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πOÀ§.-∞À°. 2006
Thomson ELT Enters Primary Education Market
and Strengthens Position in Europe
Publisher acquires New Editions to bolster courseware
offerings in English Language Teaching
Boston, MA – August 29, 2006
– Thomson ELT, a leading
provider of materials for
English language teaching
(ELT) and learning throughout
the world and part of The
Thomson Corporation (TSX:
TOC; NYSE: TOC),
announced today that it has
completed the acquisition of
Greece-based publisher, New
Editions. The acquisition
enhances and deepens
Thomson ELT portfolio by
providing primary and British
English courseware for global
ELT markets. Financial terms
of the acquisition were not
disclosed.
New Editions is an English
Language Teaching (ELT)
publisher focused on the K-12
education market, with more
than 500 British English titles
in print. New Editions was
founded and owned by Sophia
Zaphiropoulos and Carl
Wantenaar. It is based in
Athens and serves customers
throughout the world. New
Editions has 40 employees.
“We are pleased to announce
the acquisition of New Editions
and its high quality ELT list.
This acquisition adds scale for
us in Europe and in British
English and brings us our first
product for primary markets as
well. We feel it is an excellent
fit in every respect and are
confident that we can leverage
the product globally through
KÏÂÈÛı¤ÓÔ˘˜ 7, 105 52 Aı‹Ó·
Thomson channels,” said
Dennis Hogan, president of
Thomson ELT.
"We are very pleased to be a
part of the Thomson
Corporation and are excited
about the future prospects of
our combined operations,” said
Sophia Zaphiropoulos, founder
of New Editions.
“Together we are positioned to
offer our English Language
Teaching materials to more
students worldwide than ever
before and look forward to
developing even more market
specific product in conjunction
with the local Thomson offices
all around the world!” said Carl
Wantenaar, publisher of New
Editions.
About The
Thomson Corporation
and Thomson ELT
The Thomson Corporation
(www.thomson.com), with 2005
revenues of $8.40 billion, is a
global leader in providing
integrated information
solutions to business and
professional customers.
Thomson provides value-added
information, software tools and
applications to more than 20
million users in the fields of
law, tax, accounting, financial
services, higher education,
reference information,
corporate e-learning and
assessment, scientific research
and healthcare. With
operational headquarters in
Stamford, Conn., Thomson has
approximately 40,000
employees and provides
services in approximately 130
countries. The Corporation's
common shares are listed on
the New York and Toronto
stock exchanges (NYSE: TOC;
TSX: TOC). Thomson ELT is a
leading provider of materials
for English language teaching
and learning
throughout the
world. It publishes
under the brands
of Thomson,
Thomson ELT,
and Thomson
Heinle.
(Right to left)
Andy Cowle,
Karl Wantenaar,
Sophia
Zaphiropoulos,
Yannis Kokkalis
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M¤Û˘ EÎ·›‰Â˘Û˘.
™ÙȘ 16-17 ¢ÂÎÂÌ‚Ú›Ô˘ ÔÈ ÂfiÌÂÓ˜
ÂÍÂÙ¿ÛÂȘ University of Central
Lancashire Î·È Europalso
O ¶·ÓÂÏÏ‹ÓÈÔ˜ ™˘Ó‰ÂÛÌÔ˜ I‰ÈÔÎÙËÙÒÓ
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ÁψÛÛÔÌ¿ıÂÈ·˜ ÙÔ˘ University of Central
Lancashire ÛÙ· Â›‰· B1 (Pre-Lower),
B2 (Lower), C1 (Pre-Proficiency), C2
(Proficiency). OÈ ÂÍÂÙ¿ÛÂȘ -°Ú·Ù¤˜ &
¶ÚÔÊÔÚÈΤ˜ - ı· Á›ÓÔ˘Ó ÛÙȘ 16 Î·È 17
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ı· Á›ÓÔ˘Ó Î·È ÔÈ ÂÍÂÙ¿ÛÂȘ Europalso ÛÙ·
John Shaw Â›‰· Stars 1, Stars 2, Beginners,
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ÂȉÈ΋ ÂΉ‹ÏˆÛË ÛÙËÓ ÔÔ›· ·Ú¢ڤıÂÈ Ô Î. John Shaw, Head of
the Dpt. Of Education and Languages ÙÔ˘ University of Central
Lancashire. TÔ ¶·ÓÂÈÛÙ‹ÌÈÔ ıˆÚÂ›Ù·È ¤Ó· ·Ô Ù· ÌÂÁ·Ï‡ÙÂÚ· ÛÙÔ
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and Education.
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·fi Ù· ÁψÛÛÈο ghettos ‰ÂÓ Â›Ó·È
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ÍË ÙˆÓ ÂÈ¤‰ˆÓ ÁÓÒÛÂˆÓ Û A1-A2
B1-B2 C1-C2. H οı ¯ÒÚ· ˘‡ı˘-
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ÁÓˆÚ›˙ˆ, ÂÊ·ÚÌfi˙Ô˘Ó ÛÙ·‰È·Î¿ ÙÔ ›-
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™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 24
 4
Writing Exams: What do examiners want?
riting can be the most
W difficult skill in a foreign
language —you have to be
accurate, know your vocabulary,
guide your reader through your
argument and write in the correct
tone. The challenge is to get your
message across without the support
of gestures or repetition and to be
careful not to offend the reader! As
well as being very demanding of
your language skills, a writing task is
complicated by the fact that writing
styles vary from language to
language. While in some languages
it is acceptable to refer to several
broad points, in others you must
write in a particular order or with a
specific focus. English, for example,
demands that an argument is
developed in a certain way and that
the main point is consistently
addressed. How students write in
their first language can have a
significant effect on how they write
in English, so students need to be
aware of the differences between
their first language and English if
they are to succeed in writing exams.
To make matters worse, a lot of
As most teachers will acknowledge, students can often find writing the most
challenging of all the four skills. Elaine Boyd, an examiner herself, gives
some invaluable insight into what examiners want, and, more importantly,
how to train students to deliver.
students think writing is boring —
but they need to be able to write
effectively to pass exams.
As teachers, it is very tempting to
focus on accuracy, especially as this
helps students’ language proficiency
generally. However, writing is a
specific skill with special
considerations that belong to this
skill alone. In fact, most writing
exams will allow the candidate some
mistakes in their grammar and
spelling as long as these mistakes
don’t affect undersanding. Some
students, not unreasonably, hope
that if what they write is accurate
then they will get the necessary
marks. But the truth is that if they
don’t answer the question then no
matter how accurate their writing is,
they will lose a lot of marks. All the
important features of written
English —range, focus, organisation
and register as well as accuracy—
are assessed in English language
exams. It is critical for students to
master all these features if they are
to get a better mark. The good news
is that most students improve quite
quickly once the are made aware of
Elaine Boyd is an exam writer
for a range of ESOL exams,
specialising in exams which test
the writing skill. She has been
involved with teaching,
examining and writing ESOL
materials for over 20 years and
has just completed a research
degree in spoken English.
these features and given some help
to practise them.
So what are the typical reasons why
candidates may lose marks in
writing exams? The following
comments are what an examiner
might say about some of the answers
they see.
1. «This candidate hasn’t
answered the question!»
This is the biggest sin of all in an
exam and students need to be made
aware of how serious it is.
Sometimes, in the panic of the
exam, candidates write what they
know rather than doing the task set.
But, however good their English is,
they have little chance of achieving a
pass grade if they don’t address what
is required by the question. There
are two possible problems here —
topic focus and task focus.
Problem: topic focus
In written English it is important to
stay on the main topic of the
discourse. Students sometimes go
off the topic either because they
don’t really have enough ideas on
the topic or because it is acceptable
to introduce other elements when
writing in their own language.
Another problem is that sometimes,
in an exam, students try to recreate
a good piece of writing they have
done in class, whether or not it
answers the question set in the
exam. Usually this loses the
candidate a lot of marks because the
questions will always have a
particular focus and this must be
addressed. Therefore, students need
to feel confident that they can
answer a range of questions without
using a «template» produced in
class. Help your students to gain
confidence:
ñ Get them to brainstorm all the
things they could say about one
topic. This gives them useful
speaking practice before they write
and means they will not be stuck for
ideas. They can make a list together.
Then give them an exam-type
question and ask them to pick which
ideas from their list fit the focus of
the question. They won’t all fit so
this process can help them
understand how important it is to
select ideas relevant to the question.
ñ Give students an exam-type
question in English but ask them to
write the answer in their own
language. Then ask them to list the
points they have included. Do they
all focus on the points in the
question and only on these points?
Or have they added ideas and
extensions that are less relevant?
This «translation» task can help
them recognise the differences
between writing in their own
language and writing in English.
Problem: task focus
Many writing exams ask candidates
to complete a task, e.g. write a note
to a friend about a meeting or write
a review of a film. Candidates are
usually assessed on how well they
have complete the task, e.g. Does
the friend know the arrangements?
Would the reader know whether the
film was worth watching? This
«effect on the targer reader» is
crucial to success. Make sure your
students know how to complete a
task and focus on the reader.
There are two steps:
ñ Get students to decide what the
task is. Give them some exam-type
questions and ask them what the
main purpose of the piece of writing
is. Why are they writing? What are
they trying to achieve?
ñ When the students have decided
what the reason for writing is, ask
them to make a list of what the
reader needs to know in order for
this purpose to be achived. For
example, if it is a complaint, then
what are all the things the reader
needs to know to be persuaded to
resolve the complaint? If it is an
article or a story, then does it
entertain, inform and engage the
reader?
2. «This isn’t very well
organised - It’s difficult
to follow»
Problem: planning
It is absolutely essential that
students get into the habit of
planning their writing. Many
candidates write out a rough copy of
their answer in the exam and then
try to write it out again neatly, but
they run out of time. There is not
time in an exam to write everything
out twice. Students need to learn to
write plans for their answers so they
can use their time to address all the
elements of the question. Another
problem is that candidates do not
balance their anwers —there is too
much on one point and not enough
on others. Again, planning helps to
resolve this as they can make sure
they have noted enough to say on
each point. They can use the word
count required by the question to
help them plan and balance their
answer.
ñ Ask to see students’ plans before
they write. Point out any problems
(e.g. irrelevance, lack of balance) or
let students show their plans to each
other to check differences or
similarities. Only then let students
write from the plan.
ñ Help students to balance anwers
by discussing together how many
parts there are in a writing task and
how many points need to go into
each part. For example, ask them to
write two ideas for each part so the
end result is balanced. Allot a rough
number of words, get students to
think about the task technically
(which is what they will be marked
on) rather than imaginatively.
Problem: linking and referencing
A very important feature of good
writing is how various points are
connected to each other. Candidates
will usually gain extra marks for
good linking and referencing. It is
relatively easy to get students to use
link phrases such as «in the first
place», «furthermore», etc, but they
also need to be shown how to take a
more holistic approach to the
cohesion of a writing task.
ñ Get students to focus on the first
and last sentence of a paragraph-
focusing and summarising. This will
make their writing much easier for
the reader to follow. Practise this in
class by giving students the middle
section of paragraphs and asking
them to discuss how they would
introduce and summarise what is
said, and then ask them to write first
and last sentences for each
paragraph.
ñ Encourage students to reference
what has gone before in their
writing. For example, instead of «I’ll
meet you at 7 pm at the cinema.
Let’s have a coffee», you could say
«After the film, shall we have a
coffee together?» This is both
clearer and shows a more complex
structure. This can be done going
round the class as a speaking activity
with each student linking an
utterance to what has gone before.
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 25
 6
Serbia Calling
Teaching English in Serbia from ... A to Z
It is always a pleasure to make new
friends. In this column we will be
meeting people from all over the world,
people that share the same interests and
passions with us.
Zlatko and Ana are two Serbian teachers
of English who talk to Lingua Franca
about... well just about everything.
Where do you live and work?
A: My name is Andrea Klancnik (aka
Ana) and I live in Belgrade, in Zemun to
be precise. I work in Experimental
Elementary School Vladislav Ribnikar, Meet Ana
which is, I’m proud to say, one of the best
state schools in Belgrade (not only my opinion, but also
an official conclusion of the Ministry of Education and
Sports). You can find more about us and our special
programmes if you visit our website at www.os-
ribnikar.edu.yu
Z: I am Zlatko Iker. I teach English privately. Nine
months a year I live and work in Belgrade and about 3
months a year in Tivat (Montenegro)
What are your qualifications?
A: BA in English Language and Literature, University of
Belgrade.
Z: BA in Czech Language and Literature, University of
Belgrade (English was my second language)
Where do people learn English in Serbia in general?
A: It is compulsory in most schools. Some children start
learning English in the first grade (age 6-7), and some
start at the age of 10-11.
Z: There are many private language schools in Belgrade
as well.
How do you become a teacher of English in Serbia?
A: You have to study for four years for a degree in
English Language and Literature at a university. Two
and Zlatko, our friends and colleagues from
years ago, due to the shortage of teachers of English, the
Ministry of Education and Sports allowed people with a
degree in some other language, and an excellent
knowledge of English (CAE at least) to teach in the first
four grades of primary schools.
Z: Actually, now any graduate of Faculty of Philology can
be a teacher of English (in primary school) when they
pass exam called B2. More information about that exam
you can find on the site www.fil.bg.ac.yu
What examinations do your students usually sit?
A: There are no obligatory exams in our state schools.
They start learning English at the age of 10-11 (fifth
grade), and when they finish the primary school, 8th
grade, most of them are capable of passing FCE, and lots
of them do.
What publishers do you use in your classroom/lesson?
A: We were one of the first schools which were allowed to
use foreign course books, five years ago, so we chose
Oxford University Press textbooks Open Doors 1, 2 and
3.
Z: Apart from following my students’ school text books
(which differ), I mainly use You an Me for younger
students and Headway for all levels (Oxford
University Press).
How do you find out what’s new in the
market? (books and stuff)
A: We are well informed. English Book, a
representative for OUP and Macmillan for
Serbia keeps us updated on all the latest
materials, and so do Cambridge UP and
Longman. There are also lots of seminars
organized by these publishing houses, by the
British Council and the Ministry, and there’s
ELTA, English Language Teachers’
Association. They are all very helpful... ELT
magazines which we get, Forum and Melt.
Z: I find most of the information I need on the
internet. But it’s usually Ana who informs me!
Do you use computers in class, if yes to do
what?
A: That has been scarce so far, I must admit,
not because of the lack of will but due to the
financial problems that state schools
encounter. Fortunately, next school year will
be different. Now we have a new classroom
with a lot of linked computers so in a few
months I could tell you more about our new
teaching methods.
Z: Yes! After we finish the lesson, my students
and I love to do online grammar tests. Some
of them are very good and helpful (for
example the ones on englishpage.com)
In Greece language examinations are
extremely important to students, parents and
teachers. What’s the situation in Serbia?
A: I cannot say that has been the case with our
country. However, they are becoming more
popular.
Z: Both students and parents find high marks
in English at the end of the semester more
important. Most employers will still take that as
a guarantee for their language skills. But as
Ana said, they are becoming more popular,
Serbia mostly due to foreign companies that require
internationally recognized tests.
What’s the most rewarding thing in your job?
A: Definitely when I hear my students say English is their
favourite subject, and when they don’t want me to stop
the lesson when the bell goes off because we are having a
great time.
What is the most frustrating thing in your job?
A: The most frustrating? When I can’t bridge the gap
between their love for speaking English and their dislike
of grammar, especially grammar tests.
Z: Hmmm Nothing really. However, the dictionaries here
are not well updated. Sometimes it is difficult to find the
proper Serbian equivalents for English expressions
regarding IT or Marketing (for example). That’s why
students usually ‘stick’ to the original English terms.
What is the average salary of a language teacher in
Serbia?
A: That’s an awful question. About 300 euros. No
comment.
Z: That is the reason why I don’t work in public school.
What do you do in your free time? What are your
hobbies?
A: I translate. A lot. And I do yoga. And study NLP.
Z: I translate too. I assist in PR campaigns for several
NGOs. I also like reading, swimming and of course
clubbing.
Will you be visiting Greece any time soon?
A: I love Greece. I haven’t been there for ten years but I
hope I’ll visit it next year. And our school has a "fraternal
school" in Greece, the 85th School of Thessaloniki, you
know.
Z: I haven’t been to Greece, but I plan to visit Athens
next summer, as I have some dear Greek friends – let me
take this opportunity to say hello to Aris, Yiorgos and
Stella!
Give us some tips where to go and what to do if we visit
Serbia.
A: Well, if you like the night life you will certainly NOT
be disappointed. And the restaurants are perfect. Oh,
there are so many things for everybody. Call us any time
and we'll be your guides.
Z: Ana mentioned some things you can enjoy while you
are in Belgrade. There are also many other great
locations to visit in Serbia. Kopaonik and Zlatibor are
famous ski resorts, but popular during all seasons. Nature
lovers will not be disappointed with Tara, where you can
practice different kinds of extreme sports (for example
rafting).
You can contact Ana and Zlatko at the following
addresses:
Ana: anaklancnik@yahoo.com
Zlatko: mr_ikerus@yahoo.com

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ÔÈÔ˜ ÌÔÚ› Ó· ›ÛÙ ÂÛ›˜.
7
T˙Ô‡ÏË K˘ÚȷοÎË
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fiÙÈ Ë ‰Ô˘Ï›· ÙÔ˘˜ Â›Ó·È Ó· ÚÔ-
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·Ó ·˘Ù‹ Ë ÔÏÈÙÈ΋ ‰ÂÓ ÌÂÙ·‰›‰Â- Ú›· Ó· Â·ÓÔÚıÒÛÂÙÂ. MËÓ ÙË ÙÔÓ ¤Ó·Ó ÛÙÔÓ ¿ÏÏÔÓ, ÔÈÔ˜ ͤÚÂÈ Ù˘ Business Class Consulting
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ÓÒÙ·ÙË ‰ÈÔ›ÎËÛË. ¶ÔÈÔ˜ ı· ‰È·- T· ·Ú¿ÔÓ· Â›Ó·È ÔÈ Â˘Î·È- ÛÈÁ¿ ÌË ‚Úˆ ÙÔ ‰›ÎÈÔ ÌÔ˘. ÕÛ TËÏ. +30 2311758655
ÎÈÓ‰˘Ó‡ÛÂÈ Ó· ¿ÚÂÈ Î¿ÔÈ· ڛ˜ Ô˘ Èı·ÓfiÓ Ó· ÌËÓ ÙȘ ¤¯ÂÙ ηχÙÂÚ·, ·Ï¿ ‰ÂÓ ı· Í·Ó·¿ˆ Fax +30 231175864
ÚˆÙÔ‚Ô˘Ï›· ÁÈ· Ó· ·ÓÙÈÌÂÙˆ›- Û’ ·˘ÙÔ‡˜. ¶ÔÈÔ˜ ı¤ÏÂÈ ÙÔÓ ÌÂÏ¿ e-mail: consulting@businessclass.gr
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10
When to say it and How to say it: Dealing with Parents Effectively
Reprinted from TESOL Greece
Newsletter
arents and teachers have
P been characterised as
mutual enemies, which
makes one wonder why, since
both sides have a common goal:
how to benefit the child. Despite
that, the teacher-parent
relationship is dominated by two
major issues. Firstly, there is
mutual reluctance to trust.
Secondly, the net of emotions
involved is a very complicated
one. When we inform parents we
talk about one or all of the
following: their child’s personality
traits, intelligence, stydy skills, or
behaviour. All of these are issues
in which parents play a great part.
As a result, they tend to feel that
the are being asked to take the
blame or they are being
reproached for not having done
something to rectify the situation.
Digging a bit deeper we come to
an even bigger issue between
parents and teachers, which is
by Maria Gogou Sachpazian (RSA Dip)
Maria Gogou-Sachpazian holds
a BA in Education from the
Aristotele University of
Thessaloniki, a CEELT 2 and
the RSA DOTE (hom.) from the
University of Cambridge.
Maria, who has been teaching
since 1992, has done many
seminars and presentations and
is also a member of IATEFL.
Her interests lie in the areas of
teaching first reading and
writing and reading
comprehension.
accountability. This is naturally
related to guilt. Parents feel it is
the teacher’s (or the school’s)
fault when disaster strikes. In my
opinion, parents who blame
teachers for whatever goes wrong
are suffering from guilt which
they do not want to admit. We
should also remember that the
boundaries between parents’ an
teachers’ roles are slim ones.
Parents are heavily involved in
what their child does and
sometimes they perform
an academic role at home.
Needless to say, when it
comes to the teacher’s
work they have an opinion
and they palm it to us,
even if we do not ask for it.
Comments like: «You are
not pushing hard enough».
«I don’t understand why
you don’t want them to
memorise rules» or «We
always translate the lesson
at home», should not be
taken personally because
they are not personal. Our
reaction to them should be
to explain to parents how
and why methods have
changed. good personal relationship with teacher-parent communication,
Having seen things from a Schools, feel that the system is especially when teachers become
teacher’s perspective, we should rejecting them yet again, this time too technical with parents or
try to approach the subject from a in the face of their child. Finally, when they use language too
parent’s viewpoint as well. Parents most parents believe that teachers informally. This might lead to
accuse teachers of seeing them as are quick to judge and they do not misunderstandings.
a nuisance and not devoting appreciate their aspect. Last but The situation being as is, we have
enough time to them. Some not least, language or its register
parents, who did not have very can sometimes be a problem in ™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 27

Trinity College London Esol Exams
One year on from ASEP recognition
Trinity’s Integrated Skills in English (ISE) exams were
recognised by ASEP in July, 2005. This was rather late for most
schools to consider adopting the exams for the academic year
2005-6.
Trinity’s ISE exams are significantly different from other exams.
Controlled Written paper: taken under exam conditions at
candidates’ school, combining reading and understanding, then
summarising or re-writing the text for a particular purpose,
followed by a composition, report, or article on a different
topic.
Three Portfolio tasks prepared in advance – designed to
produce examples of candidates’ best work, and assessed
alongside the Controlled Written paper.
Oral Interview: represents half of the total marks and is the
11
most important part of Trinity’s exam methodology. It is
designed to show how well individual candidates can
communicate and interact with the examiner, partly with
material prepared in advance, partly spontaneously.
There is no separate Use of English paper or Listening paper.
Trinity’s exams are a true test of candidates’ ability to mobilise
their knowledge of English to produce both written work in
natural contexts and above all to interact appropriately
with a native speaker. They motivate students by involving
them in choices. that can personalise their exam content
and reduce anxiety. They also have a very positive effect
on classroom methodology, emphasising communicative
activities, and reducing the need for mechanical practice
of past papers.
ISE 0 (A2 level) ISE 1 (B1 level) ISE 2 (B2 level) ISE
3 (C1 level)
Controlled Written (30% of total):
Writing with reading.
Two tasks at levels 0,1 and 2; 3 tasks (includes formal
correspondence) at level 3.
Level 0: 45 mins; Level 1: 90 mins; Level 2: 2 hrs; Level 3:
2.5 hrs.
Portfolio (20% of total): written tasks researched and
prepared in advance by candidates, working on their own.
Portfolio tasks are chosen from a list published on the
Trinity website each year.
3 tasks at each level: correspondence (letter, email,
postcard); factual writing (report, article, review,
instructions); descriptive/creative writing (essay, story,
diary).
Marked by the oral examiner and discussed in the Oral
Interview
Oral Interview (50% of total):
One to one interview with British examiner from the UK,
combining listening and speaking, consisting of:
General conversation
Discussion of Portfolio
Presentation of a topic chosen by the candidate (formal
presentation at C1 level)
Interactive task (B2 and C1 levels), where candidates
initiate and develop a conversation with the examiner
Listening tasks (C1 level only)
Levels 0 and 1 (8 mins); level 2 (12 mins); level 3 (20
mins).
∞°°∂§π∂™
T· ºÚÔÓÙÈÛÙ‹ÚÈ· •¤ÓˆÓ °ÏˆÛÛÒÓ OMHPO™ ˙ËÙÔ‡Ó
ηıËÁËÙ¤˜ AÁÁÏÈ΋˜ Î·È °·ÏÏÈ΋˜ Ì ›ڷ: ™Ù›ÏÙÂ
‚ÈÔÁÚ·ÊÈÎfi ÛÙ· ÎÂÓÙÚÈο ÁÚ·Ê›·. TËÏ.: 210
3841788/98 ‹ ÂÚ¿ÛÙÂ ™ÙÔ˘ÚÓ¿ÚË 35, Aı‹Ó·.
∫∞£∏°∏∆ƒπ∞ ∞ÁÁÏÈÎÒÓ Ì µ∞ ÛÙËÓ ∞ÁÁÏÈ΋ ºÈÏÔ-
ÏÔÁ›·, ÛÂÌÈÓ¿ÚÈ· ÌÂıÔ‰ÔÏÔÁ›·˜ Î·È ÊÚÔÓÙÈÛÙËÚȷ΋
›ڷ, ˙ËÙ¿ Û˘ÓÂÚÁ·Û›· Ì ∫•° ÏËÛ›ÔÓ ¶ÂÈÚ·È¿.
∆ËÏ.: 210-4812478, ÎÈÓ.: 6974-271766.
∂¡Oπ∫π∞∑∂∆∞π Â·ÁÁÂÏÌ·ÙÈÎfi˜ ¯ÒÚÔ˜ 70m2, ηٿÏ-
ÏËÏÔ˜ Î·È ÁÈ· ∫•° (ÂÍÔÏÈÛÌfi˜ ‰È·ı¤ÛÈÌÔ˜) ·¤Ó·ÓÙÈ
·fi ¢ËÌÔÙÈÎfi, °˘ÌÓ¿ÛÈÔ, §‡ÎÂÈÔ, ‰‡Ô ·›ıÔ˘Û˜ ‰È‰·-
Ûηϛ·˜, ÁÚ·Ê›Ô, 2 WC, ¯ÒÚÔ˜ ·Ó·ÌÔÓ‹˜, ÎÔÓÙ¿ ÛÙÔÓ
¶ÂÈÚ·È¿, ÏfiÁˆ ‰ÈÔÚÈÛÌÔ‡. ∆ËÏ.: 6944-295025.
E¶APKEIOYXO™ ηıËÁ‹ÙÚÈ· °·ÏÏÈ΋˜, 15ÂÙÔ‡˜
ÚÔ¸ËÚÂÛ›·˜, οÙÔ¯Ô˜ Sorbonne III, Deug II, ÌÂ
ÛÔ˘‰¤˜ ÛÙ· E.A.¶. ÙÌ‹Ì· E˘Úˆ·˚ÎÔ‡ ¶ÔÏÈÙÈÛÌÔ‡,
˙ËÙ¿ Û˘ÓÂÚÁ·Û›· Ì K¤ÓÙÚÔ °ÏˆÛÛÒÓ ÂÚÈÔ¯¤˜ °·Ï·-
ÙÛ›Ô˘, K˘„¤Ï˘, ÕÓˆ ¶·ÙËÛ›ˆÓ, ¶ÂÚÈÛÛÔ‡. TËÏ.: 6932-
532219.
¶ø§EITAI K.•.°. ÂÓ ÏÂÈÙÔ˘ÚÁ›· ÛÙÔ K¤ÓÙÚÔ ÙÔ˘ ¶ÂÈ-
Ú·È¿. IηÓÔÔÈËÙÈÎfi˜ ·ÚÈıÌfi˜ Ì·ıËÙÒÓ - ÏÔÁÈ΋ ÙÈÌ‹.
TËÏ.: 6937-027599.
O ∂∫¢O∆π∫O™ Ô›ÎÔ˜ «Super Course» ˙ËÙ¿ Ó· ÚÔ-
ÛÏ¿‚ÂÈ ˆÏËÙ¤˜ ÁÈ· ÙÔ ÓÔÌfi ∞ÙÙÈ΋˜. ∂Èı˘ÌËÙ¿
ÚÔÛfiÓÙ· ¢¯¤ÚÂÈ· ÏfiÁÔ˘, ÂÈÎÔÈÓˆÓ›·˜ Î·È ÁÓÒÛÂȘ
Ù˘ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜. ¶·Ú¤¯ÔÓÙ·È ‚·ÛÈÎfi˜ ÌÈÛıfi˜,
·ÛÊ¿ÏÈÛË Î·È ÔÛÔÛÙ¿. ∆ËÏ.: 23310-73777.
12
Internet: How to Get your message across
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‰ÂÓ Ê·›ÓÂÙ·È Ó· ÍÂʇÁÔ˘Ó ·fi ÙÔ Îϛ̷.
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Ù·˘ÙfiÙËÙ·.
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ÂÚ›Ô‰Ô ÌÂÙ¿ ÙÔ Î·ÏÔη›ÚÈ, fiÙ·Ó ÍÂÎÈÓ¿ÂÈ Ë Ó¤·
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ÁÈ·Ù› ¤Ó· ÌÂÁ¿ÏÔ Ì¤ÚÔ˜ Ù˘ ·Ú·‰ÔÛȷ΋˜ ‰È·-
ÊËÌÈÛÙÈ΋˜ ‰·¿Ó˘ ¿ÂÈ ÂÓÙÂÏÒ˜ ¯·Ì¤ÓÔ.
H ‡ÎÔÏË ·¿ÓÙËÛË Û fiÏ· Ù· ·Ú·¿Óˆ ›-
Ó·È fiÙÈ ·ÊÔ‡ ¤ÙÛÈ ÎÈÓÂ›Ù·È Ô ·ÓÙ·ÁˆÓÈÛÌfi˜
(ÎÏ·ÛÈΤ˜ ηٷ¯ˆÚ‹ÛÂȘ, Ù· ›‰È· ·Ú·‰ÔÛȷο
̤۷ Î.Ï.) ¤ÙÛÈ ı· Ú¤ÂÈ Ó· ÎÈÓËıԇ̠ÎÈ Â-
Ì›˜ ÁÈ· Ó· ·ÎÔÏÔ˘ı‹ÛÔ˘ÌÂ, Ó· «‚Áԇ̠·¤-
Ó·ÓÙÈ» Î·È Ó· ÌËÓ Ì›ÓÔ˘Ì ÂÎÙfi˜ ·È¯ÓȉÈÔ‡.
™˘˙ËÙÒÓÙ·˜ Ì ÔÏÏÔ‡˜ ·ÓıÚÒÔ˘˜ Û¯ÂÙÈο
Ì ÙÔ ÁÈ·Ù› ‰ÂÓ ·ÍÈÔÔÈÔ‡Ó ÙÔ Internet ÁÈ· Ó·
ÚÔ‚¿ÏÏÔ˘Ó ÙËÓ Âȯ›ÚËÛË ÙÔ˘˜ Î·È Ó· ÂÈÎÔÈ-
ÓˆÓ‹ÛÔ˘Ó Ì ÙÔ ‰˘ÓËÙÈÎfi ÂÏ·ÙÔÏfiÁÈÔ ÙÔ˘˜, Ë
·¿ÓÙËÛË Â›Ó·È ÂÍ›ÛÔ˘ ÎÏ·ÛÛÈ΋. «M· ¤¯Ô˘ÌÂ
website!»
TÔ ÌÂÁ¿ÏÔ Ï¿ıÔ˜
Build it and they will come, ¤ÏÂÁ·Ó ÌÂÁ¿Ï˜
·ÌÂÚÈηÓÈΤ˜ ÂÙ·Èڛ˜ web design ÙËÓ ÂÔ¯‹
Ù˘ ÌÂÁ¿Ï˘ ·Ó¿Ù˘Í˘ ÙÔ˘ Internet ÙÔ 1999.
EÓÓÔÔ‡Û·Ó ‚¤‚·È· fiÙÈ ÌfiÏȘ ÊÙÈ¿ÍÂÙ ÙÔ
website Û·˜ ı· Û˘ÚÚ‡ÛÔ˘Ó ¯ÈÏÈ¿‰Â˜ ÂÈÛΤ-
Ù˜ ·Ó¿ ÙËÓ ˘Ê‹ÏÈÔ Ô˘ ı· ı¤ÏÔ˘Ó ÙȘ ˘ËÚÂ-
ۛ˜ ‹ Ù· ÚÔ˚fiÓÙ· Û·˜.
A˘Ùfi ‚¤‚·È· Ô˘ ·Ú¤ÏÂÈ·Ó Ó· ‰È¢ÎÚÈÓ›-
ÛÔ˘Ó ‹Ù·Ó fiÙÈ ·fi ÙË ÛÙÈÁÌ‹ Ô˘ ÊÙÈ¿¯ÓÂÙ ¤Ó·
website ‚Ú›ÛÎÂÛÙ ·ÓÙÈ̤وÔÈ Ì ÌÂÚÈο ‰ÈÛÂ-
ηÙÔÌ̇ÚÈ· ¿ÏϘ ÛÂÏ›‰Â˜ Û fiÏÔ ÙÔ Internet.
To ÌÂÁ¿ÏÔ Ì˘ÛÙÈÎfi ÁÈ· Ó· χÛÂÙ ÙÔ Úfi‚ÏËÌ·;
Search.
K·È Ë AÏ‹ §‡ÛË!
A˘Ùfi Ô˘ ·Ú·‚ϤÂÈ Ôχ˜ ÎfiÛÌÔ˜ Â›Ó·È fi-
ÙÈ ϤÔÓ ‰ÂÓ ·ÚΛ Ó· ¤¯ÂÙ Website ÒÛÙ ӷ ¤-
¯ÂÙ ÌÈ· ÛˆÛÙ‹ Î·È ÔÏÔÎÏËڈ̤ÓË ·ÚÔ˘Û›·
ÛÙÔ Internet Î·È Ó· ÚÔ‚¿ÏÏÂÙ Ì ÙÔÓ Î·Ï‡ÙÂ-
ÚÔ ÙÚfiÔ ÙËÓ Âȯ›ÚËÛË Û·˜.
AÎfiÌË Î·È ·Ó ‰È·ı¤ÙÂÙ ¤Ó· Ù¤ÏÂÈÔ website
(ÙfiÛÔ ·fi ·ÈÛıËÙÈ΋˜ ÏÂ˘Ú¿˜ fiÛÔ Î·È ·fi
ÏÂ˘Ú¿˜ ÂÚȯÔ̤ÓÔ˘) ‰ÂÓ ¤¯ÂÈ Î·Ì›· ÛËÌ·-
Û›·, ·Ó οÔÈÔ˜ ‰ÂÓ ÌÔÚ› Ó· ÙÔ ‚ÚÂÈ Î·È Ó· ÙÔ
‰ÂÈ. E›Ó·È Û·Ó Ó· Ù˘ÒÓÂÙ 10.000 ‰È·ÊËÌÈÛÙÈ-
ο Ê˘ÏÏ¿‰È· Î·È ÛÙË Û˘Ó¤¯ÂÈ· Ó· Ù· ‚¿˙ÂÙÂ
ÛÙËÓ ·Ôı‹ÎË Û·˜, ·ÓÙ› Ó· Ù· ÌÔÈÚ¿ÛÂÙÂ. ¶Ôχ
·Ï¿ ‰ÂÓ ı· ¤¯Ô˘Ó η̛· ·Í›·.
¶Ò˜ fï˜ Ô ÎfiÛÌÔ˜ ‚Ú›ÛÎÂÈ Ù· ‰È¿ÊÔÚ·
website Ô˘ ÙÔÓ ÂӉȷʤÚÔ˘Ó;
M· ‚‚·›ˆ˜ ¯ÚËÛÈÌÔÔÈÒÓÙ·˜ ÙȘ Ì˯·Ó¤˜ ·-
Ó·˙‹ÙËÛ˘. OÈ Ì˯·Ó¤˜ ·Ó·˙‹ÙËÛ˘ ›ӷÈ
websites Ô˘ ‰›ÓÔ˘Ó ÙË ‰˘Ó·ÙfiÙËÙ· ÛÙÔÓ ¯Ú‹ÛÙË
Ó· Ú·ÁÌ·ÙÔÔÈ‹ÛÂÈ ÔÔÈ·‰‹ÔÙ ·Ó·˙‹ÙËÛË
ÂÈı˘Ì› Î·È ÛÙË Û˘Ó¤¯ÂÈ· ÙÔ˘ ÂÈÛÙÚ¤ÊÔ˘Ó Ù·
ÈÔ Û¯ÂÙÈο ·ÔÙÂϤÛÌ·Ù· (Ì ‚¿ÛË ÙËÓ ·Ó·˙‹-
EӉȷʤÚÔÓÙ·
To˘ KÒÛÙ· M¿ÓÙ˙È·ÚË ™Ù·ÙÈÛÙÈο
™ÙÔȯ›·
ıÂÛË .¯ Ì ¤Ó· ÂÚÈÔ‰ÈÎfi ‹ ¤Ó· Ú·‰ÈÔʈÓÈÎfi
ÛÔÙ. MÈ· ηٷ¯ÒÚËÛË Û ¤Ó· ÂÚÈÔ‰ÈÎfi Û›-
ÁÔ˘Ú· ı· ÙË ‰Ô˘Ó Î·È ¿ÓıÚˆÔÈ Ô˘ ‰ÂÓ ÂӉȷ-
ʤÚÔÓÙ·È Î·Ó ÁÈ· ·˘Ùfi Ô˘ ÚÔÛʤÚÂÙÂ.

172 ÂηÙÔ̇ÚÈ·: ÔÈ ¯Ú‹-
ÛÙ˜ ÙÔ˘ ‰È·‰ÈÎÙ‡Ô˘ Ô˘ ÌÈ-
ñ E›Ó·È ·ÚÎÂÙ¿ ÊıËÓfiÙÂÚË Ì¤ıÔ‰Ô˜ Û˘ÁÎÚÈ- ÏÔ‡Ó ·ÁÁÏÈο
ÙÈο Ì ÔÏÏÔ‡˜ ÙÚfiÔ˘˜ ·Ú·‰ÔÛȷ΋˜ ‰È·Ê‹-
163 ÂηÙÔ̇ÚÈ·: ÔÈ ¯Ú‹-
ÌÈÛ˘. ÛÙ˜ ÙÔ˘ ‰È·‰ÈÎÙ‡Ô˘ Ô˘ ‰ÂÓ
ñ ¶ÂÚÈÛÛfiÙÂÚÔÈ ·fi ÙÔ 85% ÙˆÓ ¯ÚËÛÙÒÓ ÌÈÏÔ‡Ó ·ÁÁÏÈο
ÙÔ˘ Internet ¯ÚËÛÈÌÔÔÈÔ‡Ó ÙȘ Ì˯·Ó¤˜ ·Ó·˙‹-

1,7 ÂηÙÔ̇ÚÈ· EÏÏË-
ÙËÛ˘ ÁÈ· Ó· ‚ÚÔ˘Ó ·˘Ùfi Ô˘ ÂÈı˘ÌÔ‡Ó.
ñ OÈ ˘Ô„‹ÊÈÔÈ ÂÏ¿Ù˜ ÙˆÓ ÊÚÔÓÙÈÛÙËÚ›ˆÓ Ó˜ On line (ITU 2003). ¶Â-
O KÒÛÙ·˜ M¿ÓÙ˙È·Ú˘ Â›Ó·È ‰È¢ı‡ÓˆÓ Í¤ÓˆÓ ÁψÛÛÒÓ Â›Ó·È Ó¤ÔÈ (14-28 ÂÙÒÓ) Î·È Î·- Ú›Ô˘ 210.000 K‡ÚÈÔÈ Î·È Â-
Û‡Ì‚Ô˘ÏÔ˜ ÛÙË ‰È·ÊËÌÈÛÙÈ΋ ÂÙ·ÈÚ›· ÙÂÍÔ¯‹Ó ¯Ú‹ÛÙ˜ ÙÔ˘ Internet. TÈ ÔÈÔ ÛˆÛÙfi ¿Ó ÚÔÛÙÂıÔ‡Ó Î·È ÔÈ ÂÏÏË-
Mindworks Adv. EÍÂȉÈ·ÂÙ·È ÛÙÔ ÎÔÌÌ¿- ÏÔÈfiÓ Ó· ÚÔÛÂÁÁ›ÛÂÙ οÔÈÔÓ Ì¤Û· ·fi ¤Ó· ÓÈÎÔ› ÏËı˘ÛÌÔ› Û H¶A,
ÙÈ ÙÔ˘ Internet Marketing Î·È ¤¯ÂÈ ‚ÔËı‹- ̤ÛÔ Ô˘ ¯ÚËÛÈÌÔÔÈ› Ù·ÎÙÈο; °ÂÚÌ·Ó›· Î·È H.B. Ô ·ÚÈı-
ÛÂÈ ·ÚÎÂÙ¤˜ ÂÙ·Èڛ˜ ÛÙÔ Ó· ÚÔÛÂÁÁ›ÛÔ˘Ó ñ Y¿Ú¯ÂÈ ¯·ÌËÏfi Â›Â‰Ô ·ÓÙ·ÁˆÓÈÛÌÔ‡, Ìfi˜ ·Ó¤Ú¯ÂÙ·È ÛÙ· 2,7 ÂηÙÔ-
·ÔÙÂÏÂÛÌ·ÙÈο Î·È Ì ¯·ÌËÏfi ÎfiÛÙÔ˜ Â- Ú¿ÁÌ· Ô˘ ÛËÌ·›ÓÂÈ fiÙÈ Â˘ÎÔÏfiÙÂÚ· Î·È ÊıË- ̇ÚÈ·.
Ï·ÙÔÏfiÁÈÔ Ì¤Û· ·fi ÙËÓ ˘ÏÔÔ›ËÛË Ï¿- ÓfiÙÂÚ· ÌÔÚ›Ù ӷ ÂÈÙ‡¯ÂÙ ÌÈ· ˘„ËÏ‹ ı¤ÛË
5,5 ÂηÙÔ̇ÚÈ· TÔ‡Ú-
ÓˆÓ Internet Marketing & Search Engine Û ÌÈ· Ì˯·Ó‹ ·Ó·˙‹ÙËÛ˘, Û˘ÁÎÚÈÙÈο .¯ ÌÂ
ÎÔÈ on line ÛÙËÓ TÔ˘ÚΛ·
Marketing. ÌÈ· Âȯ›ÚËÛË ÙˆÓ H¶A fiÔ˘ Ô ·ÓÙ·ÁˆÓÈÛÌfi˜
(ITU 2003), Â¿Ó ÚÔÛı¤ÛÔ˘-
Â›Ó·È ÙÂÚ¿ÛÙÈÔ˜.
Ì 0,3 ÂηÙÔ̇ÚÈ· TÔ‡ÚÎÔ˘˜
ÙËÛË ÙÔ˘). OÈ ÈÔ ÁÓˆÛÙ¤˜ Î·È ·ÍÈfiÏÔÁ˜ Ì˯·- ™ÎÂÊÙ›Ù ÏÔÈfiÓ Ì‹ˆ˜ ‹ÚıÂ Ë ÛÙÈÁÌ‹ Ó· ·-
Ó¤˜ ·Ó·˙‹ÙËÛ˘ (ÁÈ· Ù· ÂÏÏËÓÈο ‰Â‰Ô̤ӷ) ›- ÍÈÔÏÔÁ‹ÛÂÙ ÙȘ Ú·ÁÌ·ÙÈΤ˜ ‰˘Ó·ÙfiÙËÙ˜ Ô˘ ηÙÔ›ÎÔ˘˜ °ÂÚÌ·Ó›·˜, Ô ·-
Ó·È ÙÔ Google.gr ηıÒ˜ Î·È Ë Ì˯·Ó‹ ·Ó·˙‹ÙË- Û·˜ ÚÔÛʤÚÂÈ ÙÔ Internet Î·È Ó· ÙÔ ÂÓÙ¿ÍÂÙ ÚÈıÌfi˜ ·Ó¤Ú¯ÂÙ·È ÛÙ· 5,8 Â-
Û˘ ÙÔ˘ In.gr. ÛÙÔ ÂfiÌÂÓfi Û·˜ Marketing Plan; ηÙÔ̇ÚÈ·.
AÓ ÏÔÈfiÓ ¤Ó· website ‰ÂÓ ÂÌÊ·Ó›˙ÂÙ·È Û ˘- costas@mindworks.gr
„ËÏ‹ ı¤ÛË ÛÙ· ·ÔÙÂϤÛÌ·Ù· ÙˆÓ Ì˯·-
ÓÒÓ ·Ó·˙‹ÙËÛ˘, ÙfiÙ ÙÔ ÈÔ Èı·Ófi ›ӷÈ
fiÙÈ ‰ÂÓ ı· ·ÔÎÙ‹ÛÂÈ È‰È·›ÙÂÚË ÂÈÛ΄È-
ÌfiÙËÙ·. ™Â ÙÂÏÈ΋ ·Ó¿Ï˘ÛË, ·Ó ‰ÂÓ ı¤ÏÂÙÂ
Ó· ¤¯ÂÙ ˘„ËÏ‹ ÂÈÛ΄ÈÌfiÙËÙ· ·fi ·Ó-
ıÚÒÔ˘˜ Ô˘ „¿¯ÓÔ˘Ó ÁÈ· ÙȘ ˘ËÚÂۛ˜
Û·˜, ÙfiÙ ÁÈ· ÔÈÔ ÏfiÁÔ ÍÔ‰¤„·Ù ¯Ú‹Ì·
Î·È ¯ÚfiÓÔ ÁÈ· Ó· ÊÙÈ¿ÍÂÙ ¤Ó· website;
Wanna be on top?
™ÙË EÏÏ¿‰· Á›ÓÔÓÙ·È ÂÚ›Ô˘ 100.000 ·-
Ó·˙ËÙ‹ÛÂȘ ÙÔ ¯ÚfiÓÔ ÁÈ· ı¤Ì·Ù· Ô˘ ·ÊÔ-
ÚÔ‡Ó Ù· ΤÓÙÚ· Í¤ÓˆÓ ÁψÛÛÒÓ. AÓ Ú·Á-
Ì·ÙÔÔÈ‹ÛÂÙÂ Û‹ÌÂÚ· ÌÈ· ·Ó·˙‹ÙËÛË ÛÙÔ
Google.gr ÁÈ· ºÚÔÓÙÈÛÙ‹ÚÈ· ∫¤ÓÙÚ· •¤-
ÓˆÓ °ÏˆÛÛÒÓ ı· Û·˜ ÂÈÛÙÚ¤„ÂÈ ÂÚ›Ô˘
90.000 ·ÔÙÂϤÛÌ·Ù·.
TÔ ‰ÈÎfi Û·˜ website Û ÔÈ· ı¤ÛË ‚Ú›-
ÛÎÂÙ·È;
AÓ ‰È·ÈÛÙÒÛ·Ù fiÙÈ ÙÔ website Û·˜ ‰ÂÓ
ÂÌÊ·Ó›˙ÂÙ·È ÛÙËÓ ÚÒÙË ÛÂÏ›‰· ·ÔÙÂÏÂ-
ÛÌ¿ÙˆÓ (‰ËÏ·‰‹ ÛÙ· ÚÒÙ· 10 ·ÔÙÂϤ-
ÛÌ·Ù·) ÙfiÙ Ôχ ·Ï¿ ¯¿ÓÂÙ ÙËÓ Â˘Î·È-
Ú›· Ó· ¤ÚıÂÙ Û ¿ÌÂÛË Â·Ê‹ Ì οÔȘ
¯ÈÏÈ¿‰Â˜ ·ÓıÚÒˆÓ Ô˘ ·Ó·˙ËÙÔ‡Ó ÙȘ ˘-
ËÚÂۛ˜ Ô˘ ÚÔÛʤÚÂÙÂ.
H χÛË ÛÙÔ Û˘ÁÎÂÎÚÈ̤ÓÔ Úfi‚ÏËÌ· Ϥ-
ÁÂÙ·È Search Engine Marketing. E›Ó·È fi-
Ϙ ÂΛӘ ÔÈ Ù¯ÓÈΤ˜ Ô˘ ÌÔÚÔ‡Ó Ó·
ʤÚÔ˘Ó ¤Ó· website ÛÙȘ ÚÒÙ˜ ı¤ÛÂȘ
ÙˆÓ Ì˯·ÓÒÓ ·Ó·˙‹ÙËÛ˘ Î·È ‚‚·›ˆ˜ ›-
Ó·È ·ÚÎÂÙ¿ ÚˆÙfiÁÓˆÚÔ ·ÓÙÈΛÌÂÓÔ ÁÈ·
Ù· ÂÏÏËÓÈο ‰Â‰Ô̤ӷ.
TÔ Search Engine Marketing ·ÔÙÂÏ›
¤Ó·Ó ·fi ÙÔ˘˜ ÈÔ ·ÔÙÂÏÂÛÌ·ÙÈÎÔ‡˜ ÙÚfi-
Ô˘˜ ‰È·Ê‹ÌÈÛ˘ Î·È ÂÈÎÔÈÓˆÓ›·˜.
ñ ™·˜ ʤÚÓÂÈ Û Â·Ê‹ Ì ÙÔ˘˜ ˘Ô„Ë-
Ê›Ô˘˜ ÂÏ¿Ù˜ Û·˜ ÙË ÛÙÈÁÌ‹ Ô˘ ·˘ÙÔ› ·-
Ó·˙ËÙÔ‡Ó ÂÓÂÚÁ¿ ÙȘ ˘ËÚÂۛ˜ Û·˜. §ÂÈ-
ÙÔ˘ÚÁ› ‰ËÏ·‰‹ ÂÓÙÂÏÒ˜ ·ÓÙ›ıÂÙ· Ì ÙȘ ˘-
fiÏÔÈ˜ ÌÔÚʤ˜ ‰È·Ê‹ÌÈÛ˘ Ô˘ ·Ï¿
ÚÔˆıÔ‡Ó ¤Ó· Ì‹Ó˘Ì· ÚÔ˜ ÙÔÓ ˘Ô„‹ÊÈÔ
ÂÏ¿ÙË.
ñ E›Ó·È ÂÍ·ÈÚÂÙÈο ÛÙÔ¯Â˘Ì¤ÓÔ Û ·ÓÙ›-
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ŸÏÁ· °. °ÂÚÈÙÛ›‰Ô˘
EÎ·È‰Â˘ÙÈ΋ æ˘¯ÔÏfiÁÔ˜
B.A., M.A., ·ÓÂÈÛÙËÌ›Ô˘ McGill
K·Ó·‰¿, EÈÎÂÊ·Ï‹˜ ÂÚ¢ÓËÙÈÎÔ‡
ÙÌ‹Ì·ÙÔ˜ MindPower Publishing
olgay@mindpoweredu.org ™Â οı Ù‡¯Ô˜ Ë ¤ÁÎÚÈÙË „˘¯ÔÏfiÁÔ˜ √ÏÁ· °ÂÚÈÙÛ›‰Ô˘ ı· ··ÓÙ¿ ÛÙ· ÁÚ¿ÌÌ·Ù· Î·È Ù· e
mails Û·˜ Î·È ı· ‰›ÓÂÈ ··ÓÙ‹ÛÂȘ ÛÙ· ı¤Ì·Ù· Ô˘ ·ÓÙÈÌÂÙˆ›˙ÂÙ ηıËÌÂÚÈÓ¿ ÛÙËÓ Ù¿ÍË.

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ˆÓ ÁÈ· ÙËÓ ÂÈÛ·ÁˆÁ‹ ÛÙËÓ ÙÚÈÙÔ‚¿ı-
ÌÈ· ÂÎ·›‰Â˘ÛË;»
∂ÚÒÙËÛË ÁÔÓ¤ˆÓ ·fi ÙÔ •˘ÏfiηÛÙÚÔ
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·Ú·Î¿Ùˆ ΛÌÂÓÔ ‰ÂÓ ·Ú·ı¤ÙÔ-
ÓÙ·È ‚È‚ÏÈÔÁÚ·ÊÈΤ˜ ·Ó·ÊÔÚ¤˜ ÙˆÓ
ÂÈÛÙËÌÔÓÈÎÒÓ Î·È Î˘Ú›ˆ˜ ÙˆÓ ÂÚ¢-
ÓËÙÈÎÒÓ ‰Â‰ÔÌ¤ÓˆÓ Ù· ÔÔ›· ÙÔ ÙÂÎ-
ÌËÚÈÒÓÔ˘Ó Î·È Ù· ÔÔ›· ÌÔÚÔ‡Ó Ó·
‰È·ÙÂıÔ‡Ó Ì¤Ûˆ ÚÔÛˆÈÎÔ‡ e-mail.
◊Ù·Ó ¯·Ú·ÎÙËÚÈÛÙÈÎfi Ù˘ ÂÏÏËÓÈ-
΋˜ ·ÛÙÈ΋˜ ÎÔÈÓˆÓ›·˜ ÙÔ˘ 20Ô˘ ·ÈÒ-
ÓÔ˜ Ó· ·ÓÙÈÌÂÙˆ›˙ÂÈ ÙËÓ ÂÎ·È‰Â˘ÙÈ-
΋ ‰È·‰Èηۛ· ˆ˜ fi¯ËÌ· ÁÈ· ÎÔÈÓˆÓÈ-
΋ ¿ÓÔ‰Ô Ì¤Ûˆ Ù˘ ηٷ͛ˆÛ˘ ÙÔ˘
·ÙfiÌÔ˘ ÛÙÔÓ ÙÔ̤· ÙˆÓ ·ÔÎÏÂÈÛÙÈ-
ÎÒÓ ÂȉÈÎÒÓ ÁÓÒÛÂˆÓ Î·È Ù˘ Â·Á-
ÁÂÏÌ·ÙÈ΋˜ ÂÍ·ÛÊ¿ÏÈÛ˘ Ô˘ Û˘ÓÂ-
·ÁfiÙ·Ó. TÔ Û˘ÁÎÂÎÚÈ̤ÓÔ ÌÔÓÙ¤ÏÔ
Â͢ËÚÂÙÔ‡Û ÙȘ Û˘ÁÎÂÎÚÈ̤Ó˜
ÎÔÈÓˆÓÈÎÔÔÈÎÔÓÔÌÈΤ˜ Û˘Óı‹Î˜ Ù˘
ÎÔÈÓˆÓ›·˜ ÙÔ˘ ÂÚ·Ṳ̂ÓÔ˘ ·ÈÒÓ·
Î·È ÙˆÓ È‰ÈÔÌÔÚÊÈÒÓ Ù˘.
H ÎÔÈÓˆÓÈÎÔÔÈÎÔÓÔÌÈ΋ Ú·ÁÌ·-
ÙÈÎfiÙËÙ· Ô˘ ‚ÈÒÓÔ˘Ì ۋÌÂÚ· ›ӷÈ
ÂÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈ΋ ¤ÙÛÈ ÒÛÙÂ Ë ·-
ÓÙÈÌÂÙÒÈÛË Ù˘ ÙÚÈÙÔ‚¿ıÌÈ·˜ ÂÎ·›-
‰Â˘Û˘ Ó· ¯·Ú·ÎÙËÚ›˙ÂÙ·È ·fi ÂÂ-
Ú·Ṳ̂ӷ ÛÙÂÚÂfiÙ˘·, ·ÓÙÈÊ·ÙÈΤ˜
Î·È ·Ú·Ï·ÓËÙÈΤ˜ ÏËÚÔÊÔڛ˜
ÁÈ· ÙËÓ ÛËÌÂÚÈÓ‹ ηٿÛÙ·ÛË Ô˘ ÂÈ-
ÎÚ·Ù› ÙfiÛÔ ÛÙËÓ ·ÁÔÚ¿ ÂÚÁ·Û›·˜ fi-
ÛÔ Î·È ÛÙËÓ ›‰È· ÙËÓ ÎÔÈÓˆÓ›·, ‚ÈÒ-
Ì·Ù· ÙˆÓ ÁÔÓ¤ˆÓ Ù· ÔÔ›· ÂÓÙ›ÓÔ-
ÓÙ·È ·fi ÙËÓ ·Ó·ÛÊ¿ÏÂÈ· Î·È ÙÔÓ ·-
ÓÈÎfi Ô˘ ηÏÏÈÂÚÁ›ٷÈ, ‚‚ȷṲ̂Ó˜
Î·È ¿Ó¢ ÛˆÛÙ‹˜ ÂÎÙÈÌ‹Ûˆ˜ ·ÔÊ¿-
ÛÂȘ Î·È ‚‚·›ˆ˜ Ô Î·Ù·Ï˘ÙÈÎfi˜ Úfi-
ÏÔ˜ ÙÔ˘ ȉȿ˙ÔÓÙÔ˜ Û˘ÛÙ‹Ì·ÙÔ˜ ÂÈÛ·-
ÁˆÁ‹˜ ÛÙȘ Â·ÁÁÂÏÌ·ÙÈΤ˜, Ù¯ÓÈΤ˜
Î·È ·ÓÂÈÛÙËÌȷΤ˜ Û¯ÔϤ˜.
E›Ó·È ÙÔ ÂÊ·ÚÌÔ˙fiÌÂÓÔ Û‡ÛÙËÌ·
ÙÔ ÔÔ›Ô ÂÁÁ˘¿Ù·È fiÙÈ ÙÔ ‚·ÛÈÎfi ÛÒ-
Ì· ÙˆÓ ÂÍÂÙ·˙ÔÌ¤ÓˆÓ ı· ÂÎ·È‰Â˘Ù›
ÙÂÏÈο Û ¤Ó· Ù˘¯·›Ô Â¿ÁÁÂÏÌ· ¿-
Û¯ÂÙÔ Ì ÙȘ ÚÔÛˆÈΤ˜ ÎÏ›ÛÂȘ ÙÔ˘,
ÈηÓfiÙËÙ˜ ÙÔ˘, ÊÈÏÔ‰Ô͛˜ ÙÔ˘ Î·È Â-
ȉÈÒÍÂȘ ÙÔ˘.
ŒÓ· ÁÂÁÔÓfi˜ Ô˘ ÎÏÔÓ›˙ÂÈ ÙËÓ ·˘-
ÙÔÂÎÙ›ÌËÛË, ÙÔÓ ·˘ÙÔÛ‚·ÛÌfi, ÙËÓ
›ÛÙË ÛÙÔÓ Â·˘Ùfi ÙÔ˘ Î·È ÛÙȘ ‰˘Ó·-
ÙfiÙËÙ˜ ÙÔ˘ Î·È Î·ÏÏÈÂÚÁ› Ù· ·ÈÛı‹-
Ì·Ù· ·ÔÁÔ‹Ù¢Û˘, ·ÔÙ˘¯›·˜, Û˘Ì-
‚È‚·ÛÌÔ‡, ·ÏÏÔÙÚ›ˆÛ˘ Î·È ·Ú·›ÙË-
Û˘ ÛÙÔÓ ˘Ô„‹ÊÈÔ ÊÔÈÙËÙ‹ Ú›Ó ·-
ÎfiÌË Ó· ÂÈÛ¤ÏıÂÈ ÛÙËÓ ÙÚÈÙÔ‚¿ıÌÈ·
ÂÎ·È‰Â˘ÙÈ΋ ‰È·‰Èηۛ·.
T·˘Ùfi¯ÚÔÓ· ÛÙÂÚ› ·fi ÙËÓ ÂÏÏË-
ÓÈ΋ Î·È ÙËÓ Â˘Ú‡ÙÂÚË ÎÔÈÓˆÓ›· ÙËÓ
Û˘ÓÂÈÛÊÔÚ¿ ÂÓfi˜ Ôχ ·ÍÈfiÏÔÁÔ˘
ÓÂ˘Ì·ÙÈÎÔ‡ ‰˘Ó·ÌÈÎÔ‡.
E›Ó·È ¿ÙÔÔ ÁÈ· ÙÔ˘˜ ¤ÏÏËÓ˜ Ô-
ϛ٘ Ó· ·ÔÁÔËÙ‡ÔÓÙ·È (ÂÍ·ÈÙ›·˜
·˘Ù‹˜ Ù˘ ¿ÁÈ·˜ ۯ‰ȷÛÙÈ΋˜ ÔÏÈ-
ÙÈ΋˜ Ô˘ ·ÎÔÏÔ˘ıÂ›Ù·È ÈÛÙ¿ ÛÙÔ˘˜
ÛÙfi¯Ô˘˜ Î·È ÛÙÔ˘˜ ÛÎÔÔ‡˜ Ù˘ Ì Â-
ÈÙÔÌ‹ ÙËÓ ÙÂÏÂ˘Ù·›· ÂÈÎÔÛÈÂÓÙ·Â-
Ù›·), ÛÙȘ ÚÔÛ‰Ô˘, ÙȘ ÚÔÛ¿ıÂÈ-
˜, ÙÔ˘˜ ÂÍ·ÙÔÌÈÎÂ˘Ì¤ÓÔ˘˜ ·ÁÒÓ˜
Ô˘ ‰›ÓÂÈ Î¿ı ÁÔÓ¤·˜ Ì·˙› Ì ÙÔ ·È-
‰› ÙÔ˘, Î·È ÙȘ ÂÂÓ‰‡ÛÂȘ ÙÔ˘˜ (Û˘-
Ó·ÈÛıËÌ·ÙÈΤ˜, ÂÓÂÚÁÂȷΤ˜ Î·È ÔÈ-
ÎÔÓÔÌÈΤ˜), ·fi Ì›· ‰È·‰Èηۛ· Ë Ô-
Ô›· ηٿ ÙÔ Ì¿ÏÏÔÓ ‹ ÙÔ ‹ÙÙÔÓ ÂÍ·-
ÛÊ·Ï›˙ÂÈ ÙËÓ ·˘ÙԷ·ڈÛË Ù˘ ÏÂÈ-
Ô„ËÊ›·˜ ÙˆÓ ˘Ô„ËÊ›ˆÓ ÊÔÈÙËÙÒÓ
Î·È ÌÂÏÏÔÓÙÈÎÒÓ Â·ÁÁÂÏÌ·ÙÈÒÓ.
H Û˘ÓÂȉËÙÔÔ›ËÛË Ù˘ Ú·ÁÌ·ÙÈ-
ÎfiÙËÙ·˜ ÛÙËÓ ÔÔ›· ›̷ÛÙ ·Ó·Áη-
Ṳ̂ÓÔÈ Ó· ÏÂÈÙÔ˘ÚÁ‹ÛÔ˘ÌÂ Î·È ÙÔ˘ ·-
ԉ‰ÂÈÁ̤ÓÔ˘ ÁÂÁÔÓfiÙÔ˜ fiÙÈ ÔÈ ÌÂÓ
¢Û‚›˜ fiıÔÈ Ì·˜ ÁÈ· ÙËÓ ‚ÂÏÙ›ˆÛË
ÙÔ˘ ÂÎ·È‰Â˘ÙÈÎÔ‡ ÙÔ̤· ‰ÂÓ Ú·Á-
Ì·ÙÔÔÈÔ‡ÓÙ·È, ÔÈ ‰Â ·ÚÔÙÚ‡ÓÛÂȘ
ÚÔ˜ ÙÔ˘˜ ·Ó¤Î·ıÂÓ Î·Ù¤¯ÔÓÙ˜ ÙËÓ
ÂÍÔ˘Û›· fi¯È ÌfiÓÔ ‰ÂÓ Ï·Ì‚¿ÓÔÓÙ·È ˘-
fi„Ë Â› Ù˘ Ô˘Û›·˜ ÙÔ˘˜ ·ÏÏ¿ ·Ú·-
Ù›ÓÔ˘Ó ÙËÓ ÂÚ·ÈÙ¤Úˆ ηٷ¯ÚËÛÙÈ΋
¿ÛÎËÛË Ù˘, Â›Ó·È ··Ú·›ÙËÙË ÁÈ· Ó·
ÂÈÎÂÓÙÚˆıԇ̠ÂΛ Ô˘ ÛÙÔ¯Â‡Ô˘Ó
fiϘ ·˘Ù¤˜ ÔÈ ‰È·‰Èηۛ˜: ÛÙËÓ ‰È΋
Ì·˜ ·ÙÔÌÈ΋ ÛÙ¿ÛË Î·È ·ÓÙÈÌÂÙÒÈÛË
ÙÔ˘ ı¤Ì·ÙÔ˜, Ë ÔÔ›· Â›Ó·È Ë ÌfiÓË
ÛÙËÓ ÔÔ›· ÌÔÚԇ̠ӷ ‚·ÛÈÛÙÔ‡ÌÂ
ÁÈ· Ó· ˘ÏÔÔÈ‹ÛÔ˘Ì ÙȘ ÂȉÈÒÍÂȘ
Ì·˜.
E›Ó·È ıÂÌÂÏÈ҉˜ Ó· Û˘ÓÂȉËÙÔ-
ÔÈ‹ÛÔ˘Ì fiÙÈ Ë ÂÈÎfiÓ· Ô˘ ÚÔ‚¿-
ÏÔ˘Ó Ù· ·ÔÙÂϤÛÌ·Ù· ÙˆÓ Û˘ÁÎÂÎÚÈ-
Ì¤ÓˆÓ ÂÈÛ·ÁˆÁÈÎÒÓ ÂÍÂÙ¿ÛÂˆÓ ‰ÂÓ
·ÂÈÎÔÓ›˙ÂÈ Â’ Ô˘‰ÂÓ› Ô‡Ù ÙËÓ ÁÓˆ-
ÛÙÈ΋ ÈηÓfiÙËÙ· Ô‡Ù ÙËÓ ÁÂÓÈ΋ ·Í›·
ÙˆÓ ÂÍÂÙ·˙Ô̤ӈÓ. O‡Ù ·ÓÙÈηÙÔ-
ÙÚ›˙ÂÈ ÛËÌ·ÓÙÈο ÛÙÔȯ›· Ù˘ ÚÔ-
ÛˆÈÎfiÙËÙ·˜ ÙˆÓ ÂÍÂÙ·˙ÔÌ¤ÓˆÓ Ù· Ô-
Ô›· Â›Ó·È ··Ú·›ÙËÙ· ÁÈ· ÙËÓ ÂÍ¿-
ÛÎËÛË ÙˆÓ Û˘ÁÎÂÎÚÈÌ¤ÓˆÓ Â·ÁÁÂÏ-
Ì¿ÙˆÓ Ô˘ ÙÔ˘˜ ÂӉȷʤÚÔ˘Ó. O‡ÙÂ
Î·Ó ·ÓÙ·ÔÎÚ›ÓÂÙ·È ÛÙËÓ ¤ÎÙ·ÛË Î·È
ÙÔ Â›Â‰Ô ÙˆÓ ÁÓÒÛÂˆÓ Î·È ÈηÓÔ-
Ù‹ÙˆÓ Ô˘ ··ÈÙÔ‡ÓÙ·È ÛÙËÓ ÔÏfiÙËÙ·
ÙÔ˘˜ ÁÈ· ÙËÓ ÂÈÙ˘¯Ë̤ÓË ÚÔÂÙÔÈÌ·-
Û›· ·ÓÙ·ÁˆÓÈÛÙÈÎÒÓ Â·ÁÁÂÏÌ·ÙÈÒÓ.
T¤ÏÔ˜ ÛÙËÓ Î·ıÔÏÈÎfiÙËÙ· ÙÔ˘ Ô
ÙÚfiÔ˜ ÂÈÛ·ÁˆÁ‹˜ ÛÙËÓ ÙÚÈÙÔ‚¿ıÌÈ·
ÂÎ·›‰Â˘ÛË ·Ô‰ÂÈÎÓ‡ÂÈ ÙËÓ ·ÚÔ-
ı˘Ì›· Î·È ÙËÓ ‰˘Ûη̄›· ÙˆÓ Û¯Â-
‰È·ÛÙÒÓ Î·È ÂÎÙÂÏÂÛÙÒÓ ÙÔ˘ ÂÎ·È-
‰Â˘ÙÈÎÔ‡ Û˘ÛÙ‹Ì·ÙÔ˜ Ó· ¢ı˘ÁÚ·Ì-
ÌÈÛÙÔ‡Ó Ì ÙȘ ÂÈÛÙËÌÔÓÈΤ˜ ·Ú¯¤˜
Ô˘ ‰È¤Ô˘Ó ÙËÓ ˆÊÂÏÈÌfiÙËÙ· Ù˘
‰È·‰Èηۛ·˜ ·˘Ù‹˜, Î·È ÙËÓ ·‰˘Ó·Ì›·
ÙÔ˘˜ Ó· ˘ËÚÂÙ‹ÛÔ˘Ó Ù· Û˘ÌʤÚÔÓÙ·
ÙÔ˘ ÎÔÈÓˆÓÈÎÔ‡ Û˘ÓfiÏÔ˘. ™˘ÓÂÒ˜
‰ÂÓ ı· Ú¤ÂÈ ÔÈ ·ÙÔÌÈΤ˜ ÔÈÎÔÁ¤ÓÂÈ-
˜ Ó· ÂÈÛÚ¿ÙÙÔ˘Ó ÙȘ ÎÔÈÓˆÓÈΤ˜ Â-
ÈÙÒÛÂȘ Ù˘ ·ÔÙ˘¯›·˜ Ù˘ Û˘ÁÎÂ-
ÎÚÈ̤Ó˘ ‰È·‰Èηۛ·˜.
A˘Ùfi Ô˘ Ú¤ÂÈ Ó· ÁÓˆÚ›˙Ô˘Ó ÔÈ
Û˘ÁÎÂÎÚÈ̤Ó˜ ÔÈÎÔÁ¤ÓÂȘ ÁÈ· Ó· ¤-
¯Ô˘Ó Ù· ÂÈı˘ÌËÙ¿ ·ÔÙÂϤÛÌ·Ù·
ÛÙËÓ ÎÔÈÓˆÓÈ΋ Î·È Â·ÁÁÂÏÌ·ÙÈ΋ Â-
ÈÙ˘¯›· ÙˆÓ ·È‰ÈÒÓ ÙÔ˘˜, οÙÈ ÙÔ Ô-
Ô›Ô Â›Ó·È ÛÙËÓ ¿ÌÂÛË Â˘¯¤ÚÂÈ· ÙÔ˘˜,
Â›Ó·È fiÙÈ ı· Ú¤ÂÈ Ó· ÚÔÁÚ·ÌÌ·Ù›-
ÛÔ˘Ó Ôχ ÚÔÛÂÎÙÈο ÙȘ ÂÚ·ÈÙ¤Úˆ
ÂÈÏÔÁ¤˜, ·ÔÊ¿ÛÂȘ Î·È Ú¿ÍÂȘ
ÙÔ˘˜ Ï·Ì‚¿ÓÔÓÙ·˜ ˘’ fi„Ë Î·›ÚÈ· ÛË-
Ì›· Ù· ÔÔ›· ı· ·Ó·Ï‡ÛÔ˘Ì ÛÙÔ Â-
fiÌÂÓÔ Ù‡¯Ô˜.

MARY GLASGOW
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16
NEW WORD ON THE BLOCK ∏ ‚›· ʤÚÓÂÈ ‚›·!
In this column we will be presenting you with new words, or new uses of old words so
that you will always be up to date !
Column Editor:
Lawrence Mamas (Betsis ELT)
lmamas@yahoo.com
In this Wordwatch column,
which comes from the
Chambers website, we will be
presenting you with new words
that are used in the English
speaking world today , so that
you are always up to date.
Conscience Consumerism
Since the mid-twentieth century,
shoppers who can afford the luxury
of choice have become increasingly
sophisticated about the social,
environmental and political
implications of their spending. The
boycott of South African exports
during the apartheid era was an
early example of this phenomenon;
in the 21st century, consumers are
more likely to pause before making
a purchase to calculate whether the
goods were produced by children
in sweatshops, or whether they
inflict lasting damage on the
environment.
Recent commentators have
dubbed this sort of behaviour
conscience consumerism. This
coinage is similar in meaning to the
terms ‘ethical consumerism’ and
‘ethical shopping’, which have been
widely used since the 1980s, and
some newer terms such as ‘green
consumerism’ and ‘consumanism’
(a blend of ‘consumerism’ and
‘humanism’).
The original meaning of the word
‘consumerism’ was ‘the protection
of the interests of buyers of goods
and services against defective or
dangerous goods’. However, in
modern contexts, it often seems to
mean simply ‘purchasing and using
goods’. This meaning also appears
in commonly heard phrases such as
‘rampant consumerism’, which can
carry distinctly negative
connotations.
It remains to be seen whether the
slick alliteration of ‘conscience
consumerism’ – currently the
preferred term of organizations
promoting image-enhancing
ethical initiatives – will ultimately
I‰ÈÔÎÙËÛ›·: °. ¶·¯¿Î˘ - Œ„ÈÏÔÓ °Ú·ÊÈΤ˜ T¤¯Ó˜
EΉfiÙ˘: °. ¶·¯¿Î˘
¢È¢ı˘ÓÙ‹˜: °. ¶·¯¿Î˘
AÙÂÏȤ: MEMºI™ AE, ™ˆÎÚ¿ÙÔ˘˜ 23, Aı‹Ó·, TËÏ.: 210-5240728
EÎÙ‡ˆÛË: MÔ˘ÎÔ˘‚¿Ï·˜ AE
∂ÈÙÚ¤ÂÙ·È Ë ÌÂÚÈ΋ ‹ ÔÏÈ΋ ·Ó·‰ËÌÔÛ›Â˘ÛË ‹ ÁÈ· ÔÔÈÔÓ‰‹ÔÙ ÏfiÁÔ
¯Ú‹ÛË Ì¤ÚÔ˘˜ ‹ fiÏ˘ Ù˘ ‡Ï˘ Ù˘ ÂÊËÌÂÚ›‰·˜ Ì ··Ú·›ÙËÙË ÚÔ¸fiıÂÛË
ÙËÓ ¤ÁÁÚ·ÊË ¿‰ÂÈ· ÙÔ˘ ÂΉfiÙË.
Source: Chambers Wordwatch
Column Editor: Lawrence Mamas
(Betsis ELT) lmamas@yahoo.com
replace the tried-and-tested but
slightly less spin-friendly ‘ethical
consumerism’. Regardless of how
the terminology evolves, however,
it seems likely that consumers
themselves will continue to
demand ever higher ethical
standards from the businesses who
seek their custom.
Ringxiety
The ever-evolving world of
technology offers endless
opportunities but also, alas, has
brought a host of attendant
ailments. People who send large
amounts of text messages may
contract ‘TMI’ (text message
injury) – a form of repetitive strain
injury that causes painful swelling
and inflammation of the thumbs
and is clearly related to similar
conditions such as ‘Nintendo
thumb’ and ‘mouse wrist’.
The latest malady – this time of a
more psychological nature – is the
condition known as ringxiety (also
known in the US as ‘fauxcellarm’),
an auditory hallucination affecting
mobile-phone users. Sufferers
from ringxiety are convinced they
can hear their phone ringing when
it isn’t, and become obsessed with
checking their phone for missed
calls and text messages. Acute
sufferers reportedly show no
improvement in their condition
even when they know their phone
is turned off; the audio trigger is
simply replaced by the phone’s
vibrate function.
The cause of this affliction is
reckoned to be a deep-rooted
psychological need always to be
¢IMHNIAIA EºHMEPI¢A
°IA TON K§A¢O TH™
•ENO°§ø™™H™ EK¶AI¢EY™H™
contactable, perhaps to validate
one’s sense of popularity or self-
worth. It may be a condition
related to yet another modern
malady, ‘always-on syndrome’,
whereby sufferers are addicted to
the stimulation provided by an
incoming message and
compulsively check their email – as
much as several hundred times a
day – even when on holiday.
Having so many hitherto
unimaginable gadgets at one’s
disposal can, it would seem, be
something of a poisoned chalice.
Brokeback
When Annie Proulx wrote the
short story Brokeback Mountain
about two tough Wyoming
cowboys who fall in love, she
probably didn’t expect that it
would be turned into an award-
winning Hollywood film – let alone
that she might be bringing a new
word into the language. But if
journalists and bloggers are to be
believed, the film’s success has
prompted people to start using
brokeback as an adjective in its
own right. Indeed, the American
organization Global Language
Monitor believes the word has so
much potential it has crowned it
‘HollyWORD of 2006’.
The word is naturally enough being
linked to gay culture, albeit with
various possible usages.
Exclamations like ‘That’s so
brokeback!’ imply that something
is effeminate or has strong gay
overtones. But while the on-screen
cowboys enjoy a gay relationship,
they are anything but effeminate,
leading some commentators to
define ‘brokeback’ as meaning
‘displaying excessive masculinity in
order to disguise one’s
homosexuality’. The idea of being
in the closet is also present in the
term ‘brokeback marriage’ (a
scenario like the one portrayed in
the film, where one partner in the
marriage is secretly gay). Finally,
there is evidence that ‘brokeback’
is also being used to describe an
activity shared by two straight men,
as in ‘brokeback shopping’.
If ‘brokeback’ catches on, it won’t
be the first time that a film title has
worked its way into the language to
represent a particular concept. For
example, the term ‘Star Wars’ has
become synonymous with high-
tech or futuristic weaponry, while
we might talk about ‘Groundhog
Day’ to refer to a situation when
we seem to keep reliving the same
events over and over again. Could
it be that ‘brokeback’ will follow
the same path from cultural
buzzword to the linguistic
mainstream?
Ù˘ ŸÏÁ·˜ °ÎÔ˘Ó‹
∂ÏÏ¿‰·, µ¤- ¶ÚÔÁÂÓÓËÙÈ΋˜
ÚÔÈ·, πÔ‡ÓÈÔ˜ æ˘¯ÔÏÔÁ›·˜, ÛÙË
2006. ªÈ· ÔÌ¿‰· ÁÂÓÂÙÈ΋ ÌÓ‹ÌË
·È‰ÈÒÓ ·ÛΛ ÙÔ˘ ·Á¤ÓÓËÙÔ˘
‚›·. ŒÓ· ·È‰› ·È‰ÈÔ‡ ˘¿Ú-
·ÁÓÔ›ٷÈ. ∆· ¯Ô˘Ó ‹‰Ë ÔÈ ÏË-
·È‰È¿ ÔÌÔÏÔ- ÚÔÊÔڛ˜ fi¯È Ìfi-
ÁÔ‡Ó fiÙÈ ÙÔ ¤¯Ô˘Ó ÓÔ ÁÈ· ÙÔ ˆ˜ Ô
ÛÎÔÙÒÛÂÈ. O ÔÚÁ·ÓÈÛÌfi˜ ÙÔ˘
ÕÏÂÍ Â›Ó·È ı‡Ì· ı· ÎÙÈÛÙ› Î·È ı·
‚›·˜. °È·Ù›; ñ ¶ÚÔÁÂÓÓËÙÈ΋ æ˘¯Ô- ÏÂÈÙÔ˘ÚÁ›, ·ÏÏ¿
∫·È ÁÈ·Ù› ¤Ó· ÏfiÁÔ˜, ™‡Ì‚Ô˘ÏÔ˜ ¶ÚÔÛˆ- ˘¿Ú¯Ô˘Ó Â›-
È΋˜ Î·È E·ÁÁÂÏÌ·ÙÈ΋˜
·È‰› Ó· ÛÎÔÙÒ- AÓ¿Ù˘Í˘, ¢È¢ı‡ÓÙÚÈ· Û˘ ÏËÚÔÊÔ-
ÛÂÈ ¤Ó· ¿ÏÏÔ ·È- ÙÔ˘ ΤÓÙÚÔ˘ Cosmoanelixis. ڛ˜ Ô˘ ·ÊÔ-
‰›; ñ Co-director ÙÔ˘ W- ÚÔ‡Ó ÙË Û˘Ó·È-
OÈ Û˘˙ËÙ‹ÛÂȘ SDDI ÁÈ· ÙËÓ EÏÏ¿‰·. ÛıËÌ·ÙÈ΋, ÙËÓ
ÛÙ· media ÔÏ- ñ EÎ·È‰Â‡ÙÚÈ· Ù˘ „˘¯ÔÏÔÁÈ΋ ‰Ô-
¶ÚÔÁÂÓÓËÙÈ΋˜ æ˘¯ÔÏÔ-
Ϥ˜. ºÙ·›ÂÈ ·˘Ùfi, Á›·˜ Î·È Ù˘ æ˘¯ÔÏÔÁ›·˜ Ì‹ ÙÔ˘. ∆Ô ·Á¤Ó-
ÙÔ ¿ÏÏÔ. ºÙ·›ÂÈ ÙÔ˘ Whole-Self. ÓËÙÔ ·È‰› ¤¯ÂÈ
ÙÔ Û¯ÔÏ›Ô, ÊÙ·›- ñ ¶Úfi‰ÚÔ˜ Ù˘ EÏÏËÓÈ- ÌÓ‹ÌË Î·È Û˘Û-
ÂÈ Ë ÎÔÈÓˆÓ›·, ΋˜ ŒÓˆÛ˘ ¶ÚÔÁÂÓÓËÙÈ- ÛˆÚ‡ÂÈ ÙȘ Â-
ÊÙ·›ÂÈ Ë ·ÛÙ˘ÓÔ- ΋˜ Î·È ¶ÂÚÈÁÂÓÓËÙÈ΋˜ ÓÙ˘ÒÛÂȘ ÙÔ˘
æ˘¯ÔÏÔÁ›·˜ Î·È I·ÙÚÈ΋˜
Ì›·, ÊÙ·›ÂÈ Ë ÔÈ- (E§.E.¶.¶.æ.I.). Î·È ÙȘ ÂÌÂÈڛ˜
ÎÔÁ¤ÓÂÈ·, ÊÙ·›- ÙÔ˘ ·fi ÙË ÛÙÈÁ-
ÂÈ... ¶ÔÈÔ˜ ÙÂÏÈο ÊÙ·›ÂÈ; ∫·È Ì‹ Ù˘ Û‡ÏÏË„‹˜ ÙÔ˘. µÚ›ÛÎÂÙ·È
ÁÈ·Ù›; fiˆ˜ Î·È Î¿ı ÔÚÁ·ÓÈÛÌfi˜ ÛÂ
ºÔÚÙÈṲ̂ӷ Û˘Ó·ÈÛı‹Ì·Ù·. ÌÈ· Û˘Ó¯‹ ÔÏ˘Â›Â‰Ë ·ÏÏË-
¶fiÓÔ˜, ºfi‚Ô˜, ∞Á·Ó¿ÎÙÈÛË, ÏÂ›‰Ú·ÛË Ì ÙË ÌËÙ¤Ú· ÙÔ˘ ηÈ
£˘Ìfi˜... ÙÔ ÂÚÈ‚¿ÏÏÔÓ.
§›ÁÔ ÈÔ ÚÈÓ «Ù· Ù¤Ú·Ù·» ¶ˆ˜ ›ӷÈ, fï˜, ·˘Ùfi ÙÔ Â-
ΤډÈÛ·Ó ÛÙË °ÈÔ˘ÚÔ‚›˙ÈÔÓ. ∫·È ÚÈ‚¿ÏÏÔÓ;
¿ÏÈ ·ÁˆÌ¿Ú·. ∞ÏÏ¿ ‰ÂÓ ˘- ¢˘ÛÙ˘¯Ò˜, ÙÔ ÂÚÈ‚¿ÏÏÔÓ ‰ÂÓ
‹Ú¯Â ÊfiÓÔ˜ ÂΛÓË ÙË ÛÙÈÁÌ‹. Â›Ó·È ¿ÓÙ· ÊÈÏÈÎfi, Ô‡Ù ›ӷÈ
™¯Â‰fiÓ ÙÔ Í¯¿Û·ÌÂ. ∆Ô Ì‹Ó˘- ¿ÓÙÔÙ ˘ÁȤ˜. ¢ÂÓ ·Ú¤¯ÂÈ
Ì· fï˜ ‰fiıËÎÂ. ∆· ·È‰È¿ ›Ù ÚÔÛÙ·Û›· ·ÏÏ¿ ·ÓÙ›ıÂÙ· ‰È‰¿-
Â›Ó·È ÛÂ Û˘ÌÌÔڛ˜ ›ÙÂ Â›Ó·È ÛÎÂÈ ÙËÓ ÂÈıÂÙÈÎfiÙËÙ·, ÙË ‚›·,
ÛÙȘ Ô˘Û›Â˜ ›Ù „ËÊ›˙Ô˘Ó ÙÔ˘˜ ÙËÓ ·fiÚÚÈ„Ë, ÙËÓ ˘ÔÙ›ÌËÛË,
Lordi, Ì·˜ ÛÙ¤ÏÓÔ˘Ó ÙÔ ›‰ÈÔ Ì‹- ÙÔÓ ÂÍ¢ÙÂÏÈÛÌfi, ÙËÓ ÂÁηٿÏÂÈ-
Ó˘Ì·: ¶ÔÓ¿ÌÂ! O ·‚¿ÛÙ·¯ÙÔ˜ „Ë, ÙËÓ ÚÔ‰ÔÛ›·.
fiÓÔ˜ ¤¯ÂÈ ·ÏÏÔÈÒÛÂÈ ÙËÓ „˘¯‹ ∆Ô ·È‰› ηٷÁÚ¿ÊÂÈ ÛÙË
Ì·˜! ∫¿ÓÙ οÙÈ! ÌÓ‹ÌË ÙÔ˘ fiÏ· fiÛ· ‚ÈÒÓÂÈ Î·È ·-
ÕÚÓËÛË Ó· ‰Ô‡Ì ÙËÓ Ú·Á- ÓÙÈÏ·Ì‚¿ÓÂÙ·È: ηÏfi ‹ ηÎfi, ·-
Ì·ÙÈÎfiÙËÙ·. °È·Ù› ·Ó ÙË ‰Ô‡Ì Á¿Ë ‹ ·fiÚÚÈ„Ë, Û‚·ÛÌfi ‹ Â-
ı· ʤÚÔ˘ÌÂ Î·È ÙËÓ Â˘ı‡ÓË ÙˆÓ Í¢ÙÂÏÈÛÌfi... ÏËÚÔÊÔڛ˜ Ô˘
fiÛˆÓ ‚ϤÔ˘ÌÂ. ∫È ·Ó ‰Ô‡Ì ÛÙËÓ ÂÓ‰ÔÌ‹ÙÚÈ· ÂÌÂÈÚ›· ÙÔ˘
οÙÈ Î·È ‰ÂÓ Ì·˜ ·Ú¤ÛÂÈ; ◊ ·Ó ¤Ú¯ÔÓÙ·È Ì¤Û· ·fi ÙËÓ Ï·ÎÔ‡-
·˘Ùfi Ô˘ ı· ‰Ô‡Ì ̷˜ Í‚ÔϤ- ÓÙÈ· ΢ÎÏÔÊÔÚ›· Î·È ·ÚÁfiÙÂÚ·,
„ÂÈ; ∫È ·Ó ‰ÂÓ ÙÔ ·ÓÙ¤ÍÔ˘ÌÂ Î·È ÌÂÙ¿ ·fi ÙË Á¤ÓÓËÛ‹ ÙÔ˘, ·fi ÙÔ
‰È·Ï˘ıÔ‡ÌÂ; ÔÈÎÔÁÂÓÂÈ·Îfi, ÎÔÈÓˆÓÈÎfi, ÔÏÈ-
∫·Ï‡ÙÂÚ· Ó· ÊÙ·›ÂÈ ¤Ó·˜ ¿Ï- ÙÈÎfi, ÔÈÎÔÓÔÌÈÎfi Î.Ï. ÂÚÈ‚¿Ï-
ÏÔ˜. ÏÔÓ Ì¤Û· ÛÙÔ ÔÔ›Ô ÂÓÙ¿ÛÛÂÙ·È
∫·Ï‡ÙÂÚ· Ó· ÂÍÔÚΛÛÔ˘Ì ÙÔ Î·È ·ÚÁfiÙÂÚ· ÛÙË ˙ˆ‹ ÙÔ˘ ·˘Ù¿
ηÎfi. Ù· ÚÒÙ· ÂÓÙ˘ÒÌ·Ù· ·ÓÙ·Ó·-
∫·Ï‡ÙÂÚ· Ó· ÙÈ̈ڋÛÔ˘ÌÂ, ÎÏÒÓÙ·È ÛÙ· Û˘Ó·ÈÛı‹Ì·Ù¿ ÙÔ˘,
Ó· Ê˘Ï·Î›ÛÔ˘ÌÂ, Ó· ÂÚÈÔÚ›- ÛÙÔÓ ÙÚfiÔ Ô˘ ÛΤÙÂÙ·È Î·È
ÛÔ˘ÌÂ, Ó· ηٷȤÛÔ˘ÌÂ. ÛÙÔÓ ÙÚfiÔ Ô˘ ÏÂÈÙÔ˘ÚÁ›.
∫·Ï‡ÙÂÚ· Ó· ÛÎÔÙÒÛÔ˘Ì £· ϤÁ·Ì fiÙÈ Î·ıËÏÒÓÂÙ·È,
ÚÈÓ Ì·˜ ÛÎÔÙÒÛÂÈ. fiÙÈ Ì¤ÓÂÈ ÛÙË ÌÓ‹ÌË ÙˆÓ ÚÒÙˆÓ
∞ÏÏ¿, ÙÈ ı· ÎÂÚ‰›ÛÔ˘Ì ̒ ·˘- ÂÌÂÈÚÈÒÓ.
Ùfi ÙÔÓ ÙÚfiÔ; OÈ ÂÌÂÈڛ˜ ÙÔ˘ ·È‰ÈÔ‡ η-
∆È ı· χÛÔ˘ÌÂ; Ù¿ ÙËÓ ÂÓ‰ÔÌ‹ÙÚÈ· ÂÚ›Ô‰Ô, ÙË
¶Ô˘ ı· ÚÔ¯ˆÚ‹ÛÔ˘ÌÂ; ÛÙÈÁÌ‹ ÙÔ˘ ÙÔÎÂÙÔ‡ Î·È Ù· ÚÒ-
Ù· 4 ¯ÚfiÓÈ· Ù˘ ˙ˆ‹˜ ÙÔ˘ —‰Ë-
∏ ‚›· Ô˘ ·ÛÎÂ›Ù·È Ï·‰‹ ̤¯ÚÈ ÙËÓ ÔÏÔÎÏ‹ÚˆÛË Ù˘
Â›Ó·È Ë ‚›· Ô˘ ÛÎÔÙÒÓÂÈ ÂÚÈfi‰Ô˘ Ù˘ ·˘ÙÔÓfiÌËÛ˘—
™‡Ìʈӷ Ì ÙȘ ¤Ú¢Ó˜ Ù˘
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 26

Make the leap across the digital divide
Technology in the classroom can be ignored, but it won't go away, says Miranda Hamilton
AÓ·‰ËÌÔÛ›Â˘ÛË
Guardian Weekly
t's all to play for as the
I wonder of ICT provides the
modern language teacher with
ever more wondrous and creative
ways to support our learners. But
something is afoot; listen
carefully and you might hear the
soft thud of disappointment,
possibly the whisper of "the
emperor's new clothes".
Far from being the technological
cure-all, there is the unthinkable
suspicion that technology is not
living up to its early promise.
Teachers have dipped their toes
in the water, but are they now
questioning whether technology
can ever really be fully integrated
into the classroom? There are
those that are comfortable with
technology, but those who aren't,
can and do choose to ignore it.
This digital gap should just be a
temporary hiatus, before young
teaching professionals raised in
the technological age work their
way through the educational
system and reach the classroom.
But for the present issues remain.
Learning environments are
changing. Students can manage
pathways through the internet
and cleverly designed software
quickly and easily, thus
challenging the privileged
position of the school as the
gatekeeper of knowledge.
Students are driving their own
independent pathways towards
knowledge acquisition. An
imbalance exists between the
technological ability of the
students and the teachers,
upsetting the ecology of the
classroom. In the technological
classroom the role of the teacher
is shifting from centre stage to
facilitator and as it has been
suggested, to that of the
"electronic eavesdropper". So,
who now holds the powerbase in
the classroom, the teacher, the
students . . . or possibly the
technology?
What of the technological
learning environment? The social
and physical setting of the techno-
logical classroom is at variance
with what many would consider to
be the traditional classroom. The
conventional classroom lesson
might be considered to be
typically led from the front by the
teacher, linear in approach with
the experienced teacher
responding instinctively to the
texture and spontaneity of
classroom events, skilfully guiding
the class towards his lesson aims.
The dynamic of the computer
lesson is a less familiar beast.
Teaching materials need adapting
with careful
consideration of
the medium. An
uncertainty of the
technological
learning
environment can discourage the
most skilled and experienced of
teachers from striking out from
behind the safety net of the lesson
plan.
So what do teachers feel about
the integration of technology as
an educational tool?
A study investigating the levels of
teacher satisfaction working in
on-line courses at the University
of California in 2000 identified
obstacles in the appropriation of
on-line programmes. It found that
teachers thought the medium was
too impersonal and represented
more work for the teachers.
Another study asked teachers why
they thought educational
institutions might be deterred
from adopting on-line learning
17
programmes, responses were
found to be a fear of the
technology and of being exposed
as having inadequate expertise as
well as an uncertainty about the
pedagogy.
It's certainly tough picking up
new tricks and applying them to
pedagogical skills learned way
back at teacher training college.
But does it actually matter? Is the
computer lesson really a vital
ingredient in the student's
language learning diet, or is it still
the optional extra, the treat to
break up the week? Will
technology ever be "normalised"
and seamlessly kneaded into the
syllabus? Edith Esch and
Christopher Zahner (CUP, 2000)
™˘Ó¤¯ÂÈ· ÛÙË ÛÂÏ. 26
18
EYPø¶A´KA ¶PO°PAMMATA ™øKPATH™ – COMENIUS
M·ıËÙÈΤ˜ ·ÓÙ·ÏÏ·Á¤˜ Ì ۯÔÏ›· Ù˘ E˘ÚÒ˘ Î·È TÔ˘ÚΛ·˜
O °ÈÒÚÁÔ˜ §ÈÓ·Ú‰¿ÙÔ˜, ‰È¢ı˘ÓÙ‹˜ ÙÔ˘
I‰ÈˆÙÈÎÔ‡ ™¯ÔÏ›Ԣ A˘ÁÔ˘Ï¤· §ÈÓ·Ú‰¿ÙÔ˘
Ì›ÏËÛ ÛÙËÓ Lingua Franca ÁÈ· ÙËÓ Û˘Ì-
ÌÂÙÔ¯‹ ÙÔ˘ Û¯ÔÏ›Ԣ ÛÙÔ ÚfiÁÚ·ÌÌ·
· ·È‰È¿ Ì·˜ ¤¯Ô˘Ó Ó· ˙‹ÛÔ˘Ó Û ÌÈ·
T ·ÁÎÔÛÌÈÔÔÈË̤ÓË ÔÈÎÔÓÔÌ›·, ÛÂ
ÌÈ· ÎÔÈÓˆÓ›· ·ÓÔȯً ÛÙËÓ ÂÈÎÔÈ-
ÓˆÓ›· ÎÈ ·ÓÙ·ÁˆÓÈÛÙÈ΋ Û˘Ó¿Ì·. OÈ Â·-
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·‡ÚÈÔ.
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ÓÙ·˜ ÙËÓ ¤Ó· ‰˘Ó·ÌÈÎfi fi¯ËÌ· ÌÂÙ·ÊÔÚ¿˜
ÁÓÒÛˆÓ, ÂÌÂÈÚÈÒÓ Î·È ÔÏÈÙÈÛÌÔ‡, fiˆ˜
Î·È ËÁ‹ ·ÏÏËÏÔηٷÓfiËÛ˘ Î·È ·ÏÏËÏÔ-
Û‚·ÛÌÔ‡.
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˜ Ù¯ÓÔÏÔÁ›Â˜ Î·È ËÏÂÎÙÚÔÓÈΤ˜ ÂÈÎÔÈÓˆ-
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ÚÒ˘ Î·È ¿ÏϘ ÁÂÈÙÔÓÈ-
Τ˜ ¯ÒÚ˜.
◊‰Ë ÔÈ ˘Ô‰Ô̤˜ Ì·˜
ÛÙȘ Ӥ˜ Ù¯ÓÔÏÔÁ›Â˜ ÂÈ-
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Ì ‹¯Ô Î·È ÂÈÎfiÓ·, ÛÂ
Ú·ÁÌ·ÙÈÎfi ¯ÚfiÓÔ Ì ¢-
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Ú·ÁÌ·ÙÔÔÈԇ̠ÎÔÈÓ¤˜
‰È‰·Ûηϛ˜ ‹ Ó· Û˘ÓÂÚ-
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Ì·˜ Ì ̷ıËÙ¤˜ ·fi Ù· ¿Ï-
Ï· Û¯ÔÏ›· Û ÎÔÈÓ¤˜ ÂÚ-
Á·Û›Â˜, Û·Ó Ó· ‚Ú›ÛÎÔ-
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‚·È· ηı›ÛÙ·ÓÙ·È ‰˘Ó·Ù¿ ÏfiÁˆ Î·È ÙÔ˘ Â-
Í·ÈÚÂÙÈÎÔ‡ ÂÈ¤‰Ô˘ ÁψÛÛÔÌ¿ıÂÈ·˜ ÛÙËÓ
·ÁÁÏÈ΋, Á·ÏÏÈ΋ Î·È ÁÂÚÌ·ÓÈ΋ ÁÏÒÛÛ·,
Ô˘ ¤¯Ô˘Ó ηٷÎÙ‹ÛÂÈ ÔÈ Ì·ıËÙ¤˜ Ì·˜ ̤۷
·fi ÙÔ ÚfiÁÚ·ÌÌ· ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜.
TÂÏÈ΋ ηٿÏËÍË Î·È ÂÈÛÙ¤Á·ÛÌ· ·˘-
ÙÒÓ ÙˆÓ ‰È·‰ÈηÛÈÒÓ ·ÔÙÂÏÔ‡Ó ÔÈ Ì·ıËÙÈ-
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Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì·˙› Ì·˜. M·ıËÙÈΤ˜ Ì·˜ ·-
ÔÛÙÔϤ˜ ¤¯Ô˘Ó ÊÈÏÔÍÂÓËı› ·fi Û¯ÔÏ›·
Û’ fiϘ ۯ‰fiÓ ÙȘ ¯ÒÚ˜ Ù˘ E˘Úˆ·˚΋˜
ŒÓˆÛ˘ Î·È ÛÙËÓ TÔ˘ÚΛ·, ÂÓÒ Î·È ‰ÈΤ˜
ÙÔ˘˜ ·ÔÛÙÔϤ˜ ¤¯Ô˘Ó ÊÈÏÔÍÂÓËı› ·fi Â-
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Ó‹ıˆ˜ Û˘Ó‰˘¿˙ÔÓÙ·È Ì ÎÔÈÓ¿ projects ‰È·-
ıÂÌ·ÙÈÎÒÓ ÂÚÁ·ÛÈÒÓ Î·È Ì ·Ú¿ÏÏËϘ
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ÔÈÔ‡ÓÙ·È Ì ÙË Û˘ÌÌÂÙÔ¯‹ ÊÈÏÔÍÂÓÔ‡-
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‹ ÂÈÛÙËÌÔÓÈÎÔ‡ ÂӉȷʤÚÔÓÙÔ˜.
OÈ ·ÓıÚÒÈÓ˜ ÊÈÏÈΤ˜ Û¯¤ÛÂȘ Ô˘
·Ó·Ù‡ÛÛÔÓÙ·È, ÔÈ ÂÌÂÈڛ˜ Ô˘ ·-
ÓÙ·ÏÏ¿ÛÛÔÓÙ·È Î·È ÔÈ ÁÓÒÛÂȘ Ô˘ ÎÂÚ-
‰›˙ÔÓÙ·È Ì¤Û· ·fi ·˘Ù¤˜ ÙȘ ·ÓÙ·ÏÏ·-
Á¤˜, Ô‰ËÁÔ‡Ó ÛÙËÓ ·Ó¿Ù˘ÍË Ù˘ ÎÔÈÓˆ-
ÓÈÎfiÙËÙ·˜, Ù˘ ‰È·ÔÏÈÙÈÛÌÈ΋˜ ·Ô‰Ô-
¯‹˜, Ù˘ ·ÏÏËÏÔηٷÓfiËÛ˘ Î·È ÙÔ˘ ·Ï-
ÏËÏÔÛ‚·ÛÌÔ‡. T· ·È‰È¿ ·ÓÙÈÏ·Ì‚¿-
ÓÔÓÙ·È ˆ˜ fiÓÙ·˜ fiÏÔÈ ‰È·ÊÔÚÂÙÈÎÔ›
·Ú·Ì¤ÓÔ˘Ì ÈÛfiÙÈÌÔÈ Î·È ÂÍ·ÎÔÏÔ˘-
ıԇ̠ӷ ¤¯Ô˘Ì ÎÔÈÓ¤˜ ·Ó¿ÁΘ ηÈ
ÂӉȷʤÚÔÓÙ·. AÔÎÙÔ‡Ó ¤ÙÛÈ ·ÏÏËÏÔÂ-
ÎÙ›ÌËÛË ·ÏÏ¿ Î·È ·˘ÙÔÂÎÙ›ÌËÛË.
TÔ ÚfiÛıÂÙÔ ‚¤‚·È· bonus fiÏˆÓ ·˘-
ÙÒÓ Â›Ó·È Ë ·Ó¿Ù˘ÍË Ù˘ ÁψÛÛÔÌ¿ıÂÈ-
·˜ Î·È Ë Î·ÏÏȤÚÁÂÈ· ÙÔ˘ ÂӉȷʤÚÔ-
ÓÙÔ˜ ÙˆÓ ·È‰ÈÒÓ ÁÈ· ÙËÓ ÂÎÌ¿ıËÛË Í¤-
ÓˆÓ ÁψÛÛÒÓ.
™ÙËÓ ÂÚ›ÙˆÛË ÙÒÚ· ÙˆÓ Ì·ıËÙÈÎÒÓ
·ÓÙ·ÏÏ·ÁÒÓ Ô˘ Ú·ÁÌ·ÙÔÔÈԇ̠ÌÂ
ÙÔ TÔ˘ÚÎÈÎfi Û¯ÔÏÂ›Ô (Uskudar
Amerikan Lisesi) ˘¿Ú¯ÂÈ ÌÈ· ÛËÌ·ÓÙÈ-
΋ ȉȷÈÙÂÚfiÙËÙ· Ô˘ ηıÈÛÙ¿ ·˘Ù¤˜ ÙȘ
·ÓÙ·ÏÏ·Á¤˜ Ôχ ÈÔ ÛËÌ·ÓÙÈΤ˜ ·fi
οı ¿ÏÏË. H ȉȷÈÙÂÚfiÙËÙ· ·˘Ù‹ ·ÊÔ-
Ú¿ ÙËÓ ·Ú·‰ÔÛȷο Î·È ‰È·¯ÚÔÓÈο
η΋ ˆ˜ ¯ıÚÈ΋ Û¯¤ÛË Ô˘ ¤¯Ô˘Ì ÌÂ
ÙÔ˘˜ Á›ÙÔÓ˜ TÔ‡ÚÎÔ˘˜, Ë ÔÔ›· ̤۷
·fi ÙË ‰È΋ Ù˘ ‰˘Ó·ÌÈ΋ ¤¯ÂÈ ‰È·ÌÔÚ-
ÊÒÛÂÈ ·›ÛÙÂ˘Ù· ÛÙÂÚÂfiÙ˘· Î·È È‰ÂÔ-
ÏË„›Â˜ ÛÙÔ˘˜ ‰˘Ô Ï·Ô‡˜, Ô˘ ·ÔÙÚ¤-
Ô˘Ó ÙË ÏÔÁÈ΋ ÚÔÛ¤ÁÁÈÛË ÛÙ· ÚÔ-
‚Ï‹Ì·Ù· Ô˘ ÙÔ˘˜ ¯ˆÚ›˙Ô˘Ó Î·È Û˘ÓÙË-
ÚÔ‡Ó ÙË ·ÏËÏÔ‰·ÈÌÔÓÔÔ›ËÛ‹ ÙÔ˘˜. OÈ
Ì·ıËÙÈΤ˜ Ì·˜ ·ÓÙ·ÏÏ·Á¤˜ Ì ÙÔ TÔ˘Ú-
ÎÈÎfi Û¯ÔÏÂ›Ô ÎÔÓÈÔÚÙÔÔ›ËÛ·Ó Û ·›-
ÛÙÂ˘Ù· Û‡ÓÙÔÌÔ ¯ÚÔÓÈο ‰È¿ÛÙËÌ· Ù·
ÛÙÂÚÂfiÙ˘· Ô˘ ›¯·Ó ˆ˜ ‰Â‰Ô̤ӷ Ù·
·È‰È¿ Âη٤ڈıÂÓ Î·È Ù· ¿ÊËÛ·Ó ıÂÙÈο
·ÔÛ‚ÔÏÒÌÂÓ· ·fi ÙȘ ÔÌÔÈfiÙËÙ˜ ·Ó¿ÌÂ-
Û¿ ÙÔ˘˜ Î·È ÙȘ ˙ÂÛÙ¤˜ ÊÈÏÈΤ˜ Û¯¤ÛÂȘ Ô˘
ÁÚ‹ÁÔÚ· ·Ó¿Ù˘Í·Ó ÌÂٷ͇ ÙÔ˘˜. ™‹ÌÂÚ·
Ù· ·È‰È¿ Î·È ÙˆÓ ‰˘Ô Û¯ÔÏ›ˆÓ ‰ÂÓ È-
ÛÙÂ‡Ô˘Ó ·Ï¿ ˆ˜ ÔÈ ‰˘Ô Ï·Ô› ÌÔÚÔ‡Ó Ó·
Á›ÓÔ˘Ó Ê›ÏÔÈ, ÂÈı˘ÌÔ‡Ó ‰È·Î·Ò˜ Ó· ·Ó·-
Ù‡ÍÔ˘Ó ÌÈ· Ù¤ÙÔÈ· ÊÈÏ›· Î·È ı· οÓÔ˘Ó
ÛÙÔ Ì¤ÙÚÔ Ô˘ ÙÔ˘˜ ·Ó·ÏÔÁ›, fiÙÈ ÌÔÚÔ‡Ó
ÁÈ· Ó· Û˘ÓÙËÚ‹ÛÔ˘Ó ·˘Ù‹ ÙË ‰È¿ıÂÛË. NÔ-
Ì›˙Ô˘Ì ˆ˜ ·˘Ùfi ˘‹ÚÍ ÙÔ ÌÂÁ·Ï‡ÙÂÚÔ fi-
ÊÂÏÔ˜ ·fi ·˘Ù¤˜ ÙȘ ·ÓÙ·ÏÏ·Á¤˜ ÙfiÛÔ ÁÈ·
ÙÔ˘˜ ŒÏÏËÓ˜ fiÛÔ Î·È ÁÈ· ÙÔ˘˜ TÔ‡ÚÎÔ˘˜
Ì·ıËÙ¤˜.
E¶I™KEæH ™THN TOYPKIA
H ¶fiË TÛ·˚ÚË , ˘‡ı˘ÓË ·ÁÁÏÈÎÔ‡
ÙÌ‹Ì·ÙÔ˜ ÙˆÓ Û¯ÔÏÒÓ A˘ÁÔ˘Ï¤· §ÈÓ·Ú‰¿-
ÙÔ˘, Ì›ÏËÛ ÛÙËÓ Lingua Franca ·Ó·Ï˘ÙÈ-
ο ÁÈ· ÙÔ ÚfiÁÚ·ÌÌ·
™ÙÔ Ï·›ÛÈÔ ÙÔ˘ ÚÔÁÚ¿ÌÌ·ÙÔ˜ “OÏ˘-
Ìȷ΋ ¶·È‰Â›·”, ÙÔ °˘ÌÓ¿ÛÈÔ ÔÚÁ¿ÓˆÛÂ
Â›ÛÎÂ„Ë Û ۯÔÏ›· Ù˘ KÔÌÔÙËÓ‹˜ ηÈ
ÙËÓ KˆÓ/ÔÏ˘, ·fi ÙȘ 21 ¤ˆ˜ ÙȘ 26 M·Ú-
Ù›Ô˘ 2004. TËÓ ·ÔÛÙÔÏ‹ ·ÔÙÂÏÔ‡Û·Ó 17
Ì·ıËÙ¤˜ Î·È Ì·ı‹ÙÚȘ ÙÔ˘ °˘ÌÓ·Û›Ô˘ Ì·˜
Î·È Û˘Ófi‰Â˘·Ó ÔÈ : Î. ™¤ÚÙÔ˜ AÓÙÒÓ˘, ‰È-
¢ı˘ÓÙ‹˜ ÙÔ˘ °˘ÌÓ·Û›Ô˘, Î. T˙·‚¿Ú·˜ AϤ-
Í·Ó‰ÚÔ˜, ηı. Ê˘ÛÈ΋˜ ·ÁˆÁ‹˜, Î. Tۛη
M¿Úˆ, ÊÈÏfiÏÔÁÔ˜ Î·È Î. TÛ·˝ÚË K·ÏÏÈfiË,
˘‡ı˘ÓË ·ÁÁÏÈÎÔ‡ ÙÌ‹Ì·ÙÔ˜.
TËÓ TÚ›ÙË 23 M·ÚÙ›Ô˘ 2004, ÂÈÛÎÂÊÙ‹-
ηÌ ÙÔ ?sk¸dar Amerikan Lisesi – ÙÔ AÌÂ-
ÚÈηÓÈÎfi ÎÔϤÁÈÔ Ù˘ KˆÓ/ÔÏ˘ – Ô˘ ‚Ú›-
ÛÎÂÙ·È ÛÙËÓ AÛÈ·ÙÈ΋ ÏÂ˘Ú¿ Ù˘ ¶fiÏ˘.
¶ÚfiÎÂÈÙ·È ÁÈ· ÙÔ AÌÂÚÈοÓÈÎÔ ÎÔϤÁÈÔ Ù˘
KˆÓ/ÔÏ˘ Ì ¿„ÔÁ˜ ÎÙÈÚȷΤ˜ ÂÁηٷ-
ÛÙ¿ÛÂȘ Î·È ¿ÚÙÈ· ˘ÏÈÎÔÙ¯ÓÈ΋ ˘Ô‰ÔÌ‹,
Ì ̷ıËÙ¤˜ Ô˘ Â›Ó·È ·È‰È¿ ‡ÔÚˆÓ ÔÈ-
ÎÔÁÂÓÂÈÒÓ Ù˘ KˆÓ/ÔÏ˘.
H ‰È‡ı˘ÓÛË ÙÔ˘ Û¯ÔÏ›Ԣ Î·È ÔÈ Ì·ıËÙ¤˜
Ì·˜ ˘Ô‰¤¯ÙËÎ·Ó Ì ÂÓıÔ˘ÛÈ·ÛÌfi. ™ÙËÓ
·ÌÊÈı·ÙÚÈ΋ ·›ıÔ˘Û· ÂΉËÏÒÛÂˆÓ ¤ÁÈÓÂ
·fi ÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜ Ë ·ÚÔ˘Û›·ÛË ÙÔ˘
ÚÔÁÚ¿ÌÌ·ÙÔ˜ “™ÔÓ‰ÔÊfiÚÔÈ K‹Ú˘Î˜”
ÛÙËÓ AÁÁÏÈ΋ ÁÏÒÛÛ·. H Î. TÛ·˝ÚË, ÂΠ̤-
ÚÔ˘˜ ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜, ÂÎÊÒÓËÛ ÏfiÁÔ ÌÈ-
ÏÒÓÙ·˜ ÁÈ· ÙÔ Ó‡̷ Î·È ÙÔ˘˜ ÛÙfi¯Ô˘˜ ÙÔ˘
ÚÔÁÚ¿ÌÌ·ÙÔ˜ “™ÔÓ‰ÔÊfiÚÔÈ K‹Ú˘Î˜”.
AÎÔÏÔ‡ıËÛ·Ó Ë Â›‰ÂÈÍË ÙÔÍÔ‚ÔÏ›·˜ ηÈ
badminton, ηıÒ˜ Î·È ·Ú·‰ÔÛÈ·ÎÔ› ÂÏÏË-
ÓÈÎÔ› Î·È ÙÔ˘ÚÎÈÎÔ› ¯ÔÚÔ›. E›Û˘, Ì·ıËÙ¤˜
Î·È Î·ıËÁËÙ¤˜, ŒÏÏËÓ˜ Î·È TÔ‡ÚÎÔÈ, ο-
Ùˆ ·fi ¤Ó· Ï·ÌÂÚfi ‹ÏÈÔ, Ê˘Ù¤„·Ì ÌÈ· Â-
ÏÈ¿ ÛÙÔÓ Î‹Ô ÙÔ˘ Û¯ÔÏ›Ԣ ˆ˜ ¤Ó‰ÂÈÍË ÊÈ-
Ï›·˜ Î·È Û˘ÓÂÚÁ·Û›·˜.
M·˜ ‰fiıËÎÂ Ë Â˘Î·ÈÚ›·, ·Ú¿ÏÏËÏ·, Ó·
ÍÂÓ·ÁËıԇ̠ÛÙÔ˘˜ ¯ÒÚÔ˘˜ ÙÔ˘ Û¯ÔÏ›Ԣ,
Ó· Û˘˙ËÙ‹ÛÔ˘Ì Ì ÙÔ˘˜ ηıËÁËÙ¤˜ ÁÈ· Ù·
ÂÎ·È‰Â˘ÙÈο ÚÔÁÚ¿ÌÌ·Ù· ÙˆÓ ‰‡Ô ¯ˆ-
ÚÒÓ Î·È Ó· ÚÔÙ›ÓÔ˘Ì ÙË Û˘ÓÂÚÁ·Û›· ÙˆÓ
‰‡Ô Û¯ÔÏ›ˆÓ, ηıÒ˜ Î·È ÙËÓ ·ÓÙ·ÏÏ·Á‹ Â-
ÈÛΤ„ÂˆÓ ÛÙÔ Ì¤ÏÏÔÓ. H ÚfiÙ·ÛË Â›ÛÎÂ-
„˘ ¤ÁÈÓ Ú·ÁÌ·ÙÈÎfiÙËÙ· ÙÔ ÙÚÈ‹ÌÂÚÔ 5 –
7 M·˝Ô˘ 2006, fiÔ˘ Ì ÌÂÁ¿ÏË ¯·Ú¿ ˘Ô-
‰Â¯ı‹Î·Ì ÛÙÔ Û¯ÔÏÂ›Ô Ì·˜ ÙËÓ TÔ˘ÚÎÈ΋
·ÔÛÙÔÏ‹ ·fi ÙÔ ?sk¸dar Amerikan Lisesi,
Ô˘ ·ÔÙÂÏÔ‡ÓÙ·Ó ·fi 24 Ì·ıËÙ¤˜ Î·È Ì·-
ı‹ÙÚȘ Î·È 4 ηıËÁËÙ¤˜. T· ·È‰È¿ ÊÈÏÔ-
ÍÂÓ‹ıËÎ·Ó ·fi ÔÈÎÔÁ¤ÓÂȘ Ì·ıËÙÒÓ ÙÔ˘

Û¯ÔÏ›Ԣ Ì·˜ Î·È Î·Ù¿ ÙË ‰È¿Ú-
ÎÂÈ· Ù˘ ·Ú·ÌÔÓ‹˜ ÙÔ˘˜ ÛÙË
¯ÒÚ· Ì·˜ Û˘ÌÌÂÙ›¯·Ó Û ·ÁÒ-
Ó˜ ÎÔχ̂ËÛ˘, ÍÂÓ·Á‹ıËηÓ
ÛÙÔ Û¯ÔÏÂ›Ô Ì·˜ Î·È ÂÈÛΤÊÙË-
Î·Ó ·ÍÈÔı¤·Ù· Ù˘ Aı‹Ó·˜.
E›Û˘, ÙËÓ ¶·Ú·Û΢‹ 5
M·˝Ô˘ 2006, Ú·ÁÌ·ÙÔÔÈ‹ıË-
Î ÂΉ‹ÏˆÛË ÛÙËÓ ·›ıÔ˘Û· ÂÎ-
‰ËÏÒÛÂˆÓ ÙÔ˘ Û¯ÔÏ›Ԣ Ì·˜
“O¢Y™™EA™ E§YTH™”, ÛÂ
Û˘Ó‰˘·ÛÌfi Ì ÙËÓ Â›ÛÎÂ„Ë Î·-
ıËÁËÙÒÓ Î·È Ì·ıËÙÒÓ ·fi ÙÔ
E˘Úˆ·˚Îfi ÚfiÁÚ·ÌÌ· ™ˆ-
ÎÚ¿Ù˘ – Comenius Ô˘ Û˘ÌÌÂ-
Ù¤¯ÂÈ ÙÔ ‰ËÌÔÙÈÎfi Ì·˜. ™’ ·˘Ù‹
ÙËÓ ÔÏ˘ÔÏÈÙÈÛÌÈ΋ ‚Ú·‰È¿
·ÚÔ˘ÛÈ¿ÛÙËÎ·Ó ÂÏÏËÓÈÎÔ› ηÈ
ÙÔ˘ÚÎÈÎÔ› ·Ú·‰ÔÛÈ·ÎÔ› ¯ÔÚÔ›
Î·È ÌÔ˘ÛÈ΋, Ë ·ÁÁÏfiʈÓË ı·-
ÙÚÈ΋ ·Ú¿ÛÙ·ÛË “Euroschools,
Eurochildren, Euroteachers”,
Ì ı¤Ì· Ù· ÚÔÁÚ¿ÌÌ·Ù· ™ˆ-
ÎÚ¿Ù˘ – Comenius, ÂÓÒ ‹Ù·Ó
‰È¿¯˘ÙÔ ÙÔ Ó‡̷ Ù˘ Û˘ÓÂÚÁ·-
Û›·˜ Î·È Ù˘ ÊÈÏ›·˜.
™øKPATH™ – COMENIUS
OÈ ·ÔÛÙÔϤ˜ ·fi Ù· Û¯ÔÏ›·
Ô˘ Û˘ÌÌÂÙ›¯·Ó ÛÙÔ ÚfiÁÚ·Ì-
Ì· ™ˆÎÚ¿Ù˘ – Comenius ¤ÊÙ·-
Û·Ó ÛÙË ¯ÒÚ· Ì·˜ ÙËÓ TÚ›ÙË 2
M·˝Ô˘ 2006 Î·È ·Ó·¯ÒÚËÛ·Ó
ÙËÓ K˘Úȷ΋ 7 M·˝Ô˘ 2006. ™’
·˘Ùfi ÙÔ ‰È¿ÛÙËÌ· ÊÈÏÔÍÂÓ‹ıË-
Î·Ó 14 ·È‰È¿ ·fi AÁÁÏ›·,
IÛ·Ó›·, ºÈÓÏ·Ó‰›· Î·È IÙ·Ï›·
Û ÔÈÎÔÁ¤ÓÂȘ Ì·ıËÙÒÓ ÙÔ˘
Û¯ÔÏ›Ԣ Ì·˜, ÂÓÒ Ù· ·È‰È¿ Û˘-
Ófi‰Â˘·Ó 10 ÂÎ·È‰Â˘ÙÈÎÔ›. T·
E˘Úˆ·˚ο ÚÔÁÚ¿ÌÌ·Ù· ™ˆ-
ÎÚ¿Ù˘ – Comenius Â›Ó·È È‰È·›-
ÙÂÚ· ‰È·‰Â‰Ô̤ӷ Î·È Ï‹ıÔ˜
Û¯ÔÏ›ˆÓ ¤¯Ô˘Ó Û˘ÌÌÂÙ¿Û¯ÂÈ Û’
·˘Ù¿. ™Ùfi¯Ô˜ ·˘ÙÒÓ ÙˆÓ ÚÔ-
ÁÚ·ÌÌ¿ÙˆÓ Â›Ó·È Ë ‚ÂÏÙ›ˆÛË Ù˘
ÔÈfiÙËÙ·˜ Ù˘ ÂÎ·›‰Â˘Û˘, Ë ·-
Ó¿Ù˘ÍË Ù˘ Û˘ÓÂÚÁ·Û›·˜ Î·È Ë
·ÓÙ·ÏÏ·Á‹ ÂÌÂÈÚÈÒÓ ÌÂٷ͇
Ó¤ˆÓ ·fi ‰È·ÊÔÚÂÙÈΤ˜ Â˘Úˆ-
·˚Τ˜ ¯ÒÚ˜.
TÔ ¢ËÌÔÙÈÎfi Û¯ÔÏÂ›Ô ™. A˘-
ÁÔ˘Ï¤· – §ÈÓ·Ú‰¿ÙÔ˘, ÛÂ Û˘-
ÓÂÚÁ·Û›· Ì ۯÔÏ›· Ù˘
AÁÁÏ›·˜, IÙ·Ï›·˜, IÛ·Ó›·˜,
ºÈÓÏ·Ó‰›·˜ Î·È ™Ô˘Ë‰›·˜, ÂÎ-
fiÓËÛ ÚfiÁÚ·ÌÌ· ‰È¿ÚÎÂÈ·˜ 3
ÂÙÒÓ (2000 – 2003) Ì ı¤Ì· “H
Â›‰Ú·ÛË ÙÔ˘ ηÈÚÔ‡ Î·È ÙÔ˘
Îϛ̷ÙÔ˜ ÛÙË ˙ˆ‹ Ì·˜, ÙÔ ÂÚÈ-
‚¿ÏÏÔÓ Ì·˜ Î·È ÙÔÓ ÔÏÈÙÈÛÌfi
H η.
¶fiË
TÛ·˝ÚË
·¢ı‡ÓÂÈ
¯·ÈÚÂÙÈÛÌfi
Ì·˜”, ηıÒ˜ Î·È ÚfiÁÚ·ÌÌ·
‰È¿ÚÎÂÈ·˜ 2 ÂÙÒÓ (2004 – 2006)
Ì ı¤Ì· “¢È·ıÂÌ·ÙÈ΋ ÚÔÛ¤Á-
ÁÈÛË Ù˘ ¢È‰·Ûηϛ·˜”. Y‡-
ı˘ÓË Û˘ÓÙÔÓÈÛÌÔ‡ ÙˆÓ E˘Úˆ-
·˚ÎÒÓ ÚÔÁÚ·ÌÌ¿ÙˆÓ Â›Ó·È Ë
Î. TÛ·˝ÚË.
Aη‰ËÌ·Èο OʤÏË
·Ô ÙÔ ¶ÚfiÁÚ·ÌÌ·
H Û˘ÌÌÂÙÔ¯‹ ÙˆÓ ·È‰ÈÒÓ Û’
·˘Ù¿ Ù· ÚÔÁÚ¿ÌÌ·Ù· Â›Ó·È ÂÓ-
ıÔ˘ÛÈ҉˘, ÂÓÒ Ë Ú·ÁÌ·ÙÔÔ›-
ËÛË ÂÈÛΤ„ÂˆÓ ÛÙ· Û˘ÓÂÚÁ·-
˙fiÌÂÓ· Û¯ÔÏ›· ÙˆÓ ¿ÏÏˆÓ ¯ˆ-
ÚÒÓ Â›Ó·È ÌÔÓ·‰È΋ ÂÌÂÈÚ›·
ÙfiÛÔ ÁÈ· Ù· ·È‰È¿ fiÛÔ Î·È ÁÈ·
ÙÔ˘˜ ÂÎ·È‰Â˘ÙÈÎÔ‡˜ Ô˘ Ù· Û˘-
Óԉ‡ԢÓ.
H ·ÓÙ·ÏÏ·Á‹ ÂÚÁ·ÛÈÒÓ, Ë ·Ï-
ÏËÏÔÁÚ·Ê›·, Ë ÂÈÎÔÈÓˆÓ›· ̤-
Ûˆ e – mail ÚÔÛʤÚÔ˘Ó ÔÏÏ·-
Ï¿ ÔʤÏË ÛÙÔ˘˜ Ì·ıËÙ¤˜ Ì·˜.
E›ÛËÌË ÁÏÒÛÛ· ÂÚÁ·Û›·˜ ›-
Ó·È Ë AÁÁÏÈ΋. T· ·È‰È¿, ÏÔÈ-
fiÓ, οÓÔ˘Ó ¯Ú‹ÛË Ù˘ ÁÏÒÛÛ·˜
ÙfiÛÔ ÚÔÊÔÚÈο fiÛÔ Î·È ÁÚ·-
Ù¿, ÂÓÒ ¤¯Ô˘Ó ÙËÓ Â˘Î·ÈÚ›· Ó·
ηٷϿ‚Ô˘Ó fiÛÔ ÛËÌ·ÓÙÈÎfi ›-
Ó·È Ó· ÁÓˆÚ›˙Ô˘Ì ͤÓ˜ ÁÏÒÛ-
Û˜ ÁÈ· Ó· ÌÔÚԇ̠ӷ ÂÈÎÔÈ-
ÓˆÓÔ‡ÌÂ. X·Ú·ÎÙËÚÈÛÙÈÎfi ›ӷÈ
fiÙÈ ·ÎfiÌ· Î·È ÔÈ ÈÔ Û˘ÁÎÚ·ÙË-
̤ÓÔÈ Ì·ıËÙ¤˜ Û˘ÌÌÂÙ¤¯Ô˘Ó ÌÂ
ÂÓıÔ˘ÛÈ·ÛÌfi ÛÙȘ ÂÚÁ·Û›Â˜ ÙˆÓ
ÚÔÁÚ·ÌÌ¿ÙˆÓ, ÂÓÒ ·ÓÙ·Ô-
ÎÚ›ÓÔÓÙ·È ıÂÙÈÎfiٷٷ ÛÙȘ ÂÈ-
ÛΤ„ÂȘ ÛÙ· Û¯ÔÏ›· ÙˆÓ ¿ÏψÓ
¯ˆÚÒÓ, ηıÒ˜ Î·È ÛÙË ÊÈÏÔÍÂ-
Ó›· ¿ÏÏˆÓ ·È‰ÈÒÓ ÛÙË ¯ÒÚ·
Ì·˜.
¶·Ú¿ÏÏËÏ·, ̤۷ ·fi ·Ϥ˜
ÂÚÁ·Û›Â˜ ·ÓÙÏÔ‡Ó Ï‹ıÔ˜ ÏË-
ÚÔÊÔÚÈÒÓ ÁÈ· ÙȘ ¿ÏϘ E˘Úˆ-
·˚Τ˜ ¯ÒÚ˜, ‰È·ÌÔÚÊÒÓÔÓÙ·˜
¤ÙÛÈ ÛÙ·‰È·Î¿ Â˘Úˆ·˚΋ Û˘-
Ó›‰ËÛË.
™˘ÌÌÂÙ¤¯ÔÓÙ· Û¯ÔÏ›·
Boughton Monchelsea Primary
School – UK
Postipuun Koulou – FINLAND
Diego Valeri – ITALY
COLEGIO PUBLICO “SAN
ISIDRO” – SPAIN
DALHEMSKOLAN –
SWEDEN
™. AY°OY§EA –
§INAP¢ATOY
(¢HMOTIKO) – E§§A¢A
19
DEVELOPING EXAMINATION WRITING SKILLS
Cliff Parry, British Council
Writing is a challenging process even at read by an interested reader. But what
the best of times and one which can be a constitutes a valid and reliable comment?
solitary even isolating experience when What are its ingredients?
the supportive atmosphere provided by Borrowing illustrious labels, I would like
adequate teacher preparation and to suggest that a successful comment
guidance is lacking. addresses 4 basic principles – those of
With building a solid and valid quality, quantity, clarity and relevance.
foundation for teacher support in mind, Much time could be devoted to a
we teachers should not miss the discussion of what these encompass but
opportunity to write the same tasks we briefly quality is a matter of appropriacy
require of our students. Why? Simply to both in terms of word choice and
provide ourselves with the opportunity to message, quantity is not so much the
reflect on the writing process itself and collocation or ellipsis and the use and number of words but rather the number
come to grips with the difficulties our number of conjunctions. and balance of blocks of meaning. Clarity,
student writers will face. I suppose, in Aiming not only to refresh our insight on other hand addresses the question and
essence what I’m saying is that we into the mechanisms of writing, but also looks at task achievement whereas
shouldn’t preach but practise as well not relevance looks at the particular piece of
to provide concrete hints and tips for
only to remind ourselves of the writer’s students, the preparation and analysis of work as part of the student’s writing
task and reaffirm the validity in the eyes models is thus of some importance but history.
of our students of the guidance we does support stop there? Is support Summarising the development of
provide them but also to provide students concerned only with what is done before examination writing skills necessarily
with a model. students write? No, a good deal of involves presenting students with
So what's next? Work with the model! support can be provided through the opportunities to practice the various
There’s little or no point in presenting provision of meaningful comments. forms and functions of writing within the
students with a model and hoping that the Perhaps the greatest feeling of examination context. Practice, however,
model on its own will help students satisfaction that a student gets is from a does not make perfect if done in isolation
improve their own writing or well-constructed teacher comment and without the support of adequate
understanding of those key ingredients showing that his/her work has not been guidance from the teacher of which the
which together make writing successful. approaches suggested here a few.
treated as a potential source of error but
Effective writing
requires a number
of things from a
high degree of
organisation and
development to a
careful choice of
lexical and
grammatical items.
Model analysis
needs to consider
both.
On a textual level,
students could be
encouraged to
identify the blocks
of meaning rather
than the physical
boundaries of text
or paragraphs. In
doing so, we can
then draw attention
to their relative
size; highlighting
the importance of
balance and
development; and
their characteristics;
pointing out where
a richer range of
grammar or words
is used.
It is equally
important to
consider the words
that make the
sentences which
then build the text.
We could thus
encourage students
to identify those
word sets that give
rise to theme, the
importance of
repetition or
replacement,
 21

∏ ‰È‰·Ûηϛ· Ù˘ ∫ÈÓÂ˙È΋˜ ÛÙË ¯ÒÚ· Ì·˜

°È· Ó· ÌËÓ Â›Ó·È Ù· ∫ÈÓ¤˙Èη... ∫ÈÓ¤˙Èη
B·ÛÈÏÈ΋ TÛÈ¿ÌË, ¢È‰·ÛηÏÂ›Ô •¤ÓˆÓ °ÏˆÛÛÒÓ, ¶·ÓÂÈÛÙ‹ÌÈÔ AıËÓÒÓ
K›Ó· Â›Ó·È ÌÈ· ·fi ÙȘ ¯ÒÚ˜ Û›˙ÂÙ·È ÛÙËÓ ‚fiÚÂÈÔ˘ (‹ Ì·Ó‰·ÚÈÓÈ- Ó· ¯ÚËÛÈÌÔÔÈ› ÂÚ›Ô˘ 6000 ȉÂÔ- °È· ÙË Û˘ÁÎÂÎÚÈ̤ÓË ÁÏÒÛÛ· ,ÔÈ Ó‹ Î·È ÂÈÌÔÓ‹ ÂΠ̤ÚÔ˘˜ ÙˆÓ Ì·ıË-

H Ô˘ ¤¯Ô˘Ó ¤Ó· ·Ó¿Ú¯·ÈÔ Ô-

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ÌÈÏÈ¤Ù·È ·fi ÙÔ ¤Ó· ٤ٷÚÙÔ ÙÔ˘ ÏË-
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ÔÏÈÙÈ΋˜ Î·È Ù˘ ‰È·ÚÎÒ˜ ·˘Í·ÓfiÌÂ-
Ó˘ ÔÈÎÔÓÔÌÈ΋˜ ·Ófi‰Ô˘ Ù˘ K›Ó·˜ Ô-
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Û ÔÏfiÎÏËÚÔ ÙÔÓ ÎfiÛÌÔ ÂÈϤÁÔ˘Ó Ó·
Ì¿ıÔ˘Ó ÎÈÓÂ˙Èο.
™ÙË ¯ÒÚ· Ì·˜ Û˘¯Ó¿ ¯ÚËÛÈÌÔÔÈ›-
Ù·È Ë ¤ÎÊÚ·ÛË «·˘Ù¿ Â›Ó·È ÎÈÓ¤˙Èη
ÁÈ· ̤ӷ» ÁÈ· Ó· ·Ó·ÊÂÚıԇ̠۠ο-
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Ï¿ ‰‡ÛÎÔÏÔ. ™ÎÂÊÙ›Ù ÏÔÈfiÓ fiÛÔ
‰‡ÛÎÔÏË Ê·›ÓÂÙ·È Û ¤Ó·Ó ŒÏÏËÓ·
–‹ E˘Úˆ·›Ô ÁÂÓÈÎfiÙÂÚ·- ÛÔ˘‰·ÛÙ‹
Ë ÂÎÌ¿ıËÛË Ù˘ ÎÈÓÂ˙È΋˜ fiÙ·Ó ·fi
Ù· ÚÒÙ· ÎÈfiÏ·˜ Ì·ı‹Ì·Ù· Û˘ÓÂȉË-
ÙÔÔÈ› fiÙÈ ÚfiÎÂÈÙ·È ÁÈ· Ì›· ÁÏÒÛÛ·
Ô˘ ‰ÂÓ ¤¯ÂÈ Î·Ì›· ÎÔÈÓ‹ Ú›˙· Ì ÙȘ
ÈÓ‰ÔÂ˘Úˆ·˚Τ˜ ÁÏÒÛÛ˜, Ì›· ÁÏÒÛ-
Û· Ù˘ ÔÔ›·˜ ÌÔÚÊÔÛ‡ÓÙ·ÍË Â›Ó·È Â-
ÓÙÂÏÒ˜ ‰È·ÊÔÚÂÙÈ΋, Ë ÚÔÊÔÚ¿ Ù˘
·ÚÔ˘ÛÈ¿˙ÂÈ ÔÏÏ¿ ‰È·ÊÔÚÂÙÈο ʈ-
Ó‹Ì·Ù· ·fi Ù· ÂÏÏËÓÈο Î·È ÂÈϤ-
ÔÓ, fiÓÙ·˜ ÙÔÓÈ΋ ÁÏÒÛÛ· ¤¯ÂÈ Ù¤ÛÛÂ-
ÚȘ ÙfiÓÔ˘˜!
™·Ó Ó· ÌËÓ ¤Êı·Ó·Ó fiÏ· ·˘Ù¿ Ë
ÁÚ·Ê‹ Â›Ó·È È‰È·›ÙÂÚ· ÔχÏÔÎË ÁÈ·
ÙÔ˘˜ Â˘Úˆ·˚ÎÔ‡˜ Ï·Ô‡˜ Ô˘ ¯ÚËÛÈ-
ÌÔÔÈÔ‡Ó ·ÏÊ¿‚ËÙÔ.
H ÎÈÓÂ˙È΋ fiÓÙ·˜ ÁÏÒÛÛ· ÌË ÎÏËÙÈ-
΋ ‰·Ó›ÛÙËΠ·fi ÙȘ ¢˘ÙÈΤ˜ ÁÏÒÛ-
Û˜ fiÚÔ˘˜ Ô˘ ‰ÂÓ ÙËÓ ÂÚÈÁÚ¿ÊÔ˘Ó
ÌÈ·˜ Î·È ‰ÂÓ ¤¯ÂÈ ÎÏ›ÛÂȘ, ÂÁÎÏ›ÛÂȘ,
¯ÚfiÓÔ˘˜ ‹ ÙÒÛÂȘ
H Û‡Á¯ÚÔÓË Â›ÛËÌË ÎÈÓÂ˙È΋ ‚·-
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ÎÈÓÂ˙È΋ ÁÏÒÛÛ· fiˆ˜ Î·È Ë ÂÏÏËÓÈ΋
¯·Ú·ÎÙËÚ›˙ÂÙ·È Î˘Ú›ˆ˜ ·fi ʈӋÂ-
ÓÙ·. ŒÓ· ÌfiÓÔ ÊˆÓ‹ÂÓ ‹ ¤Ó· Û‡-
ÌÏÂÁÌ· ʈÓˤÓÙˆÓ ÌÔÚ› Ó· ·Ô-
ÙÂÏ› ÌÈ· Û˘ÏÏ·‚‹.
°È· ÙÔ˘˜ ÌË KÈÓ¤˙Ô˘˜ ÛÔ˘‰·ÛÙ¤˜
Ë ‚·ÛÈ΋ ‰˘ÛÎÔÏ›· Ù˘ ÎÈÓÂ˙È΋˜
ÁÏÒÛÛ·˜ ˆ˜ ÚÔ˜ ÙËÓ ÚÔÊÔÚ¿ Ù˘ ›-
Ó·È fi¯È ÌfiÓÔ Ó· ÚÔʤÚÂÈ ÛˆÛÙ¿ ÙÔÓ
οı ‹¯Ô ·ÏÏ¿ Î·È Ì ÙÔÓ ÛˆÛÙfi ÙfiÓÔ
ÂÊfiÛÔÓ Ë ÎÈÓÂ˙È΋ Â›Ó·È ÌÈ· ÙÔÓÈ΋
ÁÏÒÛÛ·.
Y¿Ú¯Ô˘Ó Ù¤ÛÛÂÚȘ ÙfiÓÔÈ (ÛÙËÓ Â-
›ÛËÌË ÎÈÓÂ˙È΋ ·ÊÔ‡ ÛÙ· K·ÓÙÔÓ¤˙È-
η ÔÈ ÙfiÓÔÈ Â›Ó·È Ô¯ÙÒ!!) ‹ ¤ÓÙ ·Ó
Ï¿‚Ô˘Ì ˘’ fi„Ë Î·È ÙÔÓ Ô˘‰¤ÙÂÚÔ Ùfi-
ÓÔ.
¶Ò˜ fï˜ Â›Ó·È ÂÊÈÎÙfi Ó· ‰È·‚¿-
˙ÂÈ Î·Ó›˜ ÎÈÓÂ˙Èο Î·È Ì¿ÏÈÛÙ· Ó·
ͯˆÚ›˙ÂÈ ÙÔÓ ÙfiÓÔ Û οıÂ Û˘ÏÏ·‚‹;
™ËÌ·ÓÙÈÎfi ‚Ô‹ıËÌ· Û ·˘Ù‹Ó ÙËÓ
ÚÔÛ¿ıÂÈ· ·ÔÙÂÏ› ÙÔ pinyin Ô˘
¯ÚËÛÈÌÔÔÈ› Ï·ÙÈÓÈÎÔ‡˜ ¯·Ú·ÎÙ‹Ú˜
ÁÈ· Ó· ·Ô‰ÒÛÂÈ ÊˆÓËÙÈο Ù· ÎÈÓÂ˙È-
ο ʈӋ̷ٷ.
MÂÙ¿ ·fi Â›ÛËÌË ÚÔÛ¿ıÂÈ·
ηٷ¯ÒÚËÛ˘ Û ÏÂÍÈÎfi ÙÔ 1986 ˘Ô-
ÏÔÁ›ÛÙËΠfiÙÈ Ô ·ÚÈıÌfi˜ ÙˆÓ È‰ÂÔ-
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‚·È· Û‹ÌÂÚ· ¯ÚËÛÈÌÔÔÈÂ›Ù·È Ôχ
ÌÈÎÚfiÙÂÚÔ˜ ·ÚÈıÌfi˜. 3000 ȉÂÔÁÚ¿Ì-
Ì·Ù· Â›Ó·È Ô ·ÚÈıÌfi˜ Ô˘ ··ÈÙ›ٷÈ
ÁÈ· ÙËÓ ·Ó¿ÁÓˆÛË ÂÊËÌÂÚ›‰·˜ ‹ Û‡Á-
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ÚÂ›Ù·È Î¿ÔÈÔ˜ ÌÔÚʈ̤ÓÔ˜ Ú¤ÂÈ
Ó· Â›Ó·È Û ı¤ÛË Ó· ·Ó·ÁÓˆÚ›˙ÂÈ Î·È
ÁÚ¿ÌÌ·Ù·.TÔ 1956 ÂÈÛ‹¯ıË ÌÈ· ·ÏÔ-
Ô›ËÛË ÙˆÓ ¯·Ú·ÎÙ‹ÚˆÓ Ì ÙËÓ ÔÔ›·
ÌÔÚÔ‡Û ηÓ›˜ Ó· ÙÔ˘˜ Ì¿ıÂÈ Â˘ÎÔ-
ÏfiÙÂÚ· Î·È Ó· ÙÔ˘˜ ÁÚ¿„ÂÈ ÁÚËÁÔÚfi-
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¶ÂÚÈÛÛfiÙÂÚ· ·fi 1.700 ȉÂÔÁÚ¿Ì-
Ì·Ù· ·ÏÔÔÈ‹ıËÎ·Ó ÂÓÒ Ô ·ÚÈıÌfi˜
ÙˆÓ ÁÚ·ÌÌÒÓ /ÈÓÂÏÈÒÓ (strokes) ÌÂÈ-
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Á·ÏÏÈο ·fi Ù· ÈÛ·ÓÈο.
¶Ò˜ ·ÔÊ·Û›Û·Ù ӷ ·Û¯ÔÏËı›-
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Ì ‰È·ÊÔÚÂÙÈÎfi Î·È ¤ÙÛÈ ‰È¿ÏÂÍ· Ù·
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ÌÂÙ·Ù˘¯È·Îfi ÌÔ˘.
E‰Ò Î·È ‰‡Ô ¯ÚfiÓÈ· ‰È‰¿ÛΈ ÙËÓ
ÎÈÓÂ˙È΋ ÁÏÒÛÛ· ÛÙÔ ¢È‰·ÛηÏÂ›Ô .
¶fiÛ· ¯ÚfiÓÈ· ··ÈÙÔ‡ÓÙ·È ÁÈ· ÙËÓ
ÂÎÌ¿ıËÛË Ù˘ ÎÈÓÂ˙È΋˜ ÁÏÒÛÛ·˜;
E›Ó·È ‰‡-
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Û fiϘ ÙȘ ͤ-
Ó˜ ÁÏÒÛÛ˜ Ó·
ηıÔÚÈÛÙ› ·-
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Ù·È Î·Ó›˜ ÁÈ·
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·ÔÎÙÔ‡Ó ¤Ó· ηÏfi Â›‰Ô.
E›Ó·È ‡ÎÔÏÔ ‹ ‰‡ÛÎÔÏÔ Ó· Ì¿ıÂÈ
ÙÂÏÈο οÔÈÔ˜;
E›Ó·È ·ÚÎÂÙ¿ ‰‡ÛÎÔÏÔ ·ÏÏ¿ fi¯È ·-
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·ÔÙÂÏÔ‡Ó ÙȘ ‰‡Ô ‚·ÛÈΤ˜ ‰˘ÛÎÔ-
ϛ˜.
H ÎÈÓÂ˙È΋ ÁÏÒÛÛ· ÂÚÈÏ·Ì‚¿ÓÂÈ
ÔÏϤ˜ ÔÌfi˯˜ Û˘ÏÏ·‚¤˜ Ì ‰È·ÊÔ-
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ÚÔÊÔÚ¿ Î·È ÛÙÔÓ ÛˆÛÙfi ÙÔÓÈÛÌfi.
ø˜ ÚÔ˜ ÙËÓ ÁÚ·Ê‹ ˘¿Ú¯ÂÈ Û˘ÁÎÂ-
ÎÚÈ̤ÓË Ù¯ÓÈ΋ Ô˘ ÂÓÒ ÛÙËÓ ·Ú¯‹
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ÌÈ·˜ ÁÏÒÛÛ·˜ ··ÈÙ› ÚÔÛ¿ıÂÈ·
Î·È Ì¤ıÔ‰Ô, Ë ÎÈÓÂ˙È΋ fï˜ ÁÏÒÛÛ·
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ÙˆÓ Î·ıËÁËÙÒÓ ÁÈ·Ù› «ÔÈ ÌfiÓÈ̘ ·-
Ô˘Û›Â˜ ÙˆÓ Ì·ıËÙÒÓ «Â›Ó·È Û˘¯Ófi
Ê·ÈÓfiÌÂÓÔ.
Y¿Ú¯ÂÈ ÈÛÙÔÔ›ËÛË ÁÓÒÛ˘ Ù˘
ÎÈÓÂ˙È΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ EÏÏ¿‰·;
º¤ÙÔ˜ ÁÈ· ÚÒÙË ÊÔÚ¿ ̤ۈ ÙÔ˘
EÏÏËÓÔÎÈÓÂ˙ÈÎÔ‡ ™‡Ó‰ÂÛÌÔ˘ ºÈÏ›·˜
Î·È Ì ÙË ‚Ô‹ıÂÈ· Ù˘ KÈÓÂ˙È΋˜ ¶ÚÂ-
ۂ›·˜ ¤Ú¯ÔÓÙ·È ÙÔÓ ÚÔÛ¯‹ OÎÙÒ-
‚ÚË ÔÈ ÂÍÂÙ¿ÛÂȘ ÁÈ· ÙÔ HSK ÙÔ ÔÔ›Ô
¯ˆÚ›˙ÂÙ·È Û 11 Â›‰· ÍÂÎÈÓÒÓÙ·˜
·fi ÙÔ 1 ÁÈ· ÙÔ˘˜ ·Ú¯¿ÚÈÔ˘˜ ˆ˜ ÙÔ11
ÁÈ· ÙÔ˘˜ Ôχ ÚÔ¯ˆÚË̤ÓÔ˘˜.
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Îfi ÛÙËÓ ÂÏÏËÓÈ΋ ·ÁÔÚ¿;
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ÌËÏfiÙÂÚ· Ù˘ ∂˘ÚÒ˘ —Á‡Úˆ ÛÙÔ 18%,
Ì ̤ÛÔ fiÚÔ 45-50% ÛÙË °ÂÚÌ·Ó›· Î·È ÙË
°·ÏÏ›· Î·È ¤Ó· ÂÎÏËÎÙÈÎfi 75-80% ÛÙË
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Ì ÙËÓ „‹ÊÔ ÙÔ˘˜ Î·È ÂÎÏÂÁÒ ÛÙÔ ¢ËÌÔÙÈ-
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ÙˆÓ ÚÔ‚ÏËÌ¿ÙˆÓ ÙÔ˘˜.
∂›Û˘, ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÙÔ˘˜ ÊÔÚ›˜
Ù˘ ÂÎ·›‰Â˘Û˘ ηıÒ˜ Î·È ÙÔ˘˜ Û˘ÏÏfi-
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ÛÔÛÙÔ‡ ¿ıÏËÛ˘ Ù˘ ÓÂÔÏ·›·˜ Ì·˜».
22
Ipod casting: A new tool for the teachers of English?
In an ever changing world «it is
not a question of whether change
will occur (as it will anyway,
disregarding the fact that we are
reluctant to accept it) rather a
question of whether we will help
shape that change or (we shall) be
shaped by it»
(http://relgar.mcli.dist.maricopa.ed
u/media/cardenas_oco.ppt). One
of the changes that has to be
seriously considered by teachers,
especially EFL/ESL teachers, is
the Internet. It offers a lot of
services and accomodates even
more of our needs that it is not
unusual to hear people say, «why
don’t you look it up on the
Internet», meaning of course that
it is an almost endless source of
information, one is looking for. It
seems almost unavoidable that it
will change the face of education,
in order for these changes to take
effect an infrastructure is needed,
one that will be readily available,
people who will use it do not have
to spend a lot of precious time to
come to terms with it, will be
portable as well as small in size
(Whelan, 2005), Wireless devices
such as PDA’s and lpod’s have
become commonplace because
they can be easily purchased and
can be carried even without being
noticed (Samuelson, 2005). These
gadgets allow for sharing media
files e.g. sould files, video files,
documents etc. For the sake of
simplicity, I will focus on the later,
the lpod, as I believe it will be one
of those afore mentioned changes.
For the time being, it is used by
most of their owners to store and
listen to music. But a new
technology called Podcasting is
coming to the surface. It airs more
uses than it was originally
designed for. Most of these
gadgets not only can reproduce
music but they can also be used for
recording, either radio shows or
lectures, even descussions and
lectures, like a dictaphone.
1. Definition
Ipodcasting is a word coined by
Adam Curry and is made from two
words, the first of which comes
from the name of the popular mp3
player lpod made by Apple and
the second comes from the word
broadcasting and is meant to
rhyme with it. It has been declared
Word of the Year by the New
Oxford American Dictionary.
According to this, the term is
defined as «a digital recording of a
radio broadcast or similar
program, made available on the
internet for downloading to a
personal audio player or a
personal computer» and it will be
added to the online version of the
dictionary during the next upadate
early this year. According to
Wikipedia, the popular internet
encyclopedia, podcasting is a
«method of publishing audio
boradcasts via the Internet». In
layman’s terms, it is a way for
individuals and companies to
create audio programs and allow
people to download, listen, and
subscribe to them very easily.
Those who already know what web
blogging is (regularly posted
articles of news, insight, fun,
literature, and more), a way of
understanding it, is to consider it
as a sound document deriving
from web blogging (mp3 or other
format sound file). People instead
of writing and publishing their
thoughts they record them orally
an ipodcast.
Technically speaking, a
Podcast(ing) is nothing but radio
programming that can be
produced with a standard
computer, microphone, free
software, and a web site for
posting it.
2. Uses of podcasting for the
general public
A podcast is usually targeted to
everyone who has access to the
Internet and is interested in
sharing information over it. It
should not be considered as
targeted only to a certain group of
people but to anyone who would
wish to communicate with other
fellow men with this medium.
ñ People will be able to develop
their own radio shows enhance
them with the music of their own
preferece which definitely have
the label of authenticity of the
person(s) who create(s) them.
ñ Individuals will record their own
audio books that may be freely
distributed on the Internet.
ñ How to use instructions for
hands-on tasks that may probably
attract the attention of the DIY
audience.
ñ Life coaching and life skills
guides, if you search for certain
large cities guides you will
certainly find podcast guides to
New York and Washington.
ñ Debates, lectures, sermons and
speeches.
ñ Storytelling for children or
adults; many of the radio shows
available for download are
diveded into episodes, a fact that
may mark the rollback of radio
soap operas of the 60’s.
ñ Marketing and promotion, as
podcasts are made by large
Yannis Tsitsiklis
Yiannis Tsitsiklis is a School
Advisor for English in the region
of West Madedonia. Before his and can be downloaded from the class. The teacher may use it,
appointment to the position of web. The teacher will listen to the taking it a little furher, as material
scholl advisor he taugt for 24 content, decide if it is appropriate to assign for a certain task to the
years at state schools and was the for his own classes, students’ level rest of the class.
chair of the Union of Teachers of and the linguistic context he/she ñ To give the students the chance
English in West Macedonia for wants to practise in class. to become accustomed to the
fuor years. His interests lie in the ñ To provide tailor-made content various accents of the target
which is directly connected to class language.
fields of teacher training, of
topics. Teachers usually face the dilemma
audiocisual aids and multimedia
If a teacher decides that it is time what kind od English they will
and their application in the
for the students, for example, to teach, British or American
foreign language classroom. listen to a piece of news and wants English. As the time goes by he
to introduce the students to the realises that although he/she
∞Ó·‰ËÌÔÛ›Â˘ÛË language used in the news, he can teaches, e.g. British English, the
Aspects Today download a podcast from the need for communication or
various radio channels that examination purposes comes into
companies with the intention of
provide such files, e.g. the CNN or play. English spoken by the
promoting their goods (young
the BBC, review it at his various English speakers should be
people are fond of them, by the
convenience and decide when and equally understood by the
way) that fall into the category of
how to use it in class or copy it and learners. Podcasts are produced by
micro marketing or podvertising,
distribute to the students with a speakers with accents, be they
another portmanteau term made
task of some kind either in class or native or non native speakers so
from ipod and advertising. The
at home (Ur, P., 1984: 25). podcasts come to help the teachers
Heineken beer company has
ñ To create extra material to give and students alike to tackle this
started such an activity; you can
to the talented students the problem.
view it at
chance to take their learning a ñ To motivate the students to
http://www.heinekenmusic.com
step further and support those listen to authentic material and
and General Motors, the
who do no do well to work at their linguistic instances that are not
American vehicle company has
own pace. normally encountered in course
produced podcast video which one
Differentiated teaching has been books.
can find at
recently introduced into the Greek The content of a podcast should
http://fastlane.gmblgs.com.
education system by including it be considered as authentic
3. Uses of podcasting in the
the DEPPS (Cross Thematic material given the fact that the
teaching and learning of foreign
Curriculum Framework for creator of a podcast either he is a
languages
Compulsory Education). Podcasts native or an non-native speaker
In order to learn a new language a
may help in this direction as the does not intend to create a
student should develop, to at least
teacher may create material that is speaking piece thata is made up
a satisfactory degree, among other
tailored specifically for the more for teaching purposes. Usually the
skills, those of listening and
«gifted» students as well as the only thing that he/she intends to
speaking. These skills are usually a
less interested ones. The material do is to communicate his thoughts
headache for the teachers who
will be there for them to listen to to the listeners. He uses the
always try to find new approaches
whenever they feel like listening to language in the way he/she learned
and varied methodologies which
it (Norris. R., 1995). to. For the above mentioned
will be useful and beneficial to the
ñ To offer instructional content to reason a podcast should be
learners. For students of almost all
reinforce certain tasks or activities. considered as authentic. The
leveles motivation is the key word
A variety of themes and topics are language that is used is usually
in the process of learning and
available on the internet which are spontaneous, contains idioms,
retention of what is taught and
likely to meet the interests of cliché expressions, reduced forms
learnt. The Ipod and almost any
almost all students in a given class. and other linguistic instances that
other brand of mp3 players as well
Podcasts are usually arranged by make it lively, «real» and
as a laptop or a desktop computer
theme so someone who is looking attractive. (Brown, G. 1990).
may serve as a language laboratory
for a specific topic, is very likely to Students are accustomed to
to create interest and facilitate the
find podacsts which are relevant to watching films on television and
development of listening-skills.
his students’ interests. listening to songs. A podcast is
Broadly speaking, the coming of
ñ To present additional material very similar to these and it may,
podcasting allows teachers to
to promote independent learning hopefully, motivate students to
exploit the potential of the new
and perhaps discovery learning or want to listen to them.
medium and adopt alternative
as revision and homework. ñ To facilitate students with
approaches to teaching and
The audio material which reading difficulties to come to
learning. These may be briefly the
accompanies course books is terms with content and those who
following:
limited. The content of a course are visually impaired to have
ñ To build and extend the already
book is limited. The content of a access to material which otherwise
present audio methodologies
course book though, may motivate might be available only in black
(cassette tapes, compact discs
studentes to look for further and white.
etc.).
information about a topic and if Very often teachers notice that
Most language teachers are always
he/she has the simple and some students are not really kee to
on the hunt for listening material
appropriate tools to create a read or they cannot read as they
that will enhance their teaching,
podcast, may very well be able to may have some kind of learning
apart from that which is available
create a podcast containing the difficulty. Take for example
with the coursebooks they use.
information he/she has collected students with dyslexia. They don’t
Podcasts are almost always free
and put together and present it in read as much as we would like

because they simply have difficulty
in reading. Or consider students
who have problems with their
eyesight. Podcasts will certainly
help them to have an audio copy
of the material the normal
students have in printed or written
form, as transcripts of the podcasts
are usually posted together with
the audio file. Podcasts may also
help the auditory learners to
improve their performance and
participate in the various tasks
more successfully.
ñ To motivate students who are
not eager to read to listen to
literature, stories or poetry as they
are available in audio books or
podcasts.
A lot of literature and poetry is
available in the form of audio
material. For the learner who
listens to such material there is the
advantage that he is listening to
the «wisdom» of somebody he
already knows and is likely to
become motivated to start reading
the book. Interesting stories can
be found, in podcast form, at the
following url:
http://www.enivrez.com/bedtime/
ñ It triggers the students creativity
when they decide to record their
own podcast.
Students feel motivated when they
can contribute to the teaching they
receive. They become part of it
and it is then that they do their
best to show what they can do.
Podcasting is an opportunity for
them to express their creativity
and their reaction to the teaching
process (Rost 1991:81). Perhaps it
has occurred to you to be offered
by students to prepare a song to be
used in the language class. They
are expected to react in the very
same way when you will ask them
to prepare a podcast about
something they are really
interested in. Students almost
always feel that is a challenge for
them to carry out a task that has to
do with the application of
technology.
ñ To promote personalised
learning
Not all students behave in the
same way nor do they share the
same interests. Every individual
perceives knowledge and skills in
his own and individual way.
Personalised learning offers a
means of transforming the
learning experience of every child.
It will create an education system
tailored to the needs, interests and
aptitudes of every single pupil.
Using podacsts will hopefully
create a challenge for the teacher
who respects his students’
individuality and facilitates their
steps into the learning adventure.
4. Play the podcast
Most podcasts are in the very
popular mp3 format. Ask a
student about mp3’s and he will be
very willing to explain that he
keeps a lot of music in this format
because he can store it in an mp3
played and listen to it whenever he
likes and for as long as he likes.
He will also tell you that he listens
to this very format of music on his
personal computer or a regular cd
played which has the option of
reproducing the mp3 format. This
format saves space and it is
prortable. Young and why not,
older people exchange —royalty
free-music, storiew, even lectures.
A teacher can use podcasts in the
same manner: either distribute the
podcast to his students to listen to
their own mp3 players or to record
it on a cd and play it to a laptop or
desktop computer or even more
conveniently on a cd player that
can reproduce sound archives in
the form of mp3.
5. A word of caution
Mp3’s that are available on the
Internet may not always be royalty
free. This means that before you
decide to use a sound archive you
should be certain that no copyright
applies to it. In case you or your
students decide to create a
podcast and you might want to
include some music in the
background you had better look
for royalty free music on the
Internet so that you will not run
into legal problems with the owner
of the music. The option will be to
ask a student who is musically
talented to play some music to
embed in the podcast you are
planning to create. Be careful
when selecting a podcast for
download, as it might contain
adult or offensive material which
is not suitable to be used at school.
6. How to download and listen to
a podcast:
ñ You will have to go to a
podcasting site and download the
free software.
ñ Next step is to click on the
hyperlink for each podcast you
want. You can listen right away on
your computer (both Windows
and Mac support podcasting) or
download the podcast to your mp3
player.
ñ You can also subscribe to one
or more RSS feeds. Your
podcasting software will check the
RSS feeds regularly and
automatically pull content that
matches your playlist. When you
dock your mp3 played to your
computer, it automatically updates
with the latest content.
ñ Another way is to do some
search on the web, using the
search machine of your
preference, type in what you are
23
searching for, e.g. esl/efl podcast
and your search begins.
ñ A convenient way to distribute
podcasts to students is to record
them on a cd which a cheap
medium, plays on a home
computer and has a lot of storage
space.
7. Conclusion
Listening is one of the four
fundamental skills in any
language. It seems to be neglected
by most teachers who find more
useful to focus on reading and
writing as these skills are more
convenient to test and evaluate the
students’ performance. Most
often, listening is practised
occasionally and only when it is
encountered as a task in a
coursebook. In my opinion this is a
unilateral process because people
who learn a language have to be
able to speak it. If they do not
develop their listening skill they
will find difficulty to develop a
proper level of communication.
Speaking and listening occur a lot
more often than reading and
writing so care must be given to
turn listening from a neglected
area of language teaching to an
important objective in it. Podcasts
seem to contribute in this
direction providing authntic
language, motivation and student
involvement.

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24
Professional Development
“I rush from one lesson to the next and I hardly ever get the chance to talk to other teachers. It’s a lonely job”
™˘Ó¤¯ÂÈ· ·fi ÙÔ ÚÔËÁÔ‡ÌÂÓÔ
Get the management on your side
This may seem obvious, but you
should be aware of school-wide
behaviour policies.
ñ Talk to the Head Teacher or
Director of Studies about what
options are available to you.
ñ Ask them to observe a difficult
class of yours (it is better if you
initiate this, rather than them coming
in uninvited) and talk about the
problems afterwards.
ñ Suggest a review of behaviour
policies if the current ones aren’t
working.
Behaviour policies developed in
conjunction with all parties
(management, teachers, students and
parents) tend to be much more
effective.
Get the parents on your side
If you are working with younger
learners, you should never
underestimate the power of parents
to help you deal with difficulties. Most
parents want their child to do well at
school but perhaps don’t know how
they can help.
ñ Keep communication lines open
with parents through meetings, letters
or phone calls home
ñ Send positive feedback as well as
negative feedback and explain why
you are using the methods you
choose.
ñ Invite parents to observe a class
and discuss it with you afterwards.
Having supportive parents on your
side can help immensely; at least,
getting them "on side" if not always on
your side!
Get the school on your side
Some difficulties may stem from a
negative “vibe” in the school. It is
difficult to analyse but we all know the
feeling when the ‘norm’ in the school
has become alienation and cynicism –
and when that cloud has descended
over the school even positive things
get interpreted through a negative
filter. Here is a short list of things that
we can do as individual teachers to
help try and build a good “whole-
school ethos”. Some of them may
involve convincing management.
ñ Suggest and start extra-
curricular activities (like an English
club, or English video afternoon).
ñ Promote cooperation between
departments (a joint wall poster
project between the English
department and another
department).
ñ Encourage students to take
“ownership” of space by displaying
Luke Prodromou and Lindsay Cladfield
their work (on classroom walls, in the
halls, in the playground).
With such reciprocal involvement,
you may see that the cloud that some
teachers seem to carry with them like
a sad aura has begun to fade.
Become a researcher!
In the long-run, you want to
become a better, more professional
ELT practitioner. One way of doing
this, in the framework of the TD
approach outlined in this article, is to
learn more about the art and science
of teaching, though conducting
informal research into classroom
practice – or "action research" as it is
sometimes called.
ñ Begin informal research into
your teaching and that of your
colleagues; explore the attitudes and
behaviour of students.
ñ Devise questionnaires and get
students and teachers to complete
them. You can elicit attitudes towards
correction techniques, the mother
tongue in the classroom or whatever
interests or worries you.
ñ Use observation checklists to
raise your awareness of what happens
in classrooms as your observe.
ñ Watch lessons on video if you
cannot do your action research ‘live’.
ñ Keep a journal of your own
classes or classes you have observed;
begin an interior dialogue with
yourself about your own teaching.
This should involve collaboration
with colleagues and the later sharing
of the results of your research with
them.
Become an artist!
Teachers share with great artists
the challenge of communicating
effectively and memorably with an
audience. Great artists have, by
definition, succeeded, where we are
constantly striving to succeed. One
way of developing as teachers and as
effective communicators is to look at
how artists achieve their effects and to
try and learn from these techniques.
Have you thought about how a good
lesson is in some ways like:
ñ a piece of music (with its themes
and variations, with the instruments
playing together in harmony)
ñ a good film (with its exciting
colours, characters and plots)
ñ a play in the theatre (with its
opportunities for playing or
experiencing many roles, with its
twists and turns and surprises)
ñ a painting (with its eye-catching
use of colour, its transformation of
reality)
ñ a dance (where you have to
follow the steps, co-ordinate with
your partner – and not tread on their
toes!)
o a sculpture (where you take the
raw material and reshape into
something different, richer and more
meaningful)
By going outside the closed world
of the classroom to the big rich world
of art we can learn strategies for
putting together lessons which flow
and remain in the memory.
Become a doctor!
Finally, we are not suggesting you
abandon teaching and take up
another profession, rather that you
consider continuing your studies
formally and even try and get a degree
(Masters or Doctorate, for example).
There are many ways of doing this,
without necessarily having to give up
your regular job.
ñ Choose an area for your research
that relates to your own teaching
situation.
ñ Find a programme that suits
your needs, either by talking to
colleagues or searching on the
internet.
ñ Choose a programme you know
you can handle: many can be done
part-time, or by distance.
ñ Find out if you can get funding,
or a grant, from your institution or
another body.
Not only do you learn more about
teaching methodology and language
but end up with a very valuable
qualification for your future career.
The important thing is to keep going,
keep growing and set yourself new
challenges. A good teacher in the end
is one who has never stopped
learning.
Luke Prodromou has a PhD from
the University of Nottingham. He is
the author of Smash (A-D), published
by Macmillan.
Lindsay Clandfield is a teacher and
teacher trainer in Spain. He is the co-
author of Straightforward, published
by Macmillan.
Luke and Lindsay are co-authors of
Dealing with Difficulties (DELTA) –
a handbook for teachers.
Further Reading
Bowen, T. and Marks , J. Inside
Teaching Macmillan 1994
Aims to raise teachers’ awareness
of their own approach and that of
others – both teachers and theorists.
Includes activities which develop
critical thinking and lead to greater
teacher independence and creativity.
D?rnyei, Z. Motivational
Strategies in the Language Classroom
Cambridge 2001
A balanced combination of theory
and practical advice, with lots of
examples from the author's own
experience of dealing with
demotivated students. An
entertaining and well-researched
handbook.
Edge, J. Co-operative
Development Longman 1992
Practical activities for raising
teachers’ awareness of their role and
potential, especially when working
together in a supportive atmosphere
with other teachers.
Head, K. and Taylor, P. Readings
in Teacher Development Macmillan
1997
A collection of articles and extracts
on teacher development – the focus is
on the reflective teacher, building
better relationships for better
teaching. Awareness-raising activities
included.
Palmer, P. J. The Courage to
Teach Jossey-Bass 1998
An inspiring and honest account of
the many roles of the teacher and how
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fiÏˆÓ Ì·˜.
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ˆÓ Ô˘ ‰È‰¿ÛÎÔ˘Ó ÙȘ ͤÓ˜ ÁÏÒÛÛ˜.
ŸÛÔÓ ·ÊÔÚ¿ ÂÌ¿˜, ÁÓˆÚ›˙ÂÙ fiÙÈ Â›-
Ì·ÛÙ ¤ÙÔÈÌÔÈ ÔÔÈ·Ó‰‹ÔÙ ÛÙÈÁÌ‹
Ì·˜ ˙ËÙËı› Ó· ÂÂÎÙ›ÓÔ˘Ì ·ÎfiÌ·
ÂÚÈÛÛfiÙÂÚÔ Ù· ÚÔÁÚ¿ÌÌ·Ù· ·È-
‰·ÁˆÁÈ΋˜ ÂÈÌfiÚʈÛ˘ Î·È Î·Ù¿Ú-
ÙÈÛ˘ Ù· ÔÔ›· ÁÓˆÚ›˙Ô˘Ó ‹‰Ë ÌÂÁ¿-
ÏË ÂÈÙ˘¯›·.
H Û˘ÓÂÚÁ·Û›· Ì·˜ Ì ٷ ˘fiÏÔÈ·
they grow in difficult circumstances.
The author’s basic answer to
discipline and motivation problems is
to teach yourself, in both senses of the
phrase.
Parrot, M. Tasks for Language
Teachers CUP 1993
A practical resource book for
training and development. Deep and
detailed, but good to dip into,
especially in teacher groups.
Scrivener, J. Learning Teaching
Macmillan 2005
A detailed and imaginative
approach to teacher development;
with thorough analysis and inspiring
ideas to get and keep the attention of
students and help the teacher keep
growing. Good on management and
planning. This new edition is
considerably longer, with good
additions.
Woodward, T. Models and
Metaphors in Language Teacher
Training CUP 1991
A classic of teacher development
based on the idea of loop input.
Useful if you are in training and
moving towards co-operative
development
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Writing Exams: What do examiners want?
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 4
3. «The candidate has only
used the present tense»
Problem: range
Many candidates would achieve a
better mark in writing if they clearly
demonstrated a range of English.
This is true for structures and
vocabulary. It is important that their
answer is not repetitive but gives
information in different ways.
Encourage your students to vary
what they write:
ñ Get students to practise synonyms
for words. Give them some words
(nouns, adjectives or verbs) and
make them think of other words
they know that mean more or less
the same (e.g. beautiful, pretty,
attractive). Then ask your students
to use the different words in linked
sentences or a story. This can be
practised regularly in class if
students are asked, «What’s a
different way of saying that?» This
question can easily be built into
other activities.
ñ Encourage students to «show off»
with as many tenses or structures as
they know. For example, if they are
describing something in the present,
get them to think about what
happened before and use the past
tense or what is likely to happen in
the future to use future tenses. They
can do this as a speaking activity (a
guessing game) or as a writing
activity, e.g. they could pass a
written situation to each other and
the next student has to write what
happened before and the next one
what happened after. This «story»
can them be used for linking
practice (see 2 above).
Problem: expansion
Some candidates in writing exams
just answer the bare bones of the
question. This may be enough for
them to pass the exam but they
could easily get more marks by
expanding on what they are asked.
This would also allow them to show
a wider range of language.
ñ Encourage students to expand
what they write so they can
demosntrate more language. For
example, if they have to write a note
to a friend arranging to go to the
cinema, one student can put the
date and time, the next a reason for
going, the next an adjective
desribing the film and the next a
function such as inviting or
suggesting.
ñ At higher levels, encourage
students to use examples when they
make a point or to give reasons
rather than just say what they think.
This is an easy task to incorporate
into a class discussion of a topic.
4. «It’s supposed to be
a letter, not an article»
Problem: genre
Students need to know the formula
or format of the genre they required
to write in an exam. This is easy with
letters but applies equally to articles,
notes, reports, etc. Although
candidates may not fail an exam for
writing in the wrong genre, they
could get more marks for showing
they can adapt their language to
different audiences. It is useful to
highlight the different elements
each genre requires:
ñ Get students to think about what
each genre needs. Take a good
example of your chosen genre, e.g. a
letter, and list the features, e.g.
opening and closing, saying why you
are writing, etc. Include some
features that are not true for the
genre (for example, this might be
headings in the text for letters). Get
students to look at the good
example and your list and to tick
which not. The final list of ticked
correct features is what they should
be including in their writing for that
genre.
ñ Make sure you highlight any
differences between students’ first
language and English regarding the
format for each genre. This can be
quite important in letters, for
example. The point is to make
students more aware of differences.
5. «This is not very polite...»
Problem: wrong register
Students need to think about who
they are writing to (do they know
the person?) and why they are
writing (is it to ask for something
difficult or an apology?). Strangely,
in English, the more annoyed you
are with someone you don’t know,
the more polite (and distant) your
writing might be. In this case,
writing becomes very formal and
case, with more complex
constructions, even something as
simple as «please» (if you would be
so kind) and «thank you» (I
appreciate your efforts to...).
ñ Give students practice in register
transfer. Ask students to write a
note asking the friend to do
something for them. Then pass it to
the next student but change the
recipient and/or the topic. Make
them aware of the changes in the
language as these elements change.
ñ Teach standard phrases. Make
25
sure students know a range of polite
phrases, e.g. «I would be grateful if
you could...» Also point out that in
English threats are subtle, e.g. «I
will be taking matters further...».
Younger students especially tend to
lose marks by threatenig to take the
recipient to court for minor
offences!
Problem: inconsistent register
A slightly different problem is when
candidates change register through
their answer from formal to
informal. This can be confusing and
unsettling and may confuse target
readers, so the candidate will lose
marks if the register is not
appropriate.
Finally
Reassure your students that the
examiners are not looking for
perfection. They are looking to see
if the candidate can communicate
effectively within the context of the
set task. This means that all
elements of the writing skill are
important, not just accuracy of
language.
Good luck!
The article first appeared in the Mary
Glasgow Magazines «New
Standpoints»
26

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Îfi ˘ÏÈÎfi, ÚÔÂÙÔÈÌ·Û›· ‰·ÛοψÓ
Î·È Û¯ÔϤ˜ ∞ÁÁÏÈÎÒÓ. ª’ ¤Ó·Ó Ù˙›-
ÚÔ Ô˘ ·Ó¤Ú¯ÂÙ·È ÛÙ· 60 ‰ÈÛ. ‰ÔÏ¿-
ÚÈ·, Ë ∫›Ó· ·ÔÙÂÏ› ‹‰Ë ÙË ÌÂÁ·-
χÙÂÚË ·ÁÔÚ¿ ‰È‰·Ûηϛ·˜ Ù˘ ·Á-
ÁÏÈ΋˜, Û‡Ìʈӷ Ì ÙȘ ÂÎÙÈÌ‹ÛÂȘ
Ù˘ ª¤ÚÈ ¶¤ÚÏÌ·Ó Ù˘ ETS, Ë Ô-
Ô›· ηıȤڈÛ ÙÔ ÁÓˆÛÙfi ‰›ψ-
Ì· TOEFL.
∆Ô ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜ ·˘ÙÒÓ ÙˆÓ
¯ÚËÌ¿ÙˆÓ ‰··Ó¿Ù·È ÁÈ· ÙËÓ ·ÁÔ-
Ú¿ ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈÎÔ‡, fiˆ˜ ›ӷÈ
Ù· ÏÂÍÈο Î·È Ù· ‚È‚Ï›· ·ÁÁÏÈ΋˜
ÁÏÒÛÛ·˜. ∆Ô ÌÂÁ·Ï‡ÙÂÚÔ Ì¤ÚÔ˜
·˘ÙÔ‡ ÙÔ˘ ˘ÏÈÎÔ‡ ·Ú¤¯ÂÙ·È ·fi
ÙȘ ÌÔÓ¿‰Â˜ Í¤ÓˆÓ ÂÙ·ÈÚÂÈÒÓ Ô˘
Û˘ÓÂÚÁ¿˙ÔÓÙ·È Ì ÂÁ¯ÒÚȘ ÂȯÂÈ-
Ú‹ÛÂȘ. O ÂΉÔÙÈÎfi˜ Ô›ÎÔ˜
Macmillan ¤¯ÂÈ Ô˘Ï‹ÛÂÈ ÛÂ Û˘ÓÂÚ-
Á·Û›· Ì ÙËÓ ÎÈÓÂ˙È΋ FLTRP Â-
ÚÈÛÛfiÙÂÚ· ·fi 100 ÂηÙ. ÂÎ·È-
‰Â˘ÙÈο ‚È‚Ï›·. ∏ FLTRP η٤¯ÂÈ
ÙÔ ¤Ó· ¤ÌÙÔ Ù˘ ·ÁÔÚ¿˜ Î·È Â›Ó·È
Ë ÎÔÚ˘Ê·›· ÂΉÔÙÈ΋ ÂÙ·ÈÚ›· ‚È-
‚Ï›· ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜ ÛÙËÓ ∫›Ó·.
∏ Longman (·Ó‹ÎÂÈ ÛÙÔÓ Ô›ÎÔ
Pearson, Ô˘ ÂϤÁ¯ÂÈ Ì¤ÚÔ˜ ÙÔ˘
The Economist), Ë Oxford
University Press Î·È Ë Harper
Collins ÂΉ›‰Ô˘Ó ‰ËÌÔÊÈÏ‹ ‰›ÁψÛ-
Û· ÏÂÍÈο, ÂÓÒ Ë Thomson ¤¯ÂÈ ·-
Ú·¯ˆÚ‹ÛÂÈ ÛÙËÓ People’s
Education Press ÙËÓ ¿‰ÂÈ· ÁÈ· ÙËÓ
ÂÎÌÂÙ¿ÏÏ¢ÛË ÙÔ˘ ‰È‰·ÎÙÈÎÔ‡ ˘ÏÈ-
ÎÔ‡ Ù˘.
∏ ˙‹ÙËÛË ÁÈ· Ù· ‚È‚Ï›· ·ÁÁÏÈ΋˜
ÁÏÒÛÛ·˜ ·˘Í‹ıËΠ·fi ÙËÓ ·fi-
Ê·ÛË Ù˘ ΢‚¤ÚÓËÛ˘ Ó· ÌÂÈÒÛÂÈ
ÛÙËÓ ÚˆÙÔ‚¿ıÌÈ· ÂÎ·›‰Â˘ÛË ÙÔ
fiÚÈÔ ËÏÈΛ·˜ ÁÈ· ÙËÓ ¤Ó·ÚÍË Ì·ıË-
Ì¿ÙˆÓ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜, ·fi Ù·
‰Ò‰Âη ÛÙ· ÂÓÓ¤·.
¶·Ú¿ÏÏËÏ·, ·Ú·ÙËÚÂ›Ù·È ˙‹ÙË-
ÛË ÁÈ· ÙË ‰È‰·Ûηϛ· ̤ۈ Ù˘ ˘-
„ËÏ‹˜ Ù¯ÓÔÏÔÁ›·˜. ∏ ÈÛÙÔÛÂÏ›‰·
intoenglish.com.cn Ô˘ ÏÂÈÙÔ˘ÚÁ›
˘fi ÙËÓ ÂÈ̤ÏÂÈ· ÙÔ˘ µÚÂÙ·ÓÈÎÔ‡
™˘Ì‚Ô˘Ï›Ô˘ ÛÂ Û˘ÓÂÚÁ·Û›· Ì ÎÈ-
ÓÂ˙ÈÎfi ÊÔÚ¤· Î·È Ë ÔÔ›· ÚÔÛʤ-
ÚÂÈ ‰ˆÚÂ¿Ó ÙÂÛÙ ·ÁÁÏÈ΋˜ ÁÏÒÛ-
Û·˜, ÏÂÍÈÎfiÁÈ· Î·È fiÚÔ˘˜ ‰ÈÔ›ÎË-
Û˘ ÂȯÂÈÚ‹ÛˆÓ, ¤¯ÂÈ ÌÂÙ·ÙÚ·›
ÛÙÔ ÌÂÁ·Ï‡ÙÂÚÔ ‰È·‰ÈÎÙ˘·Îfi ·ÓÂ-
ÈÛÙ‹ÌÈÔ ÙÔ˘ ÎfiÛÌÔ˘, Ì ÙË Û˘ÌÌÂ-
ÙÔ¯‹ 2 ÂηÙ. ÊÔÈÙËÙÒÓ. ∞˘ÍË̤ÓË
˙‹ÙËÛË ·ÚÔ˘ÛÈ¿˙ÂÙ·È, Â›Û˘, ·-
fi ÙÔ˘˜ ÊÔÈÙËÙ¤˜ Ô˘ ÛÙÔ¯Â‡Ô˘Ó Ó·
ÊÔÈÙ‹ÛÔ˘Ó ÛÙÔ Â͈ÙÂÚÈÎfi, ηıÒ˜
ÔÏϤ˜ ÎÈÓÂ˙ÈΤ˜ ÂÙ·ÈÚ›˜ ··È-
ÙÔ‡Ó ϤÔÓ ÙË ÁÓÒÛË Ù˘ ·ÁÁÏÈ΋˜
ÁÏÒÛÛ·˜. ∏ ÂÎ·›‰Â˘ÛË ÚÔÛˆÈ-
ÎÔ‡ ‰È‰·Ûηϛ·˜ ·ÔÙÂÏ› ÌÈ· ·-
ÎfiÌË ÚfiÎÏËÛË, Â¿Ó Ï¿‚Ô˘Ì ˘fi-
„Ë ÙËÓ ¤ÏÏÂÈ„Ë ÌÈÛÔ‡ ÂηÙ. ‰·Ûο-
ÏˆÓ ÛÙ· ÎÚ·ÙÈο Û¯ÔÏ›· Î·È Ù˘ ·-
Ó¿Á΢ ÙÔ˘ ¶ÂΛÓÔ˘ Ó· ÂÍÔÈÎÂȈ-
ı› Ì ÙË ÁÏÒÛÛ· ÂÓ fi„ÂÈ ÙËÓ OÏ˘-
ÌÈ·ÎÒÓ ∞ÁÒÓˆÓ ÙÔ˘ 2008.
∆¤ÏÔ˜, ˘¿Ú¯Ô˘Ó Î·È È‰ÈˆÙÈΤ˜
Û¯ÔϤ˜ ‰È‰·Ûηϛ·˜ ·ÁÁÏÈÎÒÓ.
ª¤¯ÚÈ Û‹ÌÂÚ· ··ÚÈıÌÔ‡ÓÙ·È ÛÂ
50.000 Î·È ÔÈΛÏÏÔ˘Ó ·fi ÌÈÎÚ¤˜
ÔÈÎÔÁÂÓÂȷΤ˜ ÂȯÂÈÚ‹ÛÂȘ ̤¯ÚÈ
·Ï˘Û›‰Â˜ ÊÚÔÓÙÈÛÙËÚ›ˆÓ, fiˆ˜ ›-
Ó·È Ë English First, Ë Wall Street
English Î·È Ë New Oriental. ∏ ÙÂ-
ÏÂ˘Ù·›· ‰È·ı¤ÙÂÈ 2,5 ÂηÙ. Ì·ıËÙ¤˜.
∞Ó Î·È Ù· ÊÚÔÓÙÈÛÙ‹ÚÈ· ·˘Ù¿ ·¢-
ı‡ÓÔÓÙ·È, ΢ڛˆ˜, Û ÂÓ‹ÏÈΘ,
ÔÏÏÔ› ÁÔÓ›˜ Â›Ó·È ‰È·ÙÂıÂÈ̤ÓÔÈ
Ó· ‰··Ó‹ÛÔ˘Ó ÙÔ ÌÈÛfi ÂÈÛfi‰ËÌ¿
ÙÔ˘˜ ÁÈ· Ó· ÂÁÁÚ¿„Ô˘Ó Ù· ·È‰È¿
ÙÔ˘˜. OÈ 550 Ì·ıËÙ¤˜ Ù˘ English
First ÛÙË ™ÂÓÙ˙¤Ó ‹Ù·Ó οÔÙ ÂÓ‹-
ÏÈΘ. ™‹ÌÂÚ·, ÙÔ 70% ÙˆÓ Ì·ıË-
ÙÒÓ Â›Ó·È ·È‰È¿.
øÛÙfiÛÔ, Ë ·È‰Â›· ·Ú·Ì¤ÓÂÈ ¤-
Ó·˜ ·fiÏ˘Ù· ÂÏÂÁ¯fiÌÂÓÔ˜ ¯ÒÚÔ˜ ·-
fi ÙËÓ Î˘‚¤ÚÓËÛË. ∆Ô ÙÌ‹Ì· ∫Ú·-
ÙÈ΋˜ ¶ÚÔ·Á¿Ó‰·˜ ·ÛΛ ¤ÏÂÁ¯Ô
ÙÔ ˘Ô˘ÚÁÂ›Ô ¶·È‰Â›·˜, ÙÔ ÔÔ›Ô
ÌfiÏȘ ÚfiÛÊ·Ù· Â¤ÙÚ„ ÙË ‰È·-
ÓÔÌ‹ ‚È‚Ï›ˆÓ ‰È‰·Ûηϛ·˜ Ù˘ ·Á-
ÁÏÈ΋˜ ÛÙÔ ÎÚ·ÙÈÎfi ÂÎ·È‰Â˘ÙÈÎfi
Û‡ÛÙËÌ·. OÈ Í¤Ó˜ ÂΉÔÙÈΤ˜ ÂÙ·È-
Ú›˜ ‰ÂÓ ¤¯Ô˘Ó ÙÔ ‰Èη›ˆÌ· ÂÎÙ‡-
ˆÛ˘, ·ÏÏ¿ ·Ú¤¯Ô˘Ó ÙËÓ ¿‰ÂÈ·
ÂÎÌÂÙ¿ÏÏ¢Û˘ ÙÔ˘ ÂÚȯÔ̤ÓÔ˘
ÙÔ˘˜ ·fi ÂÁ¯ÒÚȘ ÂÙ·ÈÚ›˜, fiˆ˜
Â›Ó·È Ë FLTRP.
OÈ Í¤Ó˜ ·Ï˘Û›‰Â˜ ÊÚÔÓÙÈÛÙË-
Ú›ˆÓ Ú¤ÂÈ Ó· Û˘ÓÂÚÁ¿˙ÔÓÙ·È ÌÂ
ÎÈÓÂ˙ÈÎfi ÊÔÚ¤· Î·È Ó· ¤¯Ô˘Ó Â›-
ÛËÌË ¤ÁÎÚÈÛË ÙÔ˘ ÂÚȯÔ̤ÓÔ˘
Ô˘ ‰È‰¿ÛÎÂÙ·È.
∞Ó Î·È Â›Ó·È ·ÍÈÔı·‡Ì·ÛÙÔ ÙÔ
¿ıÔ˜ ÙˆÓ ∫ÈÓ¤˙ˆÓ ÁÈ· ÙËÓ ÂÎÌ¿-
ıËÛË Ù˘ ·ÁÁÏÈ΋˜ ÁÏÒÛÛ·˜, ‰ÂÓ
‰‡Ó·Ù·È Ó· ÌÂÙ·ÙÚ·› Û ÌÈ· ·ÓÔÈ-
¯Ù‹ ·ÁÔÚ¿ ·Ú¿ ÌfiÓÔÓ Â¿Ó ÙÔ ÂÈ-
ÙÚ¤„ÂÈ Ë ÎÔÌÌÔ˘ÓÈÛÙÈ΋ ΢‚¤ÚÓËÛË
Ù˘ ¯ÒÚ·˜.
¢ÈÛÙ¿˙ÂÈ Ó· οÓÂÈ ·˘Ùfi ÙÔ ‚‹Ì·,
ηıÒ˜ Ì ÙË ‰È‰·Ûηϛ· Ù˘ ·ÁÁÏÈ-
΋˜ ÂÈÛÚ¤Ô˘Ó Î·È ÔÈ ÙÚfiÔÈ ÛΤ„˘
ÙÔ˘ ‰˘ÙÈÎÔ‡ ÎfiÛÌÔ˘ —ÙÚfiÔÈ Ô˘
ÌÈ· ̤ڷ ÌÔÚ› Ó’ ·ÂÈÏ‹ÛÔ˘Ó ÙËÓ
ËÁÂÛ›· ÙÔ˘ ÎfiÌÌ·ÙÔ˜.
™HMEIø™H LINGUA FRANCA:
TfiÛÔ Ô ÂΉÔÙÈÎfi˜ Ô›ÎÔ˜ MM
Publications fiÛÔ Î·È Ë Express
Publishing, ‰Ú·ÛÙËÚÈÔÔÈÔ‡ÓÙ·È
Ì ÌÂÁ¿ÏË ÂÈÙ˘¯›· ÛÙËÓ ÎÈÓÂ˙È΋
·ÁÔÚ¿.

∏ ‚›· ʤÚÓÂÈ ‚›·!
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 16
οÓÔ˘Ó ÙÔÓ ¿ÓıÚˆÔ Ó· ˙ËÙ¿ ÙËÓ «ÙÚÔ-
Ê‹» ÙÔ˘, ·˘Ù‹ ÛÙËÓ ÔÔ›· ¤¯ÂÈ Û˘ÓËı›-
ÛÂÈ Ì¤¯ÚÈ ÛÙÈÁÌ‹˜. ∞Ó Â›Ó·È Ë ·Á¿Ë, Ô
Û‚·ÛÌfi˜, Ë ‰ËÌÈÔ˘ÚÁÈÎfiÙËÙ·, Ë Û˘ÓÂÚ-
Á·Û›· Î.Ï. ·˘Ùfi ı’ ·Ô˙ËÙ¿. ∞Ó fï˜
Â›Ó·È Ë ‚›· Î·È Ë ·fiÚÚÈ„Ë, ·˘Ù‹ ÙËÓ
ÙÚÔÊ‹ ı· ·›ÚÓÂÈ ·fi οı ÛÎËÓ‹ ‚›·˜
Ô˘ ı· ·ÓÙÈÏ·Ì‚¿ÓÂÙ·È ‹ ı· ‰ËÌÈÔ˘Ú-
Á›.
OÈ ·Ú·ÁˆÁÔ› ıÚ›ÏÂÚ ÛÙÔÓ ÎÈÓËÌ·ÙÔ-
ÁÚ¿ÊÔ ‰ÂÓ Î¿ÓÔ˘Ó Ù›ÔÙ ¿ÏÏÔ ·Ú¿ Ó·
˘ÔÛÙËÚ›˙Ô˘Ó ÙËÓ ÎÔÈÓˆÓÈ΋ Î·È „˘¯Ô-
ÏÔÁÈ΋ ‚›· Ô˘ ÔÈ ı·٤˜ Ô˘ Û˘ÓÙÔÓ›-
˙ÔÓÙ·È ‹ ÂÎ¤ÌÔ˘Ó ÛÙÔ ›‰ÈÔ Ì‹ÎÔ˜ ·-
Ì·ÙÔ˜.
∞ÏÏ¿ Î·È ÂΛÓÔÈ Ô˘ ‰ÂÓ ¤¯Ô˘Ó ÙË
‚›· ̤۷ ÙÔ˘˜ Û’ ·˘Ùfi ÙÔ ‚·ıÌfi, Ù›ÓÔ˘Ó
Ó’ ·Ó·ÚˆÙÈÔ‡ÓÙ·È Î·È ÂӉ¯Ô̤ӈ˜ Ó·
ÈÛÙÂ‡Ô˘Ó fiÙÈ Ë ‚›· Â›Ó·È «ÌÈ· ÎÔÈÓˆÓÈ-
΋ ÓfiÚÌ·» ÛÙËÓ ÔÔ›· ηϿ ı· οÓÔ˘Ó
Ó· ÚÔÛ·ÚÌÔÛıÔ‡Ó ÁÈ· Ó· ÂÈ‚ÈÒÛÔ˘Ó.
ŸÏ’ ·˘Ù¿ ÚÔ¿ÁÔ˘Ó «Ù· Û‡ÓÓÂÊ· Ù˘
‚›·˜» Ô˘ Û‹ÌÂÚ· ˘¿Ú¯Ô˘Ó ÛÙÔÓ Îfi-
ÛÌÔ, ›Ù Ì ÙË ÌÔÚÊ‹ ÔÈÎÔÁÂÓÂȷ΋˜
‚›·˜ ‹ ‚›·˜ ÛÙÔ ‰ÚfiÌÔ, Ì ÙË ÌÔÚÊ‹
ıÚËÛ΢ÙÈÎÒÓ ‹ ÂıÓÈÎÒÓ ·ÎÚÔًوÓ,
ÔÏÈÙÈÎÒÓ ‹ ÎÔÈÓˆÓÈÎÒÓ Â·Ó·ÛÙ¿ÛÂ-
ˆÓ, ÔϤ̈Ó, ÙÚÔÌÔÎÚ·Ù›·˜, ÂÁÎÏ‹Ì·-
ÙÔ˜.
∆· ª¤Û· ª·˙È΋˜ ∂ÈÎÔÈÓˆÓ›·˜
ÔÏÏ·Ï·ÛÈ¿˙Ô˘Ó ÙËÓ ·ÚÓËÙÈ΋ ÏËÚÔ-
ÊÔÚ›· Î·È ÂÔ̤ӈ˜ ÂÓ‰˘Ó·ÌÒÓÔ˘Ó ÙËÓ
Â›‰Ú·ÛË Ô˘ ·˘Ù‹ Ë ·ÚÓËÙÈ΋ ÏËÚÔ-
ÊÔÚ›· ¤¯ÂÈ ¿Óˆ ÛÙÔÓ ¿ÓıÚˆÔ. OÈ ·-
Ô‰¤ÎÙ˜ Ù˘ ÏËÚÔÊÔÚ›·˜ ϤÔÓ Û˘Ì-
ÌÂÙ¤¯Ô˘Ó Û˘Ó·ÈÛıËÌ·ÙÈο ÛÙ· ·ÓÙ›-
ÛÙÔȯ· ÁÂÁÔÓfiÙ· ‚›·˜.
Ÿˆ˜ Î·È ÛÙËÓ ÂÚ›ÙˆÛË ÙÔ˘ ÕÏÂÍ,
οÔÈÔÈ ·ÓÙȉÚÔ‡Ó Ì ı˘Ìfi, ÔÚÁ‹, ‰È·-
Ì·ÚÙ‡ÚÔÓÙ·È, ÊÔ‚Ô‡ÓÙ·È ‹ Î·È ·ÓÈÎÔ-
‚¿ÏÏÔÓÙ·È, ÚÔÛ‚¿ÏÏÔÓÙ·È... ¿ÏÏÔÈ ÏÂÈ-
ÙÔ˘ÚÁÔ‡Ó Ì ηٷÓfiËÛË Î·È ÂÓÛ˘Ó·›-
ÛıËÛË, ¿ÏÏÔÈ ¿ÏÈ ÓÈÒıÔ˘Ó Â˘¯·Ú›ÛÙË-
ÛË, ÈηÓÔÔ›ËÛË, ¤ÎÛÙ·ÛË Î·È ˘¿Ú-
¯Ô˘Ó ÎÈ ·˘ÙÔ› Ô˘ Â›Ó·È ·‰È¿ÊÔÚÔÈ Ï˜
Î·È ‰ÂÓ Û˘Ó¤‚Ë Ù›ÔÙÂ.
∫·ÈÚfi˜ Ó’ ·ÊÔ˘ÁÎÚ·ÛÙԇ̠̠ÚÔ-
ÛÔ¯‹ Ù· ·È‰È¿ Ì·˜. ¶ÔÓ¿ÓÂ! ∑ËÙ¿ÓÂ
ÙËÓ Â˘·ÈÛıËÛ›· Ì·˜ Î·È ÙË ÊÚÔÓÙ›‰·
Ì·˜!
∫·ÈÚfi˜ Ó’ ·ÊÔ˘ÁÎÚ·ÛÙԇ̠ÙÔÓ Â·˘-
Ùfi Ì·˜. ¶ÔÓ¿ÌÂ!
∫·ÈÚfi˜ Ó· ÛÙ·Ì·Ù‹ÛÔ˘Ì ӷ ÔÓ¿ÌÂ
Ô ¤Ó·˜ ÁÈ· ÙÔÓ ¿ÏÏÔÓ!
∞˜ ·Ú¯›ÛÔ˘Ì ۋÌÂÚ·. ¶·›ÚÓÔÓÙ·˜ Ô
ηı¤Ó·˜ ÙËÓ Â˘ı‡ÓË Ô˘ ÙÔ˘ ·Ó‹ÎÂÈ!
O οı ÂÎ·È‰Â˘ÙÈÎfi˜ ·˜ Á›ÓÂÈ ·È-
‰·ÁˆÁfi˜ Ô˘ ʤÚÓÂÈ ·Á¿Ë Î·È Û‚·-
ÛÌfi ÛÙË ˙ˆ‹ Ô˘ Û˘Ó·ÓÙ¿ ÛÙËÓ ¿ÛÎËÛË
ÙˆÓ Î·ıËÎfiÓÙˆÓ ÙÔ˘!
Make the leap across the digital divide
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 17 exciting, it's motivating and it's taking us to
places that were previously inaccess-ible.
suggest that certain conditions should be
The boundaries of communicative and
met before ICT can be fully integrated into
pedagogical potential are being redefined by
daily classroom life. For example:
technology, and this is significant in the
ñ students and teachers should have a
language classroom.
shared conceptual understanding of the
The idea that students can communicate
technology they are working with;
with real students in the target language
ñ students and teachers should understand
across the world is truly remarkable.
the application of technology and recognise
Technology means that global
its educational potential;
communication can take place in class. The
ñ perhaps most significantly, though,
technology has to be access-ible and work
days of spluttering out an annual request for
first time in order to inspire confidence and
an ice cream on holiday are on the wane,
motivation so that teachers and students
and scruffy letters to pen pals are being
alike share the same level of enthusiasm and
replaced by direct contact with e-pals . . . no
embrace the communicative potential of
stamp required.
modern technology.
The 21st-century communicative classroom
We might well despair over the issues that
has arrived, like it or not. We are learning to
define the digital divide. Clearly there is a accept that we don't need to know how
need for more classroom experience and a
something works in order to make it work
more considered approach to teacher
for us. We can tolerate increasing levels of
training. We have yet to unravel the
technological ambiguity. The key to the
mysteries that lurk in the shadows behind
the technological classroom dynamic. We bridging of the digital gap is the power of
will continue to conceptually grapple with humanity, our intrinsic motivation and a
even more incredible technological curiosity to overcome the unfathomable.
possibilities, and struggle to work out their Ø Miranda Hamilton is an EFL teacher and
pedagogical value. But the digital gap is researcher looking into the effects of teacher
narrowing. The most significant element in beliefs and experience on the effective
this technological revolution is the individual integration of technology in the EFL
and our desire to tame the beast. We are classroom at the University of Cambridge,
living through a technological revolution. It's mh448@cam.ac.uk
 27

When to say it and HÔw to say it:

∆· 7 ı·Ó¿ÛÈÌ· ÂÈÎÔÈÓˆÓȷο ·Ì·ÚÙ‹Ì·Ù· Dealing with Parents Effectively
ÔÈfiÙËÙ· Ù˘ ÂÈÎÔÈÓˆÓ›·˜ ÛÙ›! ÓÔ˘˜. ™Â ÚÔÛˆÈÎfi Â›‰Ô, Ë ¤Ï-

∏ Ì·˜ ÙfiÛÔ Û ÚÔÛˆÈÎfi fiÛÔ

Î·È Û Â·ÁÁÂÏÌ·ÙÈÎfi Â›Â-
‰Ô, Â›Ó·È ¿ÓÙ· ÛËÌ·ÓÙÈ΋ Î·È fiÛÔ
ñ ¢ÂÓ ÂÈÛÙڤʈ ÙËÏÂʈӋ̷ٷ
Î·È ‰ÂÓ ··ÓÙÒ Û e-mails
Ÿˆ˜ Û˘Ì‚·›ÓÂÈ Î·È Ì ÙȘ ÏÔÈ¤˜
ÏÂÈ„Ë Ù˘ ÈηÓfiÙËÙ·˜ ‹ Ù˘ ‰È¿ıÂÛ˘
Ó· ·ÎÔ‡ÛÔ˘Ì Ú·ÁÌ·ÙÈο ÙÔÓ ¿ÏÏÔ
Ì·˜ Ô‰ËÁ› Û ·ÚÂÍËÁ‹ÛÂȘ, ¯·Ì¤-
™˘Ó¤¯ÂÈ· ·fi ÙË ÛÂÏ. 10

to come up with a survival guide.

also easier to deal with one set of
parents, in cace things go wrong.
ÈÔ Âȉ¤ÍÈÔ˜ Â›Ó·È Î·Ó›˜ ÙfiÛÔ ÈÔ ·Ú·‚¿ÛÂȘ ÙÔ˘ Â·ÁÁÂÏÌ·ÙÈÎÔ‡ Ó˜ ¢ηÈڛ˜, ¯·ÌËÏ‹ ·Ú·ÁˆÁÈÎfi- 2c. Where?
ˆÊÂÏË̤ÓÔ˜ ‚Á·›ÓÂÈ ÛÙÔ Ù¤ÏÔ˜. ∞Îfi- savoir vivre Î·È ·˘Ù‹ Ë Û˘Ó‹ıÂÈ· ··- ÙËÙ· Î·È ¿ÏÏ· ·ÎÚÈ‚¿ Ï¿ıË.
Let us take a look at these tips:
Select the meeting place carefully.
Ì· ÂÚÈÛÛfiÙÂÚÔ ‰Â Û ηÈÚÔ‡˜ ‡ÊÂ- ÓÙ¿Ù·È fiÏÔ Î·È Û˘¯ÓfiÙÂÚ·. ™Â οÔÈ· ñ §¤ˆ „¤ÌÌ·Ù· 1. Don’t wait for parents to come,
It should be quiet and private.
Û˘. ªÂÚÈΤ˜ ÊÔÚ¤˜ ÙÔ ÎfiÛÙÔ˜ Ù˘ ‰Â ˘„ËÏ¿ ÎÏÈÌ¿ÎÈ· Â›Ó·È ϤÔÓ Ô Î·- ÕÏϘ ÊÔÚ¤˜ ϤÌ «Î·Ù¿ Û˘Óı‹ÎË go to them
The seating is also crucial. The
η΋˜ ÂÈÎÔÈÓˆÓ›·˜ ÏËÚÒÓÂÙ·È ¿- ÓfiÓ·˜. ∞˘Ùfi fï˜ ‰ÂÓ ·ÏÏ¿˙ÂÈ ÙÔ ÁÂ- „‡‰Ë» ÁÈ· Ó· ÌËÓ ÏËÁÒÛÔ˘Ì ο- If there is a problem, parents
ÌÂÛ· Î·È Î¿ÔȘ ¿ÏϘ ÊÔÚ¤˜ ·›Ú- ÁÔÓfi˜ fiÙÈ Â›Ó·È ·Ï¿ Î·È ÌfiÓÔ ÌÈ· should be the first to know. This teacher should avoid sitting
ÔÈÔÓ Î·È ¿ÏϘ ÊÔÚ¤˜ ·Ú·ÏËÚÔ-
ÓÂÈ Ï›ÁÔ ÂÚÈÛÛfiÙÂÚÔ ¯ÚfiÓÔ ÁÈ· Ó· η΋ Î·È ·ÚÂ‹˜ Û˘Ó‹ıÂÈ·. ∫·È Ê˘- ÊÔÚÔ‡ÌÂ Û˘ÓÂȉËÙ¿ οÔÈÔ˘˜ ÁÈ· ›- helps to limit accountability. behind a desk, as this puts a
Ê·ÓÔ‡Ó ÔÈ Û˘Ó¤ÂȘ. ÛÈο ‰ÂÓ ·Ó·ÊÂÚfiÌ·ÛÙ ÛÙ· Ï›ÛÙ· ‰ÈÔ fiÊÂÏÔ˜ —οÙÈ Ô˘ ·Ú·ÙËÚÂ›Ù·È Teachers and schools should keep barrier between the two parties.
∆· ηϿ Ó¤· Â›Ó·È fiÙÈ Â¿Ó Û˘ÓÂÈ- fiÛ· «ÚÔÛˆÈο» ÙËÏÂʈӋ̷ٷ ·- Ì·˙Èο ÛÙȘ ‰È·ÊËÌ›ÛÂȘ .¯. ‰·Ó›ˆÓ a record of each time parents are Sitting side by side is friendlier
‰ËÙÔÔÈ‹ÛÔ˘Ì ÌÂÚÈΤ˜ ·fi ÙȘ ¯ÂÈ- fi ÙËÏÂÏ·ÛȤ Ô˘ ·Û¯›˙Ô˘Ó Ó· Û·˜ ‹ ËÏÂÎÙÚÈÎÙÒÓ. °È· ·Ú¿‰ÂÈÁÌ·: contacted. Informing parents can and more convenient when
ÚfiÙÂÚ˜ ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ, Ô˘Ï‹ÛÔ˘Ó ‰¿ÓÂÈ·, ÎÈÓËÙ¿ Î·È ·ÛÊ¿- «¿ÚÙ ‰¿ÓÂÈÔ Û 20 ÏÂÙ¿»... ÌfiÏȘ looking at written material.
take all forms: written or oral,
ÌÔÚԇ̠ӷ Á›ÓÔ˘Ì ÈÔ ÚÔÛÂÎÙÈ- ÏÂȘ, ·ÏÏ¿ ÁÈ· ÚÔÛˆÈο, ·ÏËıÈÓ¿ ·ԉ›ÍÂÙ fiÙÈ ‰ÂÓ ÙÔ ¯ÚÂÈ¿˙ÂÛÙ ‹ public or private. Personally, I 2d. Remove the blame or guilt
ÎÔ› Î·È Ó· ·˘Í‹ÛÔ˘Ì ÙËÓ ·ÔÙÂÏÂ- ÌËӇ̷ٷ ·fi ·ÏËıÈÓÔ‡˜ ·ÓıÚÒÔ˘˜ «·ÁÔÚ¿ÛÙ ÎÔ˘˙›Ó˜ ÛÙȘ ηχÙÂÚ˜
ÛÌ·ÙÈÎfiÙËÙ¿ Ì·˜. ∆· ıÂÙÈο ·ÔÙÂ- Ô˘ ÂÙÈÔ‡ÓÙ·È ÛÙ· ÛÎÔ˘›‰È·. like seeing parents in person, on from the parents.
ÙÈ̤˜ Î·È ¯ˆÚ›˜ ÙfiÎÔ»... Â¿Ó Â›ÛÙ their own when we are to talk
ϤÛÌ·Ù· ı· Ê·ÓÔ‡Ó ¿ÌÂÛ· ÛÙȘ ‰È·- ñ ∞ÁÓÔÒ ÙÔ˘˜ ‚·ÛÈÎÔ‡˜ ηÓfiÓ˜ We should not start by saying
À‰ÚÔ¯fiÔ˜ Ì ˆÚÔÛÎfiÔ ∫¤ÓÙ·˘ÚÔ ‹
ÚÔÛˆÈΤ˜ Ì·˜ Û¯¤ÛÂȘ Î·È ÛÙË ‚ÂÏ- ¢Á¤ÓÂÈ·˜ about sensitive issues. Written «There is a problem». We can
Ê˘ÛÈ΋ Í·ÓıÈ¿. ŸÏÔÈ ÔÈ ˘fiÏÔÈÔÈ
Ù›ˆÛË Ù˘ Â·ÁÁÂÏÌ·ÙÈ΋˜ Ì·˜ ÂÈ- ™ÙËÓ ·Ï‹ Ù˘ ÌÔÚÊ‹ ·˘Ù‹ Ë Î·Î‹ comments can be lost or ignored point out some good points the
ı· Ú¤ÂÈ Ó· ›¯·Ù ‰È·‚¿ÛÂÈ Ù· „È-
ÎÔÈÓˆÓ›·˜. Û˘Ó‹ıÂÈ· ÂÌÊ·Ó›˙ÂÙ·È fiÙ·Ó Ì·˜ ‰È·- Ï¿ ÁÚ¿ÌÌ·Ù·. ∏ ÚÒÙË ÂÚ›ÙˆÛË
and they are impersonal. It is learners has and then move on to
¶ÔȘ ›ӷÈ, ÏÔÈfiÓ, ÔÈ ¯ÂÈÚfiÙÂÚ˜ ʇÁÂÈ Ó· ԇ̠«Â˘¯·ÚÈÛÙÒ» ‹ «·- Â›Ó·È Ì¿ÏÏÔÓ Î·Ù·ÓÔËÙ‹, Ë ‰Â‡ÙÂÚË always good to arrange a face to the «but...» section. When the
ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ; ڷηÏÒ» fiÙ·Ó ˙ËÙ¿Ì ‹ Ï·Ì‚¿ÓÔ˘Ì ·Û˘Á¯ÒÚËÙË. face meeting with the parent/s parents try to explain why they
ñ ∂ÈÎÔÈÓˆÓÒ ÌfiÓÔ fiÙ·Ó ¯ÚÂÈ¿˙Ô- οÙÈ. ªÔÚ› Ó· «Í¯¿ÛÔ˘Ì» Ó· ¢- rather than to talk on the phone,
∫·È ÛÙȘ ‰‡Ô Ù›ıÂÙ·È ı¤Ì· ·ÓÂÈÏÈ- cannot do something, we should
Ì·È Î¿ÙÈ ¯·ÚÈÛÙ‹ÛÔ˘Ì οÔÈÔÓ Ô˘ Ì·˜ Â͢- especially if the teacher has never
ÎÚ›ÓÂÈ·˜. ∏ ·Ï‹ıÂÈ· ··ÈÙ› ÁÂÓÓ·È- wait for them to finish and then
™›ÁÔ˘Ú· Û·˜ ¤¯ÂÈ Û˘Ì‚Â› Î·È ›Ûˆ˜ ËÚ¤ÙËÛ ‹ Ó· ÛÙ›ÏÔ˘Ì e-mail Ô˘ met the parent before. Face to
fiÙËÙ· Î·È ÂȉÂÍÈfiÙËÙ·. ∏ ·Ï‹ıÂÈ·
(Â¿Ó Â›ÛÙ ÂÈÏÈÎÚÈÓ‹˜ Ì ÙÔÓ Â·˘Ùfi ı· ·ÎÔ‡ÁÂÙ·È ÈÔ Ôχ Û·Ó ··›ÙËÛË point out that we do not want
ÌÔÚ› Ó· ÔÓ¿ÂÈ ÌÂÚÈΤ˜ ÊÔÚ¤˜, ÙÔ face meetings are warmer, non
Û·˜) ÙÔ ¤¯ÂÙÂÈ Î¿ÓÂÈ ÎÈ ÂÛ›˜ Û ¿Ï- ·Ú¿ Û·Ó ·Ú¿ÎÏËÛË ÁÈ· οÙÈ. ™ÙȘ them to actually study for or with
„¤Ì· fï˜ Â›Ó·È ÈÔ Î·Ù·ÛÙÚÔÊÈÎfi. intrusive (what’s a good time to
ÏÔ˘˜. O ¿ÓıÚˆÔ˜ Ô˘ ˘Ô›ÙÂÈ Û’ ̤Ú˜ Ì·˜ Ë ‚·ÛÈ΋ ¢Á¤ÓÂÈ· ·Ú·- their child, but to monitor his
ñ ¶¿Û¯ˆ ·fi Ã∂∞ (ÃÚfiÓÈ· call these days?) and they are
·˘Ùfi ÙÔ ·‰›ÎËÌ· ÂÌÊ·Ó›˙ÂÙ·È ÌfiÓÔ fi- ÁΈӛ˙ÂÙ·È ÁÈ· ÔÏÏÔ‡˜ ÏfiÁÔ˘˜: ÔÈ
∂ÎÔÌ‹ ∞ÚÓËÙÈÛÌÔ‡) more convenient when tests and progress. Having a good list of
Ù·Ó „¿¯ÓÂÈ ÁÈ· ‰Ô˘ÏÂÈ¿, fiÙ·Ó ¤¯ÂÈ ¤- ¿ÓıÚˆÔÈ Û‹ÌÂÚ· ‚È¿˙ÔÓÙ·È ˘ÂÚ‚Ô-
Ó· Úfi‚ÏËÌ·, fiÙ·Ó ¯ÚÂÈ¿˙ÂÙ·È Û˘- ÏÈο, Â›Ó·È ÂÓÔ¯ÏËÙÈο ÂÁˆÎÂÓÙÚÈÎÔ›
∂›Ó·È Ôχ ‡ÎÔÏÔ Ó· ·Ú·ÙËÚ‹- marks need to be seen. suggestions or solustions and
ÛÂȘ Î·È Ó· ˘ԉ›ÍÂȘ Ù· Ï¿ıË ÙˆÓ 2. Preparing for a parent-teacher discussing these with the parents
ÛÙ¿ÛÂȘ, fiÙ·Ó ¯ÚÂÈ¿˙ÂÙ·È È‰¤Â˜, fiÙ·Ó («Í¤ÚÂȘ ÔÈÔ˜ Â›Ì·È ÂÁÒ, ÚÂ;») ‹ ·-
Á›ÓÂÈ Ï·ÛȤ˜ ÌÈ·˜ ÂÙ·ÈÚ›·˜ Î.Ï. ÏÒ˜ ‰ÂÓ ‰È‰¿¯ıËÎ·Ó ·fi ÙÔ Û›ÙÈ ‹ ¿ÏψÓ. O ¿Û¯ˆÓ ·fi Ã∂∞ fï˜ ÙÔ meeting is not plain sailing is also part of the homework we
∞Ó¿ÌÂÛ· ÛÙȘ ÂÚÈfi‰Ô˘˜ «·Ó¿Á΢» ÙÔ Û¯ÔÏÂ›Ô ÙÔ˘˜ Ù· ‚·ÛÈο ÂÚ› ¢Á¤- ¤¯ÂÈ ·Ó¿ÁÂÈ Û ÂÈÛÙ‹ÌË. should do beforehand.
The bigger the problem, the more
Ô‡Ù ʈӋ, Ô‡Ù ·ÎÚfi·ÛË, ›Ûˆ˜ Ì¿ÏÈ- ÓÂÈ·˜. ∂›Ó·È ‰È·ÚÎÒ˜ ·ÚÓËÙÈÎfi˜(Ë) ηÈ
carefully we have to approach the 2e. The real bet
ÛÙ· Ó· ÌËÓ ··ÓÙ‹ÛÂÈ Û ‰ÈΤ˜ Û·˜ ŸÌˆ˜ οı ·Ú·‚›·ÛË ·˘ÙÒÓ ÙˆÓ ÂÎÊÚ¿˙ÂÈ ÙȘ ·ÚÓËÙÈΤ˜ ÙÔ˘ ·fi„ÂȘ
Û˘Ó¯Ҙ Î·È Ì ¿ıÔ˜. º·ÓÙ·ÛÙ›Ù parent. As it has been pointed out Teachers should manage to stay
ÚÔÛ¿ıÂȘ ÂÈÎÔÈÓˆÓ›·˜. ‚·ÛÈÎÒÓ Î·ÓfiÓˆÓ —fiÛÔ ÌÈÎÚ‹ ÎÈ ·- the parent is related to all or most
Ó· Û˘Ó·ÓÙ‹ÛÂÙÂ ¤Ó·Ó Ù¤ÙÔÈÔ ¿ÓıÚˆ- silent. After the situation has
∫·È ÛÈÁ¿ ÛÈÁ¿ ÙÔ Û¯¤‰ÈÔ Â·Ó·- Û‹Ì·ÓÙË ÎÈ ·Ó ›ӷȗ ηıÈÛÙ¿ ÙÔ Â-
Ô, Ô ÔÔ›Ô˜ ‰ÂÓ ¤¯ÂÈ Ù›ÔÙ· ηÏfi Ó· of the aspects of the child’s been presented, we should let the
Ï·Ì‚¿ÓÂÙ·È fiÏÔ Î·È ÂÚÈÛÛfiÙÂÚÔÈ Ó· ÚÈ‚¿ÏÏÔÓ Î·È ÙËÓ ÎÔÈÓˆÓ›· Ì·˜ Ï›ÁÔ
ÂÈ ÁÈ· Î·Ó¤Ó·Ó Î·È ÁÈ· Ù›ÔÙ·. ªÂÙ¿ personality and might be very parents express themselves. We
·›ÚÓÔ˘Ó Â›‰ËÛË Î·È ·ÚÓÔ‡ÓÙ·È Ó· ÈÔ ‰˘Û¿ÚÂÛÙ· Î·È Ì·˜ ÂÈ‚·Ú‡ÓÂÈ
ÙÔ˘˜ ÚÔÛʤÚÔ˘Ó ÙË ‚Ô‹ıÂÈ¿ ÙÔ˘˜. Ì ÎfiÛÙÔ˜, ‰ÈfiÙÈ Î·Ó›˜ ‰ÂÓ ·ÓÙ·Ô- ÙÔ Ù¤ÏÔ˜ Ù˘ Û˘Ó¿ÓÙËÛ˘ ı· ·ÈÛı¿ÓÂ- sensitive. In a way we are passing sould use this opportunity to
ñ ∫·È Ô‡Ù ¤Ó· ¢¯·ÚÈÛÙÒ ÎÚ›ÓÂÙ·È ıÂÙÈο ÛÙËÓ ·Á¤ÓÂÈ·. ÛÙ ı˘ÌˆÌ¤ÓÔÈ —¯ˆÚ›˜ ÏfiÁÔ Î·È ·È- judgments about their family life listen an learn a bit more about a
∞˘Ù‹ Â›Ó·È Û˘ÁÁÂÓ‹˜ ·Ì·ÚÙ›· Ì ñ ∞ÎÔ‡ˆ... ·ÏÏ¿ ‰ÂÓ ÛËÌÂÈÒÓˆ Ù›·— Î·È ·ÓÙÈ·Ú·ÁˆÁÈÎÔ›. and despite the fact that we are side of our student we do not
ÙËÓ ÚÔËÁÔ‡ÌÂÓË. O ÂÚ› Ô˘ Ô ÏfiÁÔ˜ ∂›Ó·È ÙÚÔÌ·ÎÙÈÎfi˜ Ô ·ÚÈıÌfi˜ ÙˆÓ ŒÓ·˜ Ù¤ÙÔÈÔ˜ ¿ÓıÚˆÔ˜ ÌÔÚ› the professionals, they are the
really know. There will also be
˙ËÙ¿ÂÈ ÙË Û˘Ì‚Ô˘Ï‹ Û·˜, ¤Ú¯ÂÙ·È Û ‰˘Û¿ÚÂÛÙˆÓ Î·È ÎÔÛÙÔ‚fiÚˆÓ Î·Ù·- Ó· Û‚‹ÛÂÈ ÙÔÓ ÂÓıÔ˘ÛÈ·ÛÌfi Î·È Ó· Â- parents and this is their child so
ËÚÚ¿ÛÂÈ ·ÚÓËÙÈο ÙËÓ „˘¯ÔÏÔÁ›· questions from the parents’ side.
Â·Ê‹ Ì ÁÓˆÛÙÔ‡˜ Û·˜ ÁÈ· Ó· ÙÔÓ Â- ÛÙ¿ÛÂˆÓ Ô˘ ‰ËÌÈÔ˘ÚÁÔ‡ÓÙ·È ·fi what a teacher should do is find a
͢ËÚÂÙ‹ÛÔ˘Ó, Û·˜ ¯ÚËÛÈÌÔÔÈ› ÙËÓ ¤ÏÏÂÈ„Ë ÚÔÛÔ¯‹˜ ÛÙÔ ÙÈ ·ÎÔ‡ÌÂ. ÙˆÓ Û˘ÓÂÚÁ·ÙÒÓ ÙÔ˘ Î·È Î·Ïfi ı· ›- We should answer only direct
window of intervention and stick
Û·Ó Û‡ÛÙ·ÛË Î.Ï. ∫·Ï¿ ˆ˜ ‰Ò. ∆È ŒÓ· ÛËÌ¿‰È fiÙÈ Ô Û˘ÓÔÌÈÏËÙ‹˜ Ì·˜ Ó·È Ó· ÂÓÙÔ›˙ÂÙ·È Î·È Ó· ·ÔÌÔÓÒ- to it. Our role is to inform them questions and we should insist
Á›ÓÂÙ·È fï˜ fiÙ·Ó ·ÊÔ‡ ÔÏÔÎÏËÚˆ- ‰ÂÓ ·ÎÔ‡ÂÈ Ú·ÁÌ·ÙÈο ÙÈ ÙÔ˘ ϤÌÂ, ÓÂÙ·È ÂÁη›Úˆ˜.
about the possible results of their that we get simple. Yes, No
ı› Ë ‰Ô˘ÏÂÈ¿ ÙÔ˘ (ÂÈÙ˘¯Ò˜ ‹ ÌË ‰ÂÓ Â›Ó·È fiÙ·Ó ‰ÂÓ Î¿ÓÂÈ Î·ıfiÏÔ˘ ÂÚˆÙ‹- ∂˘Ù˘¯Ò˜ fiÏ· ‰ÈÔÚıÒÓÔÓÙ·È ·Ó answers to the core questions we
choices and help them set their
¤¯ÂÈ ÛËÌ·Û›·) Ô Î‡ÚÈÔ˜ à ÂÍ·Ê·ÓÈ- ÛÂȘ. ÚÔÛ·ı‹ÛÔ˘Ì ӷ ηÏÏÈÂÚÁ‹ÛÔ˘Ì pose.
priorities straight. If this is what
ÛÙ› ¯ˆÚ›˜ Ó· Û·˜ ÂÓËÌÂÚÒÛÂÈ ÁÈ· ŒÓ· ¿ÏÏÔ Î·Îfi ÛËÌ¿‰È Â›Ó·È fiÙ·Ó Î·Ï¤˜ ÂÈÎÔÈÓˆÓȷΤ˜ Û˘Ó‹ıÂȘ fi-
they truly want, we should just try 2f. Keep it short and sweet.
ÙËÓ ¤Î‚·ÛË ‹ ¯ˆÚ›˜ Ó· Û·˜ ÂÈ ¤ÛÙˆ Ô Û˘ÓÔÌÈÏËÙ‹˜ Ì·˜, ·Ú·ÊÚ¿˙ÔÓÙ·˜ ˆ˜ Ë ÂÈÏÈÎÚ›ÓÂÈ·, Ô Û‚·ÛÌfi˜ ÙÔ˘
to do the best out of a difficult A parent-teacher meeting should
¤Ó· ¢¯·ÚÈÛÙÒ; ™ÙË ¯ÂÈÚfiÙÂÚË ÂÚ›- ·˘Ù¿ Ô˘ Ú·ÁÌ·ÙÈο ›·ÌÂ, Ì·˜ ÏËÛ›ÔÓ Ì·˜ Î·È Ë Â˘Á¤ÓÂÈ·.
ÙˆÛË ‰Â ı· Í·Ó·Ì¿ıÂÙ Ӥ· ÙÔ˘ ¤ˆ˜ ‚¿˙ÂÈ «ÛÙÔ ÛÙfiÌ·» ÏfiÁÈ· Ô˘ Ô‡Ù ›- situation. not take more than twenty
ÙËÓ ÂfiÌÂÓË ÊÔÚ¿ Ô˘ ı· Û·˜ ¯ÚÂÈ·- ·ÌÂ, Ô‡Ù ̷˜ ‚Ú›ÛÎÔ˘Ó Û‡Ìʈ- ™.º. 2. Setting up a Parent-Teacher minutes, or tops half an hour. A
meeting. longer meeting is just a repetition
2a. When?
ºOPO§O°IKE™-EP°ATIKE™ Y¶OXPEø™EI™ K.•.°. Parent and teacher meeting
of the same things and it is
unnecessary.
™E¶TEMBPIO™ ·) K·Ù¿ÛÙ·ÛË ¶ÚÔÛˆÈÎÔ‡ (ÂÚÈÏ·Ì‚¿ÓÔÓÙ·È fiÏÔÈ should not take place on the spur In my opinion, the only real
ñ Afi 20/9 ˘Ô‚ÔÏ‹ ÛÙË ¢.O.Y. ¶ÚÔÛˆÚÈÓ‹˜ ¢‹- ÔÈ ÂÚÁ·˙fiÌÂÓÔÈ Ô˘ ÚÔÛÏ‹ÊıËÎ·Ó ·fi 1/9 ηıÒ˜ Î·È of the moment, and by that I do problem between parents and
ψÛ˘ ÁÈ· ÙÔ º.M.Y. Ô˘ ·Ú·ÎÚ·Ù‹ıËΠÛÙÔ ‰›ÌËÓÔ Ù˘¯fiÓ ·Ï·ÈÔ›). not mean the quick and informal teachers is lack of respect. If we
1/7 - 31/8. ‚) °ÓˆÛÙÔÔ›ËÛË ÙˆÓ fiÚˆÓ ÌÂÚÈ΋˜ ··Û¯fiÏËÛ˘ update a parent asks us for respect parents and if parents
ñ M¤¯ÚÈ 30/9 ˘Ô‚ÔÏ‹ ÛÙË ¢.O.Y. Û˘ÁÎÂÓÙÚˆÙÈÎÒÓ (fiÏˆÓ ÙˆÓ ÓÂÔÚÔÛÏËÊı¤ÓÙˆÓ Ô˘ ı· ··Û¯ÔÏËıÔ‡Ó between classes. If the student has
respect us by accepting to see
done something which requires
ηٷÛÙ¿ÛÂˆÓ ÚÔÌËı¢ÙÒÓ Î·È ÂÏ·ÙÒÓ (YÔ‚ÔÏ‹ Ì ÌÂÚÈ΋ ··Û¯fiÏËÛË). (TÔ ›‰ÈÔ ÈÛ¯‡ÂÈ Î·È ÁÈ· ÙȘ their child through our eyes, then
our attention, then the chat
̤ۈ Internet). ÚÔÛÏ‹„ÂȘ Ô˘ ı· Á›ÓÔ˘Ó ÛÙÔ˘˜ ÂfiÌÂÓÔ˘˜ Ì‹Ó˜. we can both benefit, but most
between classes is only good in
ñ M¤¯ÚÈ 30/9 ÏËڈ̋ ÂÈÛÊÔÚÒÓ IKA A˘ÁÔ‡ÛÙÔ˘. ™ÙËÓ ÂÚ›ÙˆÛË ·˘Ù‹ ÁÚ¿ÊÔ˘Ì ÛÙËÓ Î·Ù¿ÛÙ·ÛË ÚÔ- importantly, the precious one, the
order to schedule a meeting.
ñ EÓÙfi˜ 8 ËÌÂÚÔÏÔÁÈ·ÎÒÓ ËÌÂÚÒÓ, ·fi ÙËÓ ËÌÂÚÔ- ÛˆÈÎÔ‡ ÌfiÓÔ ÙÔ˘˜ Ó¤Ô˘˜). 2b. How many? student, is the one who can
ÌËÓ›· ÚÔÛÏ‹„ˆ˜, ηٿıÂÛË ÛÙÔÓ O.A.E.¢. ÙˆÓ OKTøBPIO™ Accept only one set of parents, benefit the most.
AÓ·ÁÁÂÏÈÒÓ ¶ÚfiÛÏ˄˘, ÙˆÓ ÚÔÛÏ‹„ÂˆÓ ÚÔÛˆÈ- ñ YÔ‚ÔÏ‹ A.¶.¢. IKA ÙÚÈÌ‹ÓÔ˘ 1/7-30/9 ˆ˜ ÂÍ‹˜: even if two students have the
ÎÔ‡ Ô˘ ı· Á›ÓÂÈ ÙÔÓ ™Â٤̂ÚÈÔ (ÙÔ ›‰ÈÔ ÈÛ¯‡ÂÈ Î·È ÁÈ· ·) XÂÈÚfiÁÚ·ÊË ‹ ‰ÈÛΤٷ: 11-18/10 ·Ó¿ÏÔÁ· Ì ÙÔ same problem or if they have both
ÙȘ ÚÔÛÏ‹„ÂȘ Ô˘ ı· Á›ÓÔ˘Ó ÙÔ˘˜ ÂfiÌÂÓÔ˘˜ Ì‹Ó˜). ÙÂÏÂ˘Ù·›Ô „ËÊ›Ô A.M.E. ‚) Internet: ̤¯ÚÈ 31/10. misbehaved. This guarantees We would like to thank TESOL
ñ EÓÙfi˜ 15 ËÌÂÚÔÏÔÁÈ·ÎÒÓ ËÌÂÚÒÓ Î·Ù¿ıÂÛË ÛÙËÓ ñ M¤¯ÚÈ 31/10 ÏËڈ̋ ÂÈÛÊÔÚÒÓ IKA ™ÂÙÂÌ‚Ú›- privacy and we are all going to be GREECE for the permission to
EÈıÂÒÚËÛË EÚÁ·Û›·˜: Ô˘. more open to admit to things. It is reprint the article