÔÛ·Ó·ÙÔÏ›˙Ô˘Ó. ºÚÔ-
ÓÙ›ÛÙÂ ÏÔÈfiÓ Ó· Ù· ÚÔÂÙÔÈÌ¿ÛÂÙÂ ·ÚÎÂÙfi
ηÈÚfi ÚÈÓ. AÓ·ÎÔÈÓÒÛÙ ÙÔ˘˜ ÙÈ ÚfiÎÂÈÙ·È
Ó· Û˘Ì‚Â› Î·È ÂÍ·ÎÔÏÔ˘ı‹ÛÙ ӷ Â·Ó·Ï·Ì-
‚¿ÓÂÙ fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔ, fiÛÔ Ô Î·ÈÚfi˜
ÏËÛÈ¿˙ÂÈ, ÙȘ ÂÈΛÌÂÓ˜ ·ÏÏ·Á¤˜.
13. ¶ÚÔÛ·ı‹ÛÙÂ Ó· Ù· ‚ÔËı‹ÛÂÙÂ ÒÛÙÂ Ó·
ۯ‰ȿÛÔ˘Ó ÙÔ ÚfiÁÚ·ÌÌ· Ô˘ ı· ·ÎÔÏÔ˘ı‹-
ÛÔ˘Ó ÌÂÙ¿ ÙÔ Ù¤ÏÔ˜ Ù˘ Ë̤ڷ˜ ÙÔ˘˜ ÛÙÔ Û¯Ô-
Ï›Ô, ·›ÚÓÔÓÙ·˜ ¤ÙÛÈ Ì¤ÙÚ· ÒÛÙ ӷ ·ÔÊ¢-
¯ı› ¤Ó· ·fi Ù· ‚·ÛÈο ¯·Ú·ÎÙËÚÈÛÙÈο ÙÔ˘
™E¶/Y: Ë ·‰Ú¿ÓÂÈ·.
14. K·Ù·ÚÁ‹ÛÙ ‹ ÌÂÈÒÛÙ ÙË Û˘¯ÓfiÙËÙ·
ÙˆÓ ÙÂÛÙ Ô˘ ˘fiÎÂÈÓÙ·È Û ¯ÚÔÓÈÎÔ‡˜ ÂÚÈÔ-
ÚÈÛÌÔ‡˜. H ÂÎ·È‰Â˘ÙÈ΋ ·Í›· ·˘ÙÒÓ ÙˆÓ ÙÂÛÙ
Â›Ó·È ÌÈÎÚ‹.
15. EÈÙÚ¤„Ù ÙÔ˘˜, ˆ˜ ‰ÈÎÏ›‰· ·ÛÊ·Ï›·˜,
Ó· "‰Ú·ÂÙ‡ԢÓ" ÁÈ· Ï›ÁÔ ·fi ÙËÓ Ù¿ÍË. AÓ
·˘Ùfi ÂÚ¿ÛÂÈ Î·È ÂÓۈ̷وı› ÛÙÔ˘˜ ηÓfi-
Ó˜ Ù˘ Ù¿Í˘, ‰Â ı· ÂÎÓ¢ڛ˙ÔÓÙ·È ·fi ÙËÓ ·-
Ó˘·ÚÍ›· ‰ÈÂÍfi‰Ô˘. M' ·˘ÙfiÓ ÙÔÓ ÙÚfiÔ ı·
Ì¿ıÔ˘Ó Ó· οÓÔ˘Ó ¯Ú‹ÛË Ù˘ ·˘ÙÔ·Ú·Ù‹ÚË-
Û˘ Î·È Ù˘ ·˘ÙÔ-Ú‡ıÌÈÛ‹˜ ÙÔ˘˜.
16. ¶ÚÔÛ·ı‹ÛÙ ÒÛÙ ÔÈ ÂÚÁ·Û›Â˜ ÁÈ· ÙÔ
Û›ÙÈ Ó· ÛÙËÚ›˙ÔÓÙ·È ÛÙËÓ ÔÈfiÙËÙ· Î·È fi¯È
ÛÙËÓ ÔÛfiÙËÙ·. T· ·È‰È¿ Ì ™E¶/Y ‰ÂÓ ·-
ÓÙ¤¯Ô˘Ó Û˘Ó‹ıˆ˜ ÙÔ ÌÂÁ¿ÏÔ ÊfiÚÙÔ ÂÚÁ·Û›·˜.
EÊfiÛÔÓ Ì·ı·›ÓÔ˘Ó ·˘Ù¿ Ô˘ Ú¤ÂÈ, ›ӷÈ
ÚÔÙÈÌfiÙÂÚÔ Ó· ÙÔ˘˜ ÂÈÙÚ¤ÂÙ·È Ó· ¤¯Ô˘Ó ÏÈ-
ÁfiÙÂÚË ‰Ô˘ÏÂÈ¿ ÛÙÔ Û›ÙÈ. ¢ÂÓ Ú¤ÂÈ Ó· ¤-
¯Ô˘Ó ÂÚÈÛÛfiÙÂÚË ‰Ô˘ÏÂÈ¿ ·' ·˘Ù‹ Ô˘ ÌÔ-
ÚÔ‡Ó Ó' ·ÓÙ¤ÍÔ˘Ó.
17. ¶·Ú·ÎÔÏÔ˘ı‹ÛÙÂ Û˘¯Ó¿ ÙËÓ ÚfiÔ‰fi
ÙÔ˘˜. H Û˘¯Ó‹ ÏËÚÔÊfiÚËÛË ÙÔ˘˜ ÁÈ· ÙËÓ
ÚÔÛˆÈ΋ ÙÔ˘˜ ÚfiÔ‰Ô ¤¯ÂÈ ÂÍ·ÈÚÂÙÈο Ôʤ-
ÏË, ηıÒ˜ Ù· ‚ÔËı¿ÂÈ Ó· ·Ú·Ì¤ÓÔ˘Ó ÛÙÔ
ÛÙfi¯Ô, ÙÔ˘˜ ÂÈÙÚ¤ÂÈ Ó· ͤÚÔ˘Ó ÙÈ ÂÚÈ̤-
ÓÔ˘Ó ÔÈ ¿ÏÏÔÈ ·fi ·˘Ù¿ Î·È Ò˜ Ù· ËÁ·›ÓÔ˘Ó
ÛÙÔ Û¯ÔÏ›ÔØ fiÏ· ·˘Ù¿ ·ÔÙÂÏÔ‡Ó ·Ú¿ÁÔ-
ÓÙ˜ Ô˘ Û˘ÓÙÂÏÔ‡Ó ÛÙËÓ ÂÓı¿ÚÚ˘ÓÛ‹ ÙÔ˘˜.
18. ™¿ÛÙ ÙȘ ÌÂÁ¿Ï˜ ÂÚÁ·Û›Â˜ Û ÌÈÎÚfi-
ÙÂÚ˜. A˘Ùfi Û˘ÓÈÛÙ¿ Ì›· ·fi ÙȘ ÈÔ ÛËÌ·ÓÙÈ-
Τ˜ Ù¯ÓÈΤ˜ ‰È‰·Ûηϛ·˜ ÁÈ· Ù· ·È‰È¿ ÌÂ
™E¶/Y. OÈ ÌÂÁ¿Ï˜ ÂÚÁ·Û›Â˜ ÁÚ‹ÁÔÚ· "Ó›-
ÁÔ˘Ó" ÙÔ ·È‰›, Ì ·ÔÙ¤ÏÂÛÌ· Ó· ÔÈÛıÔ¯ˆ-
Ú› ¤ÓÙÚÔÌÔ Î·È ÁÂÌ¿ÙÔ ‰¿ÎÚ˘· Ì ¤Ó· "ÔÙ¤

22
‰Â ı· ÌÔÚ¤Ûˆ Ó· TÔ Î¿Óˆ AYTO". AÓ fï˜
¯ˆÚ›˙ÂÙ ÙȘ ÂÚÁ·Û›Â˜ Û ÌÈÎÚfiÙÂÚ· ÙÌ‹Ì·Ù·
Ô˘ ÌÔÚ› Ó· ¯ÂÈÚÈÛÙ› ¢ÎÔÏfiÙÂÚ·, ÙfiÙ ο-
ı ÌÈÎÚfiÙÂÚÔ ÎÔÌÌ¿ÙÈ ı· ÙÔ˘ Ê·›ÓÂÙ·È Â˘ÎÔ-
ÏfiÙÂÚÔ Ó· οÓÂÈ Î·È ¤ÙÛÈ ‰ÂÓ ı· ÓÈÒıÂÈ "ÓÈÁ-
̤ÓÔ". °ÂÓÈο, Ù· ·È‰È¿ ·˘Ù¿ ÌÔÚÔ‡Ó Ó· ο-
ÓÔ˘Ó Ôχ ÂÚÈÛÛfiÙÂÚ· Ú¿ÁÌ·Ù· ·fi ·˘Ù¿
Ô˘ ÓÔÌ›˙Ô˘Ó fiÙÈ ÌÔÚÔ‡Ó. M ·˘Ù‹Ó ÙË ‰È·-
ÊÔÚÂÙÈ΋ ηٷÓÔÌ‹ ÙÔ˘ ˘ÏÈÎÔ‡, Ô ÂÎ·È‰Â˘ÙÈ-
Îfi˜ ÌÔÚ› Ó· ÂÈÙÚ¤„ÂÈ ÛÙÔ ·È‰› Ó· ·ԉ›-
ÍÂÈ ÛÙÔÓ Â·˘Ùfi ÙÔ˘ fiÙÈ Ù· ηٷʤÚÓÂÈ.
19. K¿ÓÙ ¯ÈÔ‡ÌÔÚ, ‰È·ÛΉ¿ÛÙ ÙË ‰È‰·-
Ûηϛ·, ·ÔʇÁÂÙ ӷ ›ÛÙ ÎÔÈÓfiÙÔÔÈ Î·È
Û˘Ì‚·ÙÈÎÔ›. T· ¿ÙÔÌ· Ì ™E¶/Y ·Á·Ô‡Ó ÙËÓ
ηÈÓÔÙÔÌ›·. EÓıÔ˘ÛÈ¿˙ÔÓÙ·È. TÔ˘˜ ‚ÔËı¿ÂÈ
ÛÙË Û˘ÁΤÓÙÚˆÛË - Î·È ÂÛ›˜ Û˘ÁÎÂÓÙÚÒÓÂÛÙÂ
Ì' ·˘ÙfiÓ ÙÔÓ ÙÚfiÔ. A˘Ù¿ Ù· ·È‰È¿ Â›Ó·È fiÏÔ
˙ˆ‹ - ·Á·Ô‡Ó ÙË ‰È·ÛΤ‰·ÛË Î·È ÙÔ ·È¯Ó›‰È.
K·È ¿Óˆ ·' fiÏ·, Ûȯ·›ÓÔÓÙ·È ÙË ‚·ÚÂÌ¿Ú·.
H "ıÂÚ·›·" ÙÔ˘˜ ÂÚÈÏ·Ì‚¿ÓÂÈ ÔÏÏ¿ ‚·ÚÂ-
Ù¿ Ú¿ÁÌ·Ù·, fiˆ˜ ËÌÂÚ‹ÛÈ· ÚÔÁÚ¿ÌÌ·Ù·,
Ï›ÛÙ˜ Î·È Î·ÓfiÓ˜. £· ‚ÔËıÔ‡Û ÏÔÈfiÓ ·Ú-
ÎÂÙ¿, ·Ó, ηٿ ‰È·ÛÙ‹Ì·Ù·, ÌÔÚ›Ù ӷ ·Ê‹-
ÓÂÛÙÂ Î·È Ó· "·È‰È·Ú›˙ÂÙÂ".
20. ¶ÚÔÛ¤ÍÙ ˆÛÙfiÛÔ ÙËÓ ˘ÂډȤÁÂÚÛË ·-
fi ˘ÂÚ‚ÔÏÈο ÔÏÏ¿ Â͈ÙÂÚÈο ÂÚÂı›ÛÌ·Ù·.
TÔ ·È‰› Ì ™E¶/Y ÌÔÚ› Ó· ͯÂÈÏ›ÛÂÈ fi-
ˆ˜ ÌÈ· ηÙÛ·ÚfiÏ· Â¿Óˆ ÛÙË ÊˆÙÈ¿. ¶Ú¤ÂÈ
Ó· ›ÛÙ Û ı¤ÛË Ó· ÌÂÈÒÛÂÙ ÁÚ‹ÁÔÚ· ÙË
"ıÂÚÌÔÎÚ·Û›·", Î·È Ô Î·Ï‡ÙÂÚÔ˜ ÙÚfiÔ˜ ÁÈ·
Ó· ·ÓÙÈÌÂÙˆ›ÛÂÙ ÙÔ ¯¿Ô˜ ÛÙËÓ Ù¿ÍË ÙÔ˘ Û¯Ô-
Ï›Ԣ Â›Ó·È Ó· ÙÔ ÚÔÏ¿‚ÂÙ ÂÍ·Ú¯‹˜.
21. AÓ·˙ËÙ‹ÛÙ ÙËÓ ÂÈÙ˘¯›· Î·È ÙÔÓ›ÛÙÂ
ÙËÓ fiÛÔ ÙÔ ‰˘Ó·ÙfiÓ ÂÚÈÛÛfiÙÂÚÔ. A˘Ù¿ Ù·
·È‰È¿ ˙Ô˘Ó Ì¤Û· Û ÙfiÛË ·ÔÙ˘¯›·, Ô˘ ¯ÚÂÈ-
¿˙ÔÓÙ·È ÙË ÌÂÁ·Ï‡ÙÂÚË ‰˘Ó·Ù‹ ıÂÙÈ΋ ·ÓÙÈÌÂ-
ÙÒÈÛËØ ÌË ‰ÒÛÂÙ fï˜ ˘ÂÚ‚ÔÏÈ΋ ¤ÌÊ·ÛË
Û' ·˘Ùfi. O ¤·ÈÓÔ˜ Â›Ó·È ¯Ú‹ÛÈÌÔ˜ Î·È ÂÔÈ-
ÎÔ‰ÔÌËÙÈÎfi˜. AÁ·Ô‡Ó ÙËÓ ÂÓı¿ÚÚ˘ÓÛË, Ù·
"ÙÚ¤ÊÂÈ". XˆÚ›˜ ·˘Ù‹ Û˘ÚÚÈÎÓÒÓÔÓÙ·È Î·È Ì·-
Ú·›ÓÔÓÙ·È. ™˘¯Ó¿ ÙÔ ÈÔ ·ÔηډȈÙÈÎfi ÎÔÌ-
Ì¿ÙÈ ÙÔ˘ ™E¶/Y ‰ÂÓ Â›Ó·È Î·ı·˘Ùfi ÙÔ ™E¶/Y,
Â›Ó·È Ë ‰Â˘ÙÂÚÂ‡Ô˘Û· ÂÈ‚Ï·‚‹˜ Â›‰Ú·ÛË
Ô˘ ¤¯ÂÈ ÛÙËÓ ·˘ÙÔÂÔ›ıËÛË ÙÔ˘ ·È‰ÈÔ‡. °È'
·˘Ùfi ÏÔÈfiÓ "ÔÙ›ÛÙÂ" ·˘Ù¿ Ù· ·È‰È¿ Ì ·-
ÚfiÙÚ˘ÓÛË Î·È ¤·ÈÓÔ.
22. T· ·È‰È¿ ·˘Ù¿ ·ÚÔ˘ÛÈ¿˙Ô˘Ó Û˘¯Ó¿
Úfi‚ÏËÌ· ÌÓ‹Ì˘. ¢È‰¿ÍÙ ÙÔ˘˜ ÌÈÎÚ¿ ÎfiÏ·,
fiˆ˜ ÌÓËÌÔÓÈΤ˜ Ù¯ÓÈΤ˜, ¯ÚËÛÈÌÔÔÈ‹ÛÙÂ
‚ÔËıËÙÈΤ˜ οÚÙ˜ Î.Ï. ™˘¯Ó¿ Â›Û˘ ¤¯Ô˘Ó
ÚÔ‚Ï‹Ì·Ù· ÌÂ ·˘Ùfi Ô˘ Ô Mel Levine ·Ô-
ηÏ› "ÂÓÂÚÁfi ÌÓ‹ÌË", ÙÔ ¯ÒÚÔ Ù˘ ÌÓ‹Ì˘ ‰Ë-
Ï·‰‹ Ô˘ ¯ÚËÛÈÌÔÔÈÂ›Ù·È fiÙ·Ó ÚÔÛ·ıÔ‡ÌÂ
Ó· ÔÏÔÎÏËÚÒÛÔ˘Ì ÌÈ· ÂÚÁ·Û›·. OÔÈÔ‰‹Ô-
Ù ÌÈÎÚfi ÎfiÏÔ ÌÔÚ›Ù ӷ Ì˯·Ó¢Ù›Ù -
Û˘ÓıËÌ·ÙÈΤ˜ ÎÈÓ‹ÛÂȘ, ÔÌÔÈÔηٷÏË͛˜, Έ-
‰ÈÎÔ‡˜ Î·È fiÏ· Ù· Û¯ÂÙÈο - ÌÔÚ› Ó· ‚ÔËı‹-
ÛÂÈ Ôχ ÛÙË ‚ÂÏÙ›ˆÛË Ù˘ ÌÓ‹Ì˘.
23. XÚËÛÈÌÔÔÈ‹ÛÙ ۯ‰ȷÁÚ¿ÌÌ·Ù·. ¢È-
‰¿ÍÙ ÙÔ˘˜ Ò˜ Ó· ¯ÚËÛÈÌÔÔÈÔ‡Ó Û¯Â‰È·-
ÁÚ¿ÌÌ·Ù·. ¢È‰¿ÍÙ ÙÔ˘˜ ˘ÔÁÚ¿ÌÌÈÛË. A˘Ù¤˜
ÔÈ Ù¯ÓÈΤ˜ ‰ÂÓ Â›Ó·È Â‡ÎÔϘ ÁÈ· Ù· ·È‰È¿ ÌÂ
™E¶/Y, ·ÏÏ¿, Â¿Ó ÙȘ Ì¿ıÔ˘Ó, ÌÔÚ› Ó· Û˘-
ÓÙÂϤÛÔ˘Ó ÛÙË ‰fiÌËÛË Î·È ÛÙË Û¯ËÌ·ÙÔÔ›Ë-
ÛË ·˘ÙÔ‡ Ô˘ Ì·ı·›ÓÔ˘Ó ÙË ÛÙÈÁÌ‹ Ô˘ ÙÔ Ì·-
ı·›ÓÔ˘Ó. BÔËı¿ÂÈ ÛÙÔ Ó· ·ÈÛı·ÓıÔ‡Ó fiÙÈ Ù·
ηٷʤÚÓÔ˘Ó KATA TH ¢IAPKEIA TH™
MA£H™IAKH™ ¢IA¢IKA™IA™, ÙË ÛÙÈÁÌ‹
‰ËÏ·‰‹ Ô˘ ÙÔ ¯ÚÂÈ¿˙ÔÓÙ·È ÂÚÈÛÛfiÙÂÚÔ.
ŒÙÛÈ, ‰ÂÓ ·ÈÛı¿ÓÔÓÙ·È fiÙÈ Ì·Ù·ÈÔÔÓÔ‡Ó, ¤Ó·
Û˘Ó·›ÛıËÌ· Ô˘ ÙÔ˘˜ ·ÎÔÏÔ˘ı› Û fiÏË ÙË
Ì·ıËÛȷ΋ ‰È·‰Èηۛ·.
24. AÓ·ÎÔÈÓÒÛÙ ·˘Ùfi Ô˘ ı¤ÏÂÙ ӷ ›ÙÂ
ÚÔÙÔ‡ ÙÔ ›ÙÂ. ¶¤ÛÙ ÙÔ. MÂÙ¿ Â·Ó·Ï¿‚Â-
Ù ·˘Ùfi Ô˘ ›·ÙÂ. ¶ÔÏÏ¿ ·È‰È¿ Ì ™E¶/Y
Â›Ó·È ÔÙÈÎÔ› Î·È fi¯È ·ÎÔ˘ÛÙÈÎÔ› Ù‡ÔÈ. ™˘ÓÂ-
Ò˜, ı· ‚ÔËıÔ‡Û Ôχ ·Ó ÌÔÚÔ‡Û·Ù ӷ
ÁÚ¿„ÂÙ ·˘Ùfi Ô˘ ÚfiÎÂÈÙ·È Ó· ›ÙÂ Î·È ÂÓ
Û˘Ó¯›· Ó· ÙÔ ›Ù ¿ÏÈ.
25. AÏÔÔÈ‹ÛÙ ÙȘ Ô‰ËÁ›Â˜. AÏÔÔÈ‹ÛÙÂ
ÙȘ ÂÈÏÔÁ¤˜. AÏÔÔÈ‹ÛÙ ÙÔ ËÌÂÚ‹ÛÈÔ Úfi-
ÁÚ·ÌÌ·. XÚËÛÈÌÔÔÈ‹ÛÙ ÈÔ Â‡ÎÔÏÔ ÏÂÍÈÏfi-
ÁÈÔ. Xڈ̷ٛÛÙ ÙȘ ϤÍÂȘ Ô˘ ¯ÚËÛÈÌÔÔÈ›-
ÙÂ. O ¯ÚˆÌ·ÙÈÛÌfi˜ Ù˘ ÁÏÒÛÛ·˜ ÎÚ·Ù¿ ÙËÓ
ÚÔÛÔ¯‹.
26. XÚËÛÈÌÔÔÈ‹ÛÙ ÏËÚÔÊÔÚÈ·Îfi ˘ÏÈÎfi
Ô˘ ‚ÔËı¿ÂÈ ÙÔÓ Ì·ıËÙ‹ ÛÙËÓ ·˘ÙÔ·Ú·Ù‹ÚË-
Û‹ ÙÔ˘. T· ·È‰È¿ Ì ™E¶/Y ¤¯Ô˘Ó ÙËÓ Ù¿ÛË
Ó· ÌËÓ ·˘ÙÔ-·Ú·ÙËÚÔ‡ÓÙ·È. ™˘¯Ó¿ ‰ÂÓ ¤¯Ô˘Ó
ȉ¤· ÁÈ· ÙËÓ ÂÓÙ‡ˆÛË Ô˘ ÚÔηÏÔ‡Ó ‹ ÁÈ·
ÙÔÓ ·ÓÙ›ÎÙ˘Ô Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ÙÔ˘˜. ¶ÚÔ-
Û·ı‹ÛÙ ӷ ÙÔ˘˜ ·Ú¤¯ÂÙ ·˘Ù¤˜ ÙȘ ÏËÚÔ-
ÊÔڛ˜ Ì ÂÔÈÎÔ‰ÔÌËÙÈÎfi ÙÚfiÔ. K¿ÓÙ ÂÚˆ-
Ù‹ÛÂȘ ÙÔ˘ ÛÙÈÏ: "•¤ÚÂȘ ÙÈ ¤Î·Ó˜ ÌfiÏȘ ÙÒ-
Ú·;" ‹ "¶Ò˜ ÓÔÌ›˙ÂȘ fiÙÈ ı· ÌÔÚÔ‡Û˜ Ó· ÙÔ
ÂȘ ‰È·ÊÔÚÂÙÈο;" ‹ "°È·Ù›, ηٿ ÙË ÁÓÒÌË
ÛÔ˘, ÙÔ ÎÔÚ›ÙÛÈ ÛÙÂÓ·¯ˆÚ‹ıËΠÌ' ·˘Ùfi Ô˘
ÙÔ˘ ›˜;" K¿ÓÙ ÙÔ˘˜ ÂÚˆÙ‹ÛÂȘ Ô˘ ÂÓÈÛ¯‡-
Ô˘Ó ÙËÓ ·˘ÙÔ·Ú·Ù‹ÚËÛË.
27. OÚ›ÛÙ Ì ۷ʋÓÂÈ· ÙȘ ÚÔÛ‰Ô˘
Û·˜.
28. MÔÚ›ÙÂ, Ó· ¯ÚËÛÈÌÔÔÈ‹ÛÂÙ ¤Ó· Û‡-
ÛÙËÌ· Ì fiÓÙÔ˘˜ ÛÙÔ Ï·›ÛÈÔ Ù˘ ÚÔÛ¿ıÂÈ-
·˜ ÁÈ· ÙËÓ ·ÏÏ·Á‹ Ù˘ Û˘ÌÂÚÈÊÔÚ¿˜ ‹ ¤Ó·
Û‡ÛÙËÌ· ÂÈ‚Ú¿‚¢Û˘ ÁÈ· ·È‰È¿ ÌÈÎÚfiÙÂ-
Ú˘ ËÏÈΛ·˜. T· ·È‰È¿ Ì ™E¶/Y ·ÓÙ·ÔÎÚ›-
ÓÔÓÙ·È ÛÙËÓ ÂÈ‚Ú¿‚¢ÛË Î·È ¯ÚÂÈ¿˙ÔÓÙ·È Î›-
ÓËÙÚ·. ¶ÔÏÏ¿ ·fi ·˘Ù¿ Â›Ó·È ÌÈÎÚÔ› ÂȯÂÈ-
ÚË̷ٛ˜.
29. AÓ ÙÔ ·È‰› ‰Â›¯ÓÂÈ fiÙÈ ‰˘ÛÎÔχÂÙ·È
ÛÙËÓ ·Ó·ÁÓÒÚÈÛË Î¿ÔÈˆÓ ÎÔÈÓˆÓÈÎÒÓ Îˆ‰-
ÎÒÓ - ÁÏÒÛÛ· ÙÔ˘ ÛÒÌ·ÙÔ˜, ÙfiÓÔ˜ Ù˘ ʈӋ˜,
ÛˆÛÙ‹ ¯Ú‹ÛË ÙÔ˘ ¯ÚfiÓÔ˘ Î.Ï. -, ÚÔÛ·ı‹-
ÛÙ ӷ ÙÔ˘ ‰ÒÛÂÙ ‰È·ÎÚÈÙÈο Û˘ÁÎÂÎÚÈ̤Ó˜
Î·È Û·Ê›˜ Û˘Ì‚Ô˘Ï¤˜ ÂÓ Â›‰ÂÈ ÎÔÈÓˆÓÈ΋˜ ÂÎ-
·›‰Â˘Û˘. ¶ÚÒÙ·, ÁÈ· ·Ú¿‰ÂÈÁÌ·, ¤ÛÙÂ
"¶ÚÔÙÔ‡ ÂȘ ÙË ‰È΋ ÛÔ˘ ÈÛÙÔÚ›·, ¿ÎÔ˘Û ÙËÓ
ÈÛÙÔÚ›· ÙÔ˘ ¿ÏÏÔ˘" ‹ "KÔ›Ù·˙Â ÙÔÓ ¿ÏÏÔÓ fiÙ·Ó
ÌÈÏ¿ÂÈ". ¶ÔÏÏ¿ ·È‰È¿ Ì ™E¶/Y ‰›ÓÔ˘Ó ÙËÓ
ÂÓÙ‡ˆÛË fiÙÈ Â›Ó·È ·‰È¿ÊÔÚ· ‹ ÂÁˆÈÛÙÈο, Â-
ÓÒ ·˘Ùfi Ô˘ Û˘Ì‚·›ÓÂÈ Ú·ÁÌ·ÙÈο Â›Ó·È fiÙÈ
‰ÂÓ ¤¯Ô˘Ó Ì¿ıÂÈ Ò˜ Ó· Û˘Ó·Ó·ÛÙÚ¤ÊÔÓÙ·È ÌÂ
ÙÔ˘˜ ¿ÏÏÔ˘˜ ·ÓıÚÒÔ˘˜. A˘Ù‹ Ë ‰ÂÍÈfiÙËÙ·
‰ÂÓ ·ÔÎÙ¿Ù·È ·˘ÙfiÌ·Ù· Û fiÏ· Ù· ·È‰È¿,
ÌÔÚ› fï˜ Ó· ‰È‰·¯ı›.
30. ¢È‰¿ÍÙ ÙÔ˘˜ Ò˜ Ó· ÁÚ¿ÊÔ˘Ó Û ¤Ó·
ÙÂÛÙ.
31. MÂÙ·ÙÚ¤„Ù ÙË Û¯ÔÏÈ΋ ÂÚÁ·Û›· Û Ô-
Ì·‰ÈÎfi ·È¯Ó›‰È. TÔ Î›ÓËÙÚÔ Ù˘ ÔÌ¿‰·˜ ‚ÔË-
ı¿ÂÈ ÙÔ ·È‰› Ì ™E¶/Y.
32. XˆÚ›ÛÙ ÙȘ ‰˘¿‰Â˜, ‹ ÙÚÈ¿‰Â˜ ‹ Î·È ÙȘ
ÔÌ¿‰Â˜ Ô˘ ‰ÂÓ ÏÂÈÙÔ˘ÚÁÔ‡Ó Î·Ï¿ Ì·˙›.
33. BÔËı‹ÛÙ ÙÔ˘˜ Ó· ÂÓÙ·¯ıÔ‡Ó ÎÔÈÓˆÓÈ-
ο. ŸÛÔ ·ÈÛı¿ÓÔÓÙ·È fiÙÈ ·Ó‹ÎÔ˘Ó ÛÙÔ Û‡ÓÔ-
ÏÔ, ı· ¤¯Ô˘Ó ΛÓËÙÚ· Î·È ‰Â ı· ·ÔÛ¿Ù·È Ë
ÚÔÛÔ¯‹ ÙÔ˘˜.
34. ŸÔÙ ÙÔ ÂÈÙÚ¤Ô˘Ó ÔÈ ÂÚÈÛÙ¿ÛÂȘ, ·-
Ó·ı¤ÛÙ ÙÔ˘˜ οÙÈ ÁÈ· ÙÔ ÔÔ›Ô Ó· Â›Ó·È ˘‡-
ı˘Ó·.
35. ¢ÔÎÈÌ¿ÛÙ ӷ ˘¿Ú¯ÂÈ ¤Ó· TÂÙÚ¿‰ÈÔ
™¯ÔÏ›Ԣ-™ÈÙÈÔ‡. A˘Ùfi ÌÔÚ› Ú·ÁÌ·ÙÈο
Ó· ‚ÔËı‹ÛÂÈ ÛÙËÓ Î·ıËÌÂÚÈÓ‹ ÂÈÎÔÈÓˆÓ›·
ÁÔÓ¤·-ÂÎ·È‰Â˘ÙÈÎÔ‡ ÁÈ· Ó· ·ÔÊ¢¯ıÔ‡Ó ÔÈ
·ÚÓËÙÈο ÊÔÚÙÈṲ̂Ó˜ Û˘Ó·ÓÙ‹ÛÂȘ. §ÂÈÙÔ˘Ú-
Á› Â›Û˘ ÂÔÈÎÔ‰ÔÌËÙÈο ÛÙËÓ Û˘¯Ó‹ ÏË-
ÚÔÊfiÚËÛË Ô˘ Â›Ó·È ·Ó·Áη›Ô Ó· ¤¯Ô˘Ó Ù·
·È‰È¿ ·˘Ù¿.
36. ¶ÚÔÛ·ı‹ÛÙ ӷ Îڷٿ٠ÛËÌÂÈÒÛÂȘ
ÁÈ· ÙËÓ Î·ıËÌÂÚÈÓ‹ ÙÔ˘˜ ÚfiÔ‰Ô.
37. EÓÈÛ¯‡ÛÙÂ Î·È ‰ÔÌ‹ÛÙ ¤Ó· Ï·›ÛÈÔ ÁÈ·
·˘ÙÔ·Ó·ÊÔÚ¿ Î·È ·˘ÙÔ·Ú·ÎÔÏÔ‡ıËÛË. MÈ-
ÎÚ¤˜ Û˘˙ËÙ‹ÛÂȘ ÛÙÔ Ù¤ÏÔ˜ Ù˘ Ë̤ڷ˜ ÌÔÚ›
Ó· ·Ô‰ÂȯÙÔ‡Ó ¯Ú‹ÛÈ̘.
38. ¶ÚÔÂÙÔÈÌ¿ÛÙ ٷ ·È‰È¿ ÁÈ· ÔÙȉ‹ÔÙÂ
Â›Ó·È ÂÎÙfi˜ ÚÔÁÚ¿ÌÌ·ÙÔ˜. T· ·È‰È¿ ·˘Ù¿ ¤-
¯Ô˘Ó ·Ó¿ÁÎË Ó· ÁÓˆÚ›˙Ô˘Ó ÚÔηٷ‚ÔÏÈο
·˘Ùfi Ô˘ ÚfiÎÂÈÙ·È Ó· Û˘Ì‚Â› ¤ÙÛÈ ÒÛÙ ӷ
C M Y K MEMºI™ 52.40.728
ÚÔÂÙÔÈÌ·ÛÙÔ‡Ó „˘¯ÔÏÔÁÈο. AÓ Í·ÊÓÈο
ÙÔ˘˜ ‰Ôı› ÂχıÂÚÔ˜ ¯ÚfiÓÔ˜ Î·È ‚ÁÔ˘Ó ·fi
ÙÔ ÚfiÁÚ·ÌÌ¿ ÙÔ˘˜ ı· ÂÌÊ·Ó›ÛÔ˘Ó ˘ÂډȤ-
ÁÂÚÛË.
39. E·ÈÓ¤ÛÙÂ, ¯·˚‰¤„ÙÂ, ÂȉÔÎÈÌ¿ÛÙÂ, ÂÓ-
ı·ÚÚ‡ÓÂÙ¤ Ù·. ¢ÒÛÙ ÙÔ˘˜ "ÙÚÔÊ‹"
40. ZËÙ‹ÛÙ ·fi Ù· ÌÂÁ·Ï‡ÙÂÚ· ·È‰È¿ Ó·
ÁÚ¿ÊÔ˘Ó ÙȘ ÂÚˆÙ‹ÛÂȘ ÙÔ˘˜. A˘Ùfi ı· Ù· ‚ÔË-
ı‹ÛÂÈ Ó· ÛËÌÂÈÒÓÔ˘Ó ÙȘ ÛΤ„ÂȘ ÙÔ˘˜ Î·È ·-
ÎÔ‡Ó ηχÙÂÚ· ÙȘ ··ÓÙ‹ÛÂȘ.
41. ¶ÔÏÏ¿ ·fi ·˘Ù¿ Ù· ·È‰È¿ ÂÌÊ·Ó›˙Ô˘Ó
‰˘ÛÎÔÏ›· ÛÙÔ ÁÚ¿„ÈÌÔ. ™ÎÂÊÙ›Ù ¿ÏϘ ÂÔÈ-
ÎÔ‰ÔÌËÙÈΤ˜ ÂÓ·ÏÏ·ÎÙÈΤ˜ χÛÂȘ. ¶¤ÛÙ ÙÔ˘˜
Ó· ¯ÚËÛÈÌÔÔÈÔ‡Ó ÙÔÓ ˘ÔÏÔÁÈÛÙ‹. Y·ÁÔ-
Ú‡ÛÙÂ. ¢ÒÛÙ ÙÔ˘˜ ÚÔÊÔÚÈο ÙÂÛÙ.
42. N· ›ÛÙ fiˆ˜ Ô Ì·¤ÛÙÚÔ˜ Ù˘ Û˘Ìʈ-
ÓÈ΋˜ ÔÚ¯‹ÛÙÚ·˜. TÚ·‚‹ÍÙ ÙËÓ ÚÔÛÔ¯‹ Ù˘
ÔÚ¯‹ÛÙÚ·˜ ÚÔÙÔ‡ ÍÂÎÈÓ‹ÛÂÈ - (ÌÔÚ›Ù ӷ
Ì›ÓÂÙ ÛȈËÏÔ› ‹ Ó· ¯Ù˘‹ÛÂÙ ڢıÌÈο ÙËÓ
Ì·ÁΤٷ Û·˜ ÁÈ· Ó· ÙÔ Î·Ù·Ê¤ÚÂÙÂ)-. KÚ·-
Ù‹ÛÙ ÙËÓ Ù¿ÍË "Û ڢıÌfi", ·ÔÙÂÈÓfiÌÂÓÔ˜ ÛÂ
‰È·ÊÔÚÂÙÈο ÚfiÛˆ· ·fi Ù· ÔÔ›· ¯ÚÂÈ¿˙Â-
ÛÙ ÙË ‚Ô‹ıÂÈ¿ ÙÔ˘˜.
43. ŸÙ·Ó ˘¿Ú¯ÂÈ ‰˘Ó·ÙfiÙËÙ·, ηÓÔÓ›ÛÙÂ
Ó· ˘¿Ú¯ÂÈ ¤Ó·˜ Û˘ÌÌ·ıËÙ‹˜ Ô˘ ÌÔÚ› Ó·
‚ÔËı‹ÛÂÈ ÛÙË ÌÂϤÙË Î·È ‰ÒÛÙ ÙÔ ÙËϤʈÓfi
ÙÔ˘.
44. EÍËÁ‹ÛÙÂ Î·È Î¿ÓÙ fiÛÔ ÈÔ Ê˘ÛÈÔÏÔÁÈ-
΋ ÌÔÚ›Ù ÙËÓ È‰È·›ÙÂÚË ÌÂÙ·¯Â›ÚÈÛË Ô˘
Ï·Ì‚¿ÓÂÈ Ô Ì·ıËÙ‹˜ Ì ™E¶/Y, ÚÔÎÂÈ̤ÓÔ˘
Ó· ·ÔÊ¢¯ı› Ô ÛÙÈÁÌ·ÙÈÛÌfi˜ ÙÔ˘.
45. N· ‚ϤÂÙ ÙÔ˘˜ ÁÔÓ›˜ Û˘¯Ó¿. AÔ-
ʇÁÂÙ ÙȘ Û˘Ó·ÓÙ‹ÛÂȘ Û ÂÚÈfi‰Ô˘˜ ÚÔ-
‚ÏËÌ¿ÙˆÓ ‹ ÎÚ›Û˘.
46. EÓı·ÚÚ‡ÓÂÙ ÙÔ ·È‰› Ó· ‰È·‚¿˙ÂÈ ÌÂ-
Á·Ïfiʈӷ ÛÙÔ Û›ÙÈ. ¢È·‚¿˙ÂÙ fiÛÔ ÙÔ ‰˘Ó·-
Ùfi ÈÔ ÌÂÁ·Ïfiʈӷ ÛÙËÓ Ù¿ÍË. ¢ÈËÁËı›Ù È-
ÛÙÔڛ˜. BÔËı‹ÛÙ ÙÔ Ó· ·ÔÎÙ‹ÛÂÈ ÙËÓ Èη-
ÓfiÙËÙ· Ó· ·Ú·Ì¤ÓÂÈ ÛÙÔ ›‰ÈÔ ı¤Ì·, ¯ˆÚ›˜ Ó·
·ÔÛ¿Ù·È Ë ÚÔÛÔ¯‹ ÙÔ˘.
47. E·Ó·Ï·Ì‚¿ÓÂÙÂ, Â·Ó·Ï·Ì‚¿ÓÂÙÂ, Â-
·Ó·Ï·Ì‚¿ÓÂÙÂ.
48. °˘ÌÓ·ÛÙÈ΋. M›· ·fi ÙȘ ηχÙÂÚ˜ ıÂ-
Ú·›˜ ·ÓÙÈÌÂÙÒÈÛ˘ ÙÔ˘ ™E¶/Y ÁÈ· Ù·
·È‰È¿ ·ÏÏ¿ Î·È ÙÔ˘˜ ÂÓ‹ÏÈΘ Â›Ó·È Ë Á˘ÌÓ·-
ÛÙÈ΋, ηÈ, ηٿ ÚÔÙ›ÌËÛË, Ë ¤ÓÙÔÓË Á˘ÌÓ·-
ÛÙÈ΋. H Á˘ÌÓ·ÛÙÈ΋ ‚ÔËı¿ÂÈ ÛÙËÓ ÂÎÙfiÓˆÛË
Ù˘ ˘ÂÚ‚ÔÏÈ΋˜ ÂÓ¤ÚÁÂÈ·˜ Î·È ÛÙËÓ ÂÛÙ›·ÛË
Ù˘ ÚÔÛÔ¯‹˜, ‰ÈÂÁ›ÚÂÈ Û˘ÁÎÂÎÚÈ̤Ó˜ ÔÚÌfi-
Ó˜ Î·È Ó¢ÚÔ-¯ËÌÈΤ˜ Ô˘Û›Â˜ Ô˘ ‰ÚÔ˘Ó Â˘-
ÂÚÁÂÙÈο ÛÙÔÓ ÔÚÁ·ÓÈÛÌfi, ηÈ, Ù¤ÏÔ˜, ›ӷÈ
‰È·ÛΉ·ÛÙÈ΋. B‚·Èˆı›Ù fiÙÈ Ë Á˘ÌÓ·ÛÙÈ-
΋ EINAI ‰È·ÛΉ·ÛÙÈ΋ ¤ÙÛÈ ÒÛÙ ÙÔ ·È‰›
Ó· Û˘Ó¯›ÛÂÈ Ó· ·ÛÎÂ›Ù·È Î·È ÛÙËÓ ˘fiÏÔÈË
˙ˆ‹ ÙÔ˘.
49. ŒÌÊ·ÛË, ·Ó·ÊÔÚÈο Ì ٷ ÌÂÁ·Ï‡ÙÂÚ·
·È‰È¿, Ú¤ÂÈ Ó· ‰›ÓÂÙ·È ÛÙËÓ ÚÔÂÙÔÈÌ·Û›·
ÙÔ˘˜ Ú›Ó ¤ÚıÔ˘Ó ÛÙÔ Û¯ÔÏ›Ô. ŸÛÔ ÈÔ ÂÓ‹-
ÌÂÚÔ Â›Ó·È ÙÔ ·È‰› ÂÎ ÙˆÓ ÚÔÙ¤ÚˆÓ ÁÈ· ÙÔ ÙÈ
ı· Û˘˙ËÙËı› ÛÙËÓ Ù¿ÍË Î·Ù¿ ÙË Û˘ÁÎÂÎÚÈ̤-
ÓË Ë̤ڷ, ÙfiÛÔ ÈÔ Â‡ÎÔÏ· ı· ÙÔ˘ Á›ÓÂÈ Î·Ù·-
ÓÔËÙfi ÙÔ ˘ÏÈÎfi Ô˘ ı· ·ÚÔ˘ÛÈ·ÛÙ›.
50. N· ›ÛÙ ¿ÓÙ· ¤ÙÔÈÌÔÈ ÁÈ· ͯˆÚÈÛÙ¤˜,
¢¯¿ÚÈÛÙ˜ ηٷÛÙ¿ÛÂȘ. A˘Ù¿ Ù· ·È‰È¿ ›-
Ó·È Ôχ ÈÔ Ù·Ï·ÓÙÔ‡¯· Î·È ¯·ÚÈÛÌ·ÙÈο ·'
fiÛÔ ‰Â›¯ÓÔ˘Ó. E›Ó·È ÁÂÌ¿Ù· ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·,
·È¯ÓȉȿÚÈÎË ‰È¿ıÂÛË, ·˘ıÔÚÌËÙÈÛÌfi Î·È Î¤-
ÊÈ. E›Ó·È Û˘Ó‹ıˆ˜ ¢¤ÏÈÎÙ· Û ηٷÛÙ¿ÛÂȘ,
Â›Ó·È ·ÓÔȯÙfiηډ· Î·È ÙÔ˘˜ ·Ú¤ÛÂÈ Ó· ‚ÔË-
ıÔ‡Ó. ™˘Ó‹ıˆ˜ ¯·Ú·ÎÙËÚ›˙ÔÓÙ·È ·fi "οÙÈ ÙÔ
ȉȷ›ÙÂÚÔ", Ô˘ ¢ÂÚÁÂÙ› ÙÔ ÂÚÈ‚¿ÏÏÔÓ ÛÙÔ
ÔÔ›Ô ‚Ú›ÛÎÔÓÙ·È. N· ı˘Ì¿ÛÙ fiÙÈ Ì¤Û· ÛÂ
·˘Ù‹Ó ÙË Î·ÎÔʈӛ· ˘¿Ú¯ÂÈ Ì›· ÌÂψ‰›·,
ÌÈ· Û˘Ìʈӛ· Ô˘ ÂÚÈ̤ÓÂÈ Ó· ÁÚ·Ê›.
¢È·Û΢‹ ·fi ÙÔ ‚È‚Ï›Ô Answers to
Distraction, Edward M. Hallowell, M.D. ηÈ
John J. Ratey, M.D., Pantheon, N. York, 1995
www.drhallowell.com
http://www.specialeducation.gr/modules.php?o
p=modload&name=News&file=article&sid=
119&mode=thread&order=0&thold=0
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 23
eginning from the end means Do you wait long enough for the

B taking an approach to lesson

planning that focuses on the
learning objectives rather than
taking a materials-driven approach to
the lesson. Starting with a
In my end is my beginning
consideration of what we want to
achieve is the most effective way of
setting out to achieve it. So instead of
using whatever is in the course book for today’s lesson, we look
at the language areas covered and think how best to teach that
language bearing in mind the specific characteristics of our
group of learners.
Beginning from the end in this way makes a lot of sense.
An example given by Dave Willis in a talk at the recent
IATEFL conference in Aberdeen: You don’t go out and
buy a screwdriver and then think “That’s nice – now what
shall I do with it?” You start off with a task to perform
and then equip yourself with the tools for the task.
Dave’s point is that in a traditional presentation –
practice – production lesson, learners are having
language presented to them without having a specific
purpose and often without a context to give it meaning.
Task-based learning focuses first on the language in use,
and the analysis comes after the production.
Similarly, in the process of lesson planning, starting from
a consideration of the outcomes we want to achieve gives
a focus to the planning process, and we can then select or
design activities that help to achieve that purpose. In one
sense, then, beginning from the end is about an approach
to integrating our tasks and activities to achieve the
learning objectives of the lesson. The other aspect of
beginning from the end concerns our own personal aims
as we plan for each lesson.
Often the activities and techniques that we use on a pre-
service teacher training course can be adapted to support
ongoing teacher development. One such idea is post-
lesson reflection leading to the formulation of a personal
aim for the next lesson. These aims are distinct from the
learning objectives for each lesson, and concern areas that the
teacher personally feels she needs to work on in her their
teaching practice.
Research at our teacher training centre in Corinth found that
the most common type of personal aim concerned teaching
skills, including checking comprehension, giving clear
instructions and managing feedback. Aims focused on the
teacher personally included staying calm and focused, while
interpersonal aims included building rapport and getting the
students involved. Aims relating to planning included making
a more detailed lesson plan, preparing more material and
designing more challenging activities. In the area of teacher
language, issues considered included spelling and grammar as
Peter Beech, Anglo-Hellenic
Teacher Training
info@anglo-hellenic.com
well as speaking slowly and clearly. For student language, the
main area of concern was increasing student talk time.
Having a personal aim for each lesson in this way gives a
useful focus to your ongoing development, underpinned by
classroom observation and reflection. It might be possible to
have someone observe your teaching in order to give you a
fresh perspective, or you can record your own lessons, either
with video or with a simple cassette recorder. Analyzing
recordings will provide an insight into all the things that are
going on in the classroom but which you usually don’t have
time to notice when you’re busy teaching.
Look at the kind of questions you ask: do you ask display
questions to which you already know the answer or genuine
questions that stimulate your students to communicate their
own responses? Do you ask open questions that generate
discussion or closed questions that are answered by a simple
“yes” or “no”?
When you ask a question how long do you wait for an answer?
learners to understand the question,
formulate a response and express that
response in English? Or do you jump
in, repeating or reformulating the
question or even answering it
yourself?
And who do you ask? Do all the
members of the class get included
equally, or do you have an unconscious bias, perhaps
addressing more questions to the stronger members of the
class because you know you’re more likely to get a correct
answer that way?
What about when your learners make errors? Do you just
give the correct form, which often means the students
don’t understand the reason for the correction and are
unlikely to remember it? Or do you draw attention to the
error in a way that gives the student an opportunity to
self-correct, supported by your guidance and prompting?
How much of class time is occupied by the teacher
talking? And how much time does that leave for each of
the students to talk? Make an audio recording, using the
cassette recorder that’s already in the classroom anyway,
and time it.
We may think that these aspects of our teaching are
being handled effectively, but the truth is that we don’t
actually know until we investigate. So find a way to
observe yourself – recordings, a colleague, notes made
during the lesson, a reflective journal written after the
lesson – choose an area to focus on and see what you
discover. When you notice something, modify your
practice and then research the result of that
modification.
Here are some simple questions to guide your post-
lesson reflection:
ñ What went less well, and why?
ñ What were your aims?
ñ Did you achieve them?
ñ How do you know?
ñ What would you do differently next time?
ñ What is your personal aim for the next lesson?
Always return to the question “How do you know?” You think
your presentation was effective, but how do you know? What
evidence is there in the lesson? Were the students able to use
the target language accurately?
This ongoing observation and change constitutes a cycle of
action research – simple classroom research that bridges the
gap between the theories of the applied linguists and the
practice of classroom teachers. Undertaking this type of
research will give you a renewed interest in your teaching,
producing positive results both for your students and for your
own professional development.

™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 4 events. Could you give us a sneak

I understand that many of my
colleagues are divided on this issue
of whether or not non-Greek
English language teachers should
be required to take examinations
in Greek in order to be issued with
a teaching license. TESOL Greece
has no standpoint on this issue,
and any involvement in the matter
would detract from its goals of
helping with the professional
development of teachers in
Greece.
My personal attitude is that I live
in Greece and have to accept the
laws of my adopted country. Of
course, this doesn’t help those
teachers who have just arrived and
speak no Greek, and who will
therefore be denied a teaching
license. I can only say that as
language teachers they would do
well to try to learn a Greek as soon
as possible, and take examinations
to certify their knowledge. On the
positive side, going back into the
classroom (and exam room) makes
us reflect on our teaching and
appreciate our students’ efforts
even more!
Do you speak Greek?
Yes. In fact, I passed the advanced
level (“gamma”) of the
‘Elinomathias’ examination a few
years ago.
What is your vision for TESOL
Greece?
This year the board and I have
identified six priorities for us to
continue the excellent work done
by previous chairs and their
boards.
1. Enhancing the quality of the
service we provide to our current
members, (e.g. further discounts
with major book stores and
software producers, full details of
which will be announced soon on
the web site of TESOL Greece,
www.tesolgreece.com, and a
greater variety of resources
Michael Robbs
available to our members in our
reading room at the office,
Kapodistriou 17, behind Kaningos
Square)
2. Continuing to offer excellent
events (most importantly the
highly successful annual
convention which will take place in
2008 on the 15th - 16th of March
at the Hellenic American Union,
with the theme ‘Inspired teachers,
motivated learners’. This is in
addition to the 7 other events in
the new school year)
3. Reaching more prospective
members through a continued
presence in EFL journals like this
one, and at book exhibitions
around the country)
4. Receiving the continued support
of the EFL community.
5. Building on our national
reputation by establishing
presences in towns other than
Athens, such as Patras, Hania and
preview of these?
Ioanina. By all means. Here’s a list of our
6. Improving our international events. Of course, for more
information you can always check
standing by maintaining contact
our website
with other teaching organizations,
(www.tesolgreece.com) or contact
(such as TESOL Italy and TESOL us directly by e mail
France), by affiliating with tesolgreece@otenent.gr or call our
IATFEL, and by advertising our office, 210 7488411 (Mon – Fri, 9 –
events internationally. 1). We look forward to seeing you
You mentioned some forthcoming soon. Thanks very much.
ñ Sunday, 23rd September 2007 START OF THE YEAR EVENT –
“Making the most of our course books”, at the University of Indianapolis
ñ Sunday, 4th November 2007 BIG SIG DAY
ñ Sunday, 2nd December 2007 CHRISTMAS BAZAAR
ñ Saturday, 12th January 2008 PITA CUTTING
ñ Saturday, 26th January 2008 7th ANNUAL PATRAS EVENT
ñ Sunday, 10th February 2008 ANNUAL TESOL GREECE – PSYCHICO
COLLEGE YOUNG LEARNERS’ EVENT
“Humanising the Classroom through Performance-based Learning and
Assessing” at Psychico College
ñ Saturday, 15th & Sunday, 16th March 2008 29th ANNUAL
CONVENTION “Inspired Teachers, Motivated Learners” at Hellenic
American Union, Athens
ñ 14th – 16th June 2008 TESOL Greece SUMMER WEEKEND.
Further details of venues, times and speakers will be announced soon.

24
he BBC and the British Council
T in their joint webpage
www.teachingenglish.org.uk
provide a host of information
for teachers of English worldwide.
The webpage offers among other
interesting features tips and lesson
plans, ideas on teaching, and a forum
for the exchange of ideas between
students and teachers. The Question
and Answer feature, allows readers
to post their questions and have
them answered by other
professionals from every corner of
the world. One interesting question
posted by Dilek, a student in Turkey,
was that of correcting pronunciation.
Also Jackie from Greece is
wondering if there other teachers in
the world faced with students not
interested in anything but obtaining
a certificate. Following, you will find
Dilek’s question and some of the
answers he received as well as
Jackie’s question (which had not
received any answers by the time this
was published) and the links where
you can add your ideas.
Correcting pronunciation
The question
Dilek Yagci, Turkey
I'm a student of language teaching at
university and I'm looking at
correcting students' pronunciation
for my research. Can you help me by
giving examples of suitable ways to
deal with students' mistakes in
English pronunciation? Thanks for
all your help!
What’s your opinion?
What's your opinion?
Mohamed Hassan, Egypt
This is a very important matter if you
are dealing with accuracy and there
are many different ways. First, you
can give a chance to the student who
pronounces something falsely to
correct himself by giving him a sign
that he is wrong. Second, you can
give a chance to another student to
correct. Third, you can correct orally
by yourself through repeating the
correct pronunciation or through the
tape. Above all, one should be very
careful in giving a good
pronunciation model as a bad one is
the root of all mistakes.
Hamid Naveed, Dubai
I think the best you can do is to
teach your students the vowel and
consonant sounds first, and then
move forward from there to correct
their pronunciation. Pay special
attention to the schwa sound as it is
the most common sound in English
and the most mispronounced also.
Alfredo Abarca P, Chile
If I understood your question
correctly, I believe one important
point to bear in mind is to determine
if those pronunciation mistakes
relate to mother tongue interference
or if they're pronunciation errors
coming from a different source, e.g.,
they learned certain words
incorrectly.
Dom›cio Moreira Ribeiro, Brazil
If the goal of the lesson is to develop
Questions and answers
the ability of speaking, corrections
should not take place during the
activity of speaking, otherwise they
will frustrate (and stop) the students.
You should take notes of the
mispronounced words and at (by)
the end of the activity, correct them.
It is very important that students
learn the correct pronunciation of a
word, but just in the right moment.
Harvey Utech, Germany
I teach German students who have
already had 6-10 years of English in
school and yet, still make basic
grammar, spelling and pronunciation
mistakes.
I think it is unproductive to teach
pronunciation in the classroom,
especially as the number of students
in class increases. Yes, one should
correct mispronunciation mistakes as
they occur but expecting students to
remember the many pronunciation
exceptions we encounter in English
is expecting too much, I find.
A more productive approach is to
encourage students to listen to as
much English spoken by native
speakers as they can between classes.
I recommend radio, TV, movies and
(especially) podcasts. The latter are
available now free of charge in so
many subjects that students can
easily find several of interest,
download them regularly and listen
to them between classes.
My idea is that they should learn
pronunciation subconsciously. There
are already so many rules and
exceptions to rules to keep in mind
that we are making the learning of
Angela Murphy in Greece
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 1
in Shanghai, Shan gin, Guan Jo,
in Greece, in Cyprus and in India.
So, I am here today to talk about
our relationship with Europalso
and in particular the new method
of Quality Assurance in England.
First of all, I would like to say,
that the examinations that we do
with Europalso are of the highest
Quality and the highest stan-
dards. Not only are they con-
trolled internally by our Quality
Assurance processes but they also
have Government recognition.
I know in Greece that there is
a debate going on at the moment
about the introduction of a Qual-
ity Assurance regime. In Eng-
land, we have had a quality assur-
ance regime for a number of
years now, dating back to the mid
‘90s, when there was a lot of de-
bate amongst academics about
the introduction of a central
process. More recently we have
moved, in England, from a sub-
ject focus to a focus which is on
the University’s own systems and
procedures for Quality Assur-
ance. So, moving from the focus
disciplines and curriculum on
English too burdensome, if we put
too much emphasis on details. Then,
all is lost because we make learning
English seem too much of a struggle
for the average student to be worth
the effort.
Marielle Fayolle, France
The main problem is that students
are unable to pronounce sounds
they're not used to hear in their
mother tongue. With a physical
approach, the results are really good:
I show them how to place their
tongue, their lips and their teeth
while pronuncing. I ask them to feel
where the sound is in their mouth: in
the back or in the front. Then, it's a
question of repeating the sounds
several times especially with adults. I
also use the facilitating gesture
(turning round with your hand): it is
a gesture that helps with the rythm
of the English language. We all have
the same sounds as a baby but as we
learn our mother tongue, we lose the
sounds that are not necessary. And
some languages such as French are
very poor in sounds compared to
Russian or Dutch for instance. I
hope these explanations will be of
help to you.
Craig Wherlock, Greece
I think most students simply don't
realise that their pronunciation is
mistaken so the first job is to bring
their attention to this. I find asking
students to record themselves doing
various exercises from their course
book using their mobile phones is
very effective. For some reason
teaching and learning we are now
putting the students at the centre
of the process and the audit
teams who come to the Universi-
ty are looking at our systems and
procedures.
Like in Greece, however, when
this was first introduced, there
was a debate amongst some insti-
tutions about an infringement of
academic autonomy. Professors
would say: “Why are we being
checked?’’, “Why is our work be-
ing verified when we offer cours-
es of the highest quality?’’ How-
ever, this system now which is in
place is very well designed and it
gives assurance to all students
that they will have a degree which
is commensurate across the sec-
tor. So, whether they study at
Central Lancashire in England or
Central Lancashire in Greece or
in Central Lancashire in China,
the standards of our provision
will be identical.
One of the key aspects of Qual-
ity Assurance in England is that
we put students at the centre. So,
we take feedback from students
and we act on student feedback.
One example of this is that stu-
listening to this makes them much
more aware of how they sound to
others. This makes it much easier to
correct their pronunciation
themselves. Another idea is take a
short extract from a film in mp3
form (their are plenty of sites on the
internet for this) and ask students to
imitate the actor's speech as closely
as possible, once gain using their
mobile phones to record and
playback what they have said.
Ken Wong, Hong Kong
I'd suggest an analysis of the
students' errors, including L1
interference and basic pronunciation
and stress problems. On the basis of
your analysis, develop some ear-
training (recognition skills)
exercises, followed by more
demanding exercises (production
skills) to cover your students'
common errors. Attention to
individual problems is important. I
hope you find these ideas helpful.
Mal James, UK
The interactive phonetic chart is a
great tool for improving
pronunciation in my class. Asian
student who invariably have
problems with 'th' 'w' 'v' are given
lots of practice with these basic
sounds but with difficult consonant
clusters such as 'spr' I get the
students to tap out the sounds on the
screen s,p,r. spring, sprung, sprat.
practice.
A further point is syllable stress shift
photograph/photographer,
dents wanted one area to go to
get advice and we have set up a
very expensive student centre
with state of the art equipment
and this in particular deals with
any queries that students have
across the sector. Students come
in and they can seek information
on academic affairs, on advice, on
guidance, on student laws. It is e-
quipped with the highest stan-
dards and also I should add that
this year my University, the U-
CLan, has won a prize awarded by
the Times Higher Education Sup-
plement for support for our s-
tudying students, for Internation-
al students. This is the highest
award a University could receive
and we are very pleased to receive
it. So, finally to summarise I
would like to say that the system
of Quality Assurance in England
which has been introduced, not
only ensures that students get
now value for money as our stu-
dents have to pay tuition fees in
England, it does not have an im-
pact on Academic autonomy in
any way, we design on our own
curricula, we design our own
teaching and learning.”
C M Y K MEMºI™ 52.40.728
furthermore words that look
confusing such as 'thorough' are
broken into phonemes (4 sounds)
breaking down words that initialy
look daunting encourages students
to experiment with the sounds of
English through the dual input of
sound and sight; great fun if you
have a touch screen or smartboard.
If students have dyslexic tendencies
then colour can be used to isolate
syllables. I am a native English
speaker and show empathy by
pronouncing words and breaking
down the sound combinations I find
difficult such as 'ethnicity' or allow
them to teach me a word or phrase
in their language: usualy much to
their amusement. Oral motor skills
take time to develop and just like
exercise we have to include a fun
element into them.
Nicola Perry, China
I find that students are often not
aware that there should be a
difference between 2 words they are
saying, ie that there are two sounds.
Long and short vowel sounds are a
common problem. The Chinese
language has a range of sounds that
need very subtle movements of the
mouth so I often find that my
students do not move their moth
enough when speaking. I use
exagerated movements to show them
the difference and how the sound is
different.
Elena Sancho, Spain
Something which has been proved
useful for my students is using a little
mirror and looking at themselves
while pronouncing the difficult word
(for Spanish-speaking students
English vowels are a big problem)
after they have been corrected. They
should try to imitate the teacher's
gestures as accurately as possible.
The mirror is fun and it really makes
them aware of the position of their
face, jaw and lips. Pronunciation is
something physical, like learning to
dance or going to the gym and we
also look at ourselves in the mirror
to check that we move correctly.
Afshin Vatandoost, Iran
Communicating meaning through a
new language is by itself a very
demanding and tough job, so let's
not make it more difficult by
pressurising our students into correct
pronunciation. We should also bear
on mind that pronunciation mistakes
are really tricky ones as they could
be stemming from a variety of
origins. In my opinion, from the very
beginning teachers should avoid
over-simplification of English
pronunciation. Many mistakes
happen because we teachers cause
them. Also, in early stages of
learning, intelligibility should be
appreciated, and as we go on the
emphasis on authentic pronunciation
should be increased through lots of
drilling and phonological practice.
As to correction, I would use
constant gradual exposure to
authentic standard pronunciation,

and be very patient with my students
mistakes.I believe Learning correct
pronunciation is a very lengthy
process and any unreasonable
pressure should be eased off
students. After all, for a non-native it
is impossible to pronounce 100%
like a native!
Irene Ong, Malaysia
Personally, I would not be too quick
in correcting students' pronunciation
without having first guided them
through the usage of phonetics. This
takes into consideration the
students' cultural background and
perhaps physical deficiency in the
pronunciation of English words.
Secondly, it would be good to use
audio recordings as a teaching aid, in
which to help strengthen students'
listening and ultimately speaking
skills as well. It is quite necessary to
correct students' pronunciation
during the course of a lesson when it
is obvious that the word encountered
is a common mis-pronunciation of
the class as a whole. In such
instances correction of
pronunciation can then be handled
as a group exercise thus not directed
at one student in particular.
Correction of pronunciation should
definitely be part of the teaching of
the English Language but ought to
be handled gently and with tact and
consideration, especially in the case
of an adult learner!
Anthony O'Driscoll, Spain
Re Dom›cio of Brazil's comments: I
agree that you shouldn't interrupt
students when they're in the middle
of a conversation exercise, BUT,
noting down the errors of
pronunciation and going over them
when the conversation activity has
finished is, in my experience, of little
use, because the people who made
the mistakes have forgotten it was
them and, for the rest, it has nothing
to do with them, so it all becomes a
bit too academic. What I do is when
we're correcting homework, with
SPOKEN ENGLISH sentences, I
get the students to try to pronounce
the sentences as if they were actually
speaking them - and if the other
students don't think the
pronunciation is OK, I tell them to
cough! (I, also, cough to indicate
when the pronunciation is not
correct - I sometimes having a
coughing fit with some
pronunciation!!) This, of course,
depends on the relationship with
each class/student - obviously, with
the more introvert students, I don't
overdo it ... This way you corrrect
their spoken English pronunciation,
but it's NOT a sentence of their own,
expressing their own thoughts/
opinions/feelings as it would be in a
conversational exercise it's just a
sentence from the book.
Sheila Bonari, Reunion Island
Remembering how useful I found
this activity for myself when learning
French, I now teach English to uni
students but in specialised domains.
One student reads out a paragraph
from a specialised article thus
dealing with verbs and vocabulary
related to their needs. In groups they
listen, teacher underlines
mispronounced words, repeats
mispronounced words in a confused
way in order to elicit suggestions
from the group and then gives
correct pronunciation. Students can
then repeat together. This installs
confidence in students and reveals
keys to resolving similar problems in
pronouncing unknown words and
language interference.
Ana Maria Sierra, Argentina
After years of trying to find the best
way to correct my students'
pronunciation I've found quite a
funny one: I pronounce the word
wrong - for example "Pikture" and
my students correct me saying the
correct pronunciation "piktche". I do
it with most of the students. They
not only learn to pronounce well but
they find it funny to correct their
teacher.
Ziya Erdil, Turkey
The best way is: while they are
talking or reading in class, you
shuldn't interrupt them in the middle
of the conversation or text. Let them
finish first and then you can correct
pronunciation mistakes by using
those words and phrases frequantly
in different ways, making students
take part in activities too. Don't
directly correct the student who's
made a pronuncation mistake. This
will cause him/her to lose self
confidence and be discouraged. Let
it be natural. Good luck to you :)
Francis Peter, India
Raising awareness of possible pitfalls
helps prevent their occurance. For
my Indian learners, I focus on the
following features. These are the
common problem areas for a second
language learner.
Phonetic realisations: My first job is
to make the learners realize a new
set of sounds need to be learnt while
learning a new language. These
‘problem sounds’ unless learnt
correctly could lead to ‘phonetic
realisations’ i.e. when a learner finds
a given English sound difficult to
pronounce, a sound closest to the
required sound from his mother
tongue is used. Such approximations
lead to unintelligibility
Vowel quantity: The length
differences between the vowels of
English feature can cause major
strain in listening. The long English
vowels are very long in comparison
with average vowel lengths in other
languages. I make them aware of the
distinction between long and short
vowels. Actually this is more
important than exact vowel quality.
Consonant clusters: Certain
combination of consonants does not
occur in a learner’s mother tongue,
and pronouncing these is a definite
problem for our learners. Words like
school, why the word ‘cluster’
‘request’ ‘triumph’ etc need special
attention, especially to make sure no
sound is substituted for them.
Learners tend to deleting one of the
consonants to simplify a cluster or
insert a vowel to tide over the
difficulty.
Weak forms and connected speech
modifications is another area that
25
deserves careful attention. English,
with its multiple weak-form words
and heavily reduced unstressed
vowels is difficult fro a learner from
a syllable-timed language
background. Focus on achieving
adequate prominence on the
stressed syllables, rather than on
attaining perfect weak forms for the
reduced vowels helps.
Elvira S. Balinas, Philippines
I have been teaching pronunciation
for so many years now to Filipino
students. I found it helpful to let the
students record their own voice and
listen to the playback. It gives them
motivation to improve on their
errors. Also, asking them to listen to
documentaries in English outside
their classroom hours proved to be
successful in making the students
aware of the English prosody
Jackie who works in Greece posted
the following question:
The question
Jackie, Greece
It seems that a lot of my students just
want to pass an exam as quickly as
possible, and resist my attempts to
get them interested in material other
than the course books we are using.
Most of them regard it 'a waste of
time when they could be getting on
with the book'. They're not that
interested in the language itself at
all! Are there any other teachers
with the same kind of problem?
Any solutions?
You can contribute your answers here:
http://www.teachingenglish.org.uk/talk/
questions/exam.shtml

26
Travailler avec la press et éduquer aux médias
Les médias français sur
Internet
Journaux et chaînes de télévision
se sont emparés d'Internet et
l'utilisent comme canal de
diffusion et de promotion. La
majorité d'entre eux propose sur
leur site de nombreux articles et
dossiers thématiques, parfois liés
à des forums de discussion, utiles
dans un cadre scolaire. Vous
pourrez ainsi retrouver en ligne
les journaux télévisés de France
2, France 3 ou TV5 (Actualité
panafricaine et Actualité
internationale), le journal de
RFO ou encore les émissions du
groupe Radio France. Le site de
l'AFP vous permettra également
de travailler avec vos élèves sur
les dépêches ou les photos du
jour. Pour compléter ce
panorama, nous vous invitons à
consulter le portail-medias.com
ainsi que le répertoire Portail
presse, réalisé par la Fédération
nationale de la presse française,
qui donne accès à plus de 13 000
titres de la presse écrite
française.
Les médias francophones
sur Internet
Du côté de la presse
francophone, le portail de
l'Union de la presse francophone
propose des liens vers les
principaux titres diffusés dans les
pays francophones. Sur son
Portail jeunesse, l'Organisation
internationale de la
Francophonie (OIF) conseille
également des journaux de tous
les continents aux jeunes
francophones.
La presse pour les jeunes
Plusieurs sites proposent une
information spécialement
calibrée pour les jeunes lecteurs.
Parmi eux, on trouve Les Clés de
l'actualité Junior, un quotidien
destiné aux 8-12 ans, France
Jeunes, réalisé par et pour des
adolescents, ou encore le Journal
de Victor, "l'espace pingouin des
petits citoyens". Enfin, la section
jeunesse du quotidien régional
français Le Télégramme de Brest
publie des articles écrits par les
jeunes et donne aux enseignants
quelques conseils pour utiliser la
presse en classe.
Séquences
pédagogiques à
partir de la presse
Pour débuter ce tour d'horizon
des outils pédagogiques
disponibles sur Internet pour
Les médias sur Internet
travailler avec la presse, nous
vous proposons de découvrir les
nombreuses bonnes adresses
sélectionnées par le portail des
enseignants de français
Weblettres dans sa rubrique
presse : sites pédagogiques,
pratiques de classe, réalisation
d'un journal scolaire, médias en
ligne, dessins de presse...
Pour vous donner une idée des
types d'activités qui peuvent être
réalisées en classe de français à
partir de la presse, nous vous
invitons à lire les articles que Le
français dans le monde consacre
à l'utilisation de la presse dans
l'enseignement du FLE : Avec
vos journaux et les nôtres, Les
médias sur Internet (activités
pour utiliser les médias,
comprendre les contenus
journalistiques, etc.) ou
encore La radio, un trésor à
exploiter pour la compréhension
orale… Vous pourrez également
consulter les activités proposées
par un enseignant en IUFM
autour de l'article type "faits
divers", des illustrations, des
"unes" ou encore des dépêches
AFP, mais aussi le site Internet
de l'académie de Versailles
(France) qui présente des
séquences pédagogiques (utiliser
la presse, réaliser un journal),
des textes de référence, des
journaux scolaires, des radios
scolaires, de l'aide et des outils
ainsi que des références
bibliographiques.
Parmi les activités spécifiques qui
peuvent être menées à partir de
la presse, vous pourrez choisir de
monter avec vos apprenants une
revue de presse. Plusieurs sites
vous seront utiles dans cette
entreprise. Le plus intéressant
est sans doute Newsmuseum.
Chaque jour il met en ligne les
"unes" des quotidiens du monde
entier : un exercice qui pourra
également vous amener à
travailler sur l'interculturel…
Deux sites recensent les liens
vers la presse mondiale : c'est le
cas de The World Press et de
Kiosk. Quant à Vianetinfo, il
affiche les caricatures de
plusieurs dizaines de quotidiens
francophones du monde entier
(algériens, canadiens, français,
suisses, belges…). Enfin,
rappelons que l'outil Google
News génère un quotidien
électronique mis à jour toutes les
15 minutes à partir d'articles
collectés auprès de plusieurs
centaines de sources
d'information en français dans le
monde.
Le Centre régional de
documentation pédagogique
(CRDP) de Versailles vous
donnera pour sa part quelques
pistes pour travailler autour de
l'image de presse, tandis que
Clicnet vous fournira des idées
pour travailler sur
les titres de journaux. Notez
également que le CRDP de
Créteil organise chaque année
un concours de Unes qui invite
les participants à réaliser la "une"
de leur journal d'après des
dépêches et images d'agence
représentant l'actualité d'une
journée. Ce concours s'adresse
aux jeunes francophones des
écoles, collèges et lycées.
De nombreux médias consacrent
une partie de leur site Internet à
l'exploitation pédagogique de
leurs émissions ou articles. TV5
dédie ainsi tout un programme à
l'apprentissage et l'enseignement
du français avec TV5, tout
comme RFI dans sa rubrique
Enseigner avec RFI en français
(RFI propose également un
concours de fiches pédagogiques
autour de ses émissions de
radio), ou encore France 5, qui
dans "Côté profs" propose des
fiches pédagogiques autour des
programmes diffusés sur la
chaîne. Les journaux français
accordent également une part
importante à l'éducation sur leur
site, à l'image du journal Sud-
Ouest, de Ouest-France - journal
régional à très forte diffusion,
qui se propose de faire découvrir
le journal aux enseignants et aux
élèves - ou encore du
Télégramme de Brest, autre
journal régional français, qui
présente des fiches pédagogiques
pour analyser et comprendre la
presse, étudier la "une", faire un
journal scolaire, etc.
Enfin, nous vous invitons à
parcourir le document réalisé par
des enseignants de langue de
l'académie de Nancy-Metz
autour du thème "La presse
écrite comme outil de
remédiation en français et en
langues" : une partie des actions
proposées concerne un groupe
de FLE.
Retrouvez d'autres exemples
d'activités dans nos fiches
pratiques…
Créer ou participer
à la rédaction d'un
journal
La réalisation d'un journal
scolaire en classe de FLE
pourra constituer un moyen
particulièrement riche de faire
travailler vos apprenants
autour de la lecture, de
l'expression écrite et orale
(comité de rédaction, travaux
de groupe), de la culture
francophone ou de la
civilisation française. Pour
bien comprendre les
intérêts pédagogiques d'un
tel projet, nous vous invitons à
lire le mémoire de CAPE de
Lionel Taverne, qui propose une
réflexion pédagogique sur
l'élaboration d'un journal en
classe, ainsi que les réflexions
pédagogiques d'Abel Dupuy,
conseiller pédagogique, sur le
même thème.
Initier ses apprenants à
l'écriture journalistique
Avant de vous lancer dans la
création d'un journal, vous
pourrez commencer par initier
vos apprenants aux spécificités
de l'écriture journalistique. Le
site Rédaction de Rescol
propose ainsi un cours de
journalisme électronique en ligne
pour les jeunes reporters
francophones. Pour sensibiliser
vos élèves au vocabulaire propre
à la presse, consultez le glossaire
des termes de la presse écrite
réalisé par le Centre de liaison
de l'enseignement et des moyens
d'information (CLEMI), ou
encore les documents
pédagogiques proposés par le
ministère français de la Culture
et de la Communication autour
du jargon de la presse, des mots
des médias et des titres de
presse. Enfin, si vous souhaitez
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sensibiliser plus particulièrement
vos élèves à l'écriture
radiophonique, consultez l'article
que Le français dans le monde
consacre à ce thème ainsi que le
court manuel "Écrire des textes
radiophoniques", réalisé par
Nancy Bennett, directrice du
réseau des radios locales des
pays en développement.
Concevoir un journal
scolaire
Vous trouverez sur le site du
CLEMI de précieux conseils et
outils pour faire un journal en
classe (documents pédagogiques,
documents pour les élèves,
informations juridiques,
exemples de journaux, etc.).
Vous pourrez également
consulter sur EduFLE l'article
consacré à la réalisation d'un
journal scolaire en classe de FLE
ainsi que les conseils proposés
sur le site de l'Institut français de
Rabat.
Créer un journal sur
Internet
Vous souhaitez publier votre
journal sur Internet mais vous
n'êtes pas un expert en TICE ?
Journal-FLE est l'outil qu'il vous
faut ! Conçu pour les enseignants
qui souhaitent mettre en place
un journal de classe sur Internet
dans le cadre de leurs cours,
cette solution gratuite clé en
main possède de nombreuses
fonctionnalités didactiques : suivi
des révisions, vérificateur
d'orthographe, encyclopédie
libre... Vous pourrez également
choisir d'utiliser le logiciel
Webzinemaker qui permet de
faire un journal en ligne et de
constituer une équipe de
rédaction, grâce à un système de
publication en réseau. Les
enseignants qui maîtrisent mieux
les TICE pourront décider de
créer leur propre site : ils
trouveront sur le site de l'IUFM
de Versailles quelques conseils
utiles sur la manière de monter
un journal et de le publier sur
Internet.
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 27

Participer à la rédaction journalistiques à de jeunes médias peuvent servir de support médias en classe. Autre ressource intéressante, le
de journaux en ligne francophones de 12 à 17 ans. Ce à des activités classiques Au Québec toujours, l'Actualité CREDAM (Centre de recherche
Si vous souhaitez faire participer projet permet de mettre en d'apprentissage du français, mais en classe offre des fiches sur l'éducation aux médias) met
vos apprenants à des journaux relation des classes ils peuvent également aider les multimédias interactives qui en ligne sur son site des
déjà existants, vous pourrez d'établissements situés dans des apprenants à développer leur permettent à l'enseignant de ressources et une sélection de
rejoindre un des nombreux pays différents grâce à Internet esprit civique et critique. présenter des faits d'actualité aux sites consacrés à l'éducation aux
projets de journaux mais aussi de proposer "un Le CLEMI, qui coordonne la élèves de 10 à 14 ans sous un médias.
francophones en ligne, comme le contexte d'apprentissage Semaine de la presse à l'école, angle qui les amène à devenir des Réalisé en partenariat avec
programme Fax ! du CLEMI, authentique où les élèves est l'organisme de référence en citoyens avertis capables de "lire" Radio France, Le Monde,
celui d'Omar le Chéri autour de assument les différents rôles France dans le domaine de et d'interpréter judicieusement l'éditeur Hatier, le Centre
la Méditerranée, de Mosaïque du nécessaires à la production d'un l'éducation aux médias. Son site les messages médiatiques traitant national de documentation
Monde ou encore du Marque document hypermédia sur donne de nombreuses idées des actualités. pédagogique (SCEREN/CNDP),
page, un cyberjournal scolaire Internet dans un contexte de d'activités pour les élèves et des Une enquête dans la presse le CLEMI, Le Café pédagogique
francophone soutenu par collaboration internationale". liens vers des exemples de électronique, réalisée par des et avec le soutien du ministère
l'Institut français d'Istanbul. journaux scolaires et lycéens. Son enseignants québécois, permettra français de l'Éducation
Autre projet intéressant, le site Pour une éducation équivalent québécois, le Réseau aux jeunes de découvrir si les nationale, de l'Enseignement
CyberScol propose de faire Education Médias, propose reportages traitant d'un même supérieur et de la Recherche,
produire des enquêtes
aux médias également des ressources sujet contiennent ou non les Décrypt'ACTU est dédié au
Comme nous l'avons vu, les pédagogiques pour utiliser les mêmes informations. décryptage des médias et de
l'actualité.
JT France2 : http://jt.france2.fr/ La presse écrite comme outil de remédiation en français et en langues: Ce site poursuit un double
JT France3 : http://jt.france3.fr/ http://www.ac-nancy- objectif : fournir des ressources
TV5- Actualité panafricaine : metz.fr/MIVR/PNI4/EcritsDefinitifsAout2003/Axe3/88CEpinalStExupery multimédias brutes aux
http://www.tv5.org/TV5Site/info/accueil.php K.pdf enseignants, aux documentalistes
TV5 - Actualité internationale : Franc-parler - Fiches pratiques presse : et aux élèves et permettre aux
http://www.tv5.org/TV5Site/info/actualite_internationale.php http://www.francparler.org/fiches/presse_etudier.htm enseignants et aux
Journal de RFO : http://www.rfo.fr/ documentalistes d'appréhender
Créer ou participer à un journal scolaire
Radio France : http://www.radiofrance.fr/ avec les élèves la manière dont
Lionel Taverne - mémoire de CAPE :
AFP : http://www.afp.com/francais/home/ les médias traitent d'un sujet
http://members.aol.com/magaliburgnies/memoire.html
Portail-medias.com : http://www.portail-media.com/ d'actualité.
Portail presse : http://www.portail-presse.com/ Abel Dupuy - Le journal scolaire :
Pour compléter ces ressources,
Portail de l'Union de la presse francophone : http://www.ac-bordeaux.fr/Primaire/Baseprim/doc64/Journal.htm
nous vous invitons à consulter le
http://www.presse-francophone.org/ Rédaction de Rescol : http://www.snn-rdr.ca/rdr/ très intéressant parcours que
Portail jeunesse : CLEMI - glossaire de la presse écrite : Thot consacre à l'éducation aux
http://jeunesse.francophonie.org/liens/section.cfm?id=13 http://www.clemi.org/formation/outils/glossaire_presse.html médias.
Agence intergouvernementale de la francophonie : Ministère de la Culture et de la Communication - jargon de la presse:
http://agence.francophonie.org/ http://www.culture.gouv.fr/culture/dglf/clemi/intro-recit.htm Récapitulatif des liens cités
Les Clés de l'actualité Junior : http://www.lesclesjunior.com/ Ministère de la Culture et de la Communication - mots des médias : Les médias sur Internet
France Jeunes : http://www1.france-jeunes.net/ http://www.culture.gouv.fr/culture/dglf/clemi/mots_journalistes.htm
Journal de Victor : http://www.recre-action.net/ Ministère de la Culture et de la Communication - titres de presse :
Le Télégramme de Brest : http://www.presse-ecole.com/ http://www.culture.gouv.fr/culture/dglf/clemi/intro-titres.htm
Séquences pédagogiques à partir de la presse
FDLM - Atelier d'écriture radiophonique :
Weblettres - Presse : http://www.weblettres.net/index2.php?entree=29
FDLM - Avec vos journaux et les nôtres :
http://www.fdlm.org/fle/article/321/radiophonique.php New Word
Ecrire des textes radiophoniques :
http://www.fdlm.org/fle/article/309/fleig-hamm.php
FDLM - Les médias sur Internet : http://farmradio.org/francais/publications/creating-content.asp on the Block
http://www.fdlm.org/fle/article/337/mediasinternet.php CLEMI - conseils et outils pour faire un journal en classe :
FDLM - La radio, un trésor à exploiter pour la compréhension orale… : http://www.clemi.org/mediasscolaires.html ™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 8
http://www.fdlm.org/fle/article/335/rfi335.php EduFLE - Réaliser un journal scolaire en classe de FLE :
also feature a warm-air dryer,
Activités pour travailler avec la presse : http://www.edufle.net/article-imprim138.html
heated seats and even
http://bjay.club.fr/travpress.htm Institut français de Rabat :
massage capabilities or an
Académie de Versailles - séquences pédagogiques autour de la presse: http://www.ambafrance-ma.org/institut/rabat/ntic-scolaire/cyber_journal/ integral sound system.
http://www.presse.ac-versailles.fr/ Journal-FLE : http://www.journal-fle.net/ Automatic lid closure and
Newsmuseum : http://www.newseum.org/todaysfrontpages/ Webzinemaker : hands-free flushing are also
Parcours Franc-parler - L'interculturel en classe de français : http://www.webzinemaker.com/admi/creation/etape1.php3?lg=fr popular. These features are
http://www.francparler.org/parcours/interculturel.htm IUFM de Versailles - Monter un journal et le publier sur Internet : usually controlled by means
The World Press : http://www.theworldpress.com/
http://pedagene.creteil.iufm.fr/internet/publi.html#Créer%20son of an elaborate electronic
Kiosk : http://www.esperanto.se/kiosk/enplena.html control panel, and a remote
%20site%20Web
Vianetinfo : http://www.vianetinfo.com/index.php4 control may also be provided
Programme Fax ! : http://www.clemi.org/fax.html
Google News : http://news.google.fr/ for your convenience. The
CRDP Versailles - l'image de presse : http://www.crdp.ac- Omar le Chéri : http://www.omarlecheri.net/
Mosaïque du Monde : http://www.mosaiquedumonde.org term 'washlet' is also used to
versailles.fr/cddp92/cddpnew/mediatheque/Presse% refer to adaptor units that
20et%20medias%20SITO.htm Le Marque page : http://membres.lycos.fr/lemarquepage/
improve the operation of a
Clicnet : CyberScol : http://presse.cyberscol.qc.ca/ijp/produire/enquete.html
conventional lavatory;
http://clicnet.swarthmore.edu/pedagogie/miss/ecriture/titre.insolite.html Pour une éducation aux médias
indeed, 'travel washlets' are
Concours de Unes : CLEMI : http://www.clemi.org also available for those who
http://www.crdp.ac-creteil.fr/crdp/anim_peda/une/index.html CLEMI - idées d'activités pour les élèves : become particularly attached
Apprentissage et enseigner le français avec TV5 : http://www.clemi.org/formation/fiches/fichespedago.html to their luxury loos.
http://www.tv5.org/TV5Site/enseigner-apprendre- CLEMI - Journaux scolaires et lycéens : Unfortunately, the recent
francais/accueil_apprendre.php http://www.clemi.org/medias_scolaires/journauxscolaires.html international interest in
Enseigner avec RFI en français : Réseau Education Médias : washlets has been sparked by
http://www.rfi.fr/lffr/articles/001/fiche_qui_sommes_nous.asp reports that electrical faults
http://www.media-awareness.ca/francais/index.cfm
RFI - concours de fiches pédagogiques : have caused products from
L'Actualité en classe : http://www.actualiteenclasse.com/educat.html
http://www.rfi.fr/lffr/pages/001/page_monde_en_francais.asp the two major Japanese
Enquête dans la presse électronique :
France 5 - Côté profs : http://education.france5.fr/ manufacturers to catch fire.
Sud-Ouest : http://www.sudouest.com/ http://www.csaffluents.qc.ca/rmi/projets/Presse1/
CREDAM : http://www.clemi.org/credam/ressources.html#sites Perhaps paper isn't so pass?
Ouest-France : http://www.ouestfrance- after all.
ecole.com/commun/scripts/blocsmetiers/com_frame.asp? lien=/ Décrypt'ACTU : http://education.france5.fr
accueil.asp Thot - Éducation aux médias : Panorama des ressources pour cliquer
Le Télégramme de Brest : futé : http://thot.cursus.edu/rubrique.asp?no=20683
http://www.presse-ecole.com/page.cfm?R=5&page=index Source: www.francparler.org