- Andrés se
emociona al ve las estrellas
Andrés está tomado de la mano de su
tío
Andrés busca en el cielo el alma de su
abuelo
EVALUACIÓN ESCRITA DE
INGLÉS
Name Date.
i - Read the text and say how many
paragraphs it has.
ii -
Choose a possible title
Travelling
A long distance to work
Means of transport
iii- Answer
How does he go to work?
Does he walk from his house to the local
station?
How many hours does he work if he takes an
hour for lunch?
iv - Write in the Singular
Those children usually
play with their friends in the park.
v - What kind of word is "their" in the
previous sentence?
A noun, a verb, or an
adjective
vi -In the sentence: "the children are playing now. look at
them!"
What does "them" stand
for?
vii - Join the sentences using: but - because - so - if
Mary must stay in bed. She is
ill.
You will pass the exa.m.. You
study.
I like music, I don´t like
singing.
Paul is a good footballer. He is going to
play well.
viii – Put the words in order
intelligent - Robert – an – student –
is
a – I – new – computer – got –
haven´t
from – those – are – where - ? –
tourists
Informe de avance al 10 de junio de
2003
Los pasos que hemos realizado en nuestra investigación han sido posibles
gracias a la buena disposición de las autoridades, docentes, personal
administrativo y alumnos de la Escuela de Comercio Nº 1 “Cap. Gral. Justo José
de Urquiza” de Paraná.
Actividades
realizadas
Nos
reunimos con colegas de inglés y lengua. En estas reuniones informales, les
comenta.m.os sobre el propósito de nuestra investigación. Todos ellos
manifestaron interés en el tema y nos ofrecieron su colaboración.
Conseguimos y analiza.m.os los progra.m.as de
la asignatura “Lengua” correspondientes al ciclo EGB 3 (ver anexo).
Constata.m.os que los contenidos gra.m.aticales de lengua materna que
considera.m.os necesarios para un mejor aprendizaje del inglés, están incluidos
en los mismos
.
Realiza.m.os entrevistas (ver anexo) a siete
colegas que dictan inglés en 1er
año de Polimodal en el establecimiento elegido y
tabula.m.os la información obtenida:
Pregunta Nº 1
|
|
si |
no |
|
explican
contenidos de lengua materna |
7 |
0 |
Pregunta Nº 2
|
alumnos con
conocimiento de gra.m.atica de la lengua
materna |
10% |
20% |
30% |
40% |
50% |
60% |
70% |
80% |
90% |
100% |
|
docentes |
|
4 |
|
2 |
|
1 |
|
|
|
|
Pregunta Nº 3
|
alumnos con
conocimiento de gra.m.ática de la lengua
materna |
tienen mas
facilidad |
no tienen mas
facilidad |
|
cantidad de
docentes |
7 |
0 |
Asistimos a las reuniones con la Comisión de
Plurilingüismo dependiente del Consejo General de Educación de la provincia de
Entre Ríos. De esta experiencia surgen algunos conceptos muy importantes para
nuestra investigación, a saber:
El
análisis de la interlengua del estudiante con sus rasgos de sistematicidad y
dinámica se extiende simultánea.m.ente a los saberes declarativos y
procedurales. Así, las investigaciones describen a la vez las actividades
mentales relativas a la adquisición de una
lengua extranjera y a las repercusiones concerniendo al estatus mental de
los conocimientos lingüísticos disponibles
A la
totalidad de los saberes lingüísticos , se añaden experiencias didácticas ganadas paralela.m.ente a la adquisición
(dirigida) de cada lengua meta. La didáctica del plurilinguismo quiere analizar
todo ese potencial inferencial; tanto a los niveles de las superficies de los
idiomas en interacción – esto concierne a las bases lingüísticas de
transferencia que sean positivas o negativas — como al de la explotación de
estrategias y técnicas de aprendizaje.
En
una perspectiva proactiva, el análisis enfoca la integración mental de
informaciones nuevas que entran en interacción con los pre-saberes: En una
perspectiva retroactiva se orienta hacia el conjunto de los factores que
explican la fijación de los saberes anteriores y el mantenimiento de su
funciona.m.iento. Esta interacción no asegura sola.m.ente el crecimiento de los
saberes declarativos y de los saberes-hacer, sino conducen ta.m.bién a la
creación de la gra.m.ática espontánea que se constituye en el momento en que el
individuo comienza a comparar las superficies de la lengua materna con aquellas
de una lengua extranjera.
Durante el interca.m.bio de opiniones con los
colegas, surge una segunda hipótesis:
“El
aprendizaje del inglés ayuda a reflexionar sobre nuestra
lengua”. La
cual queda formulada para futuras investigaciones.
Controla.m.os los registros de calificaciones
de los alumnos y tabula.m.os la información obtenida., descartando aquellos que
estudian Inglés en forma particular y los que cursan Francés.
|
|
Cantidad |
Porcentaje % |
|
Ingresan |
159 |
100 |
|
Cursan Inglés |
91 |
57.23 |
|
Aprobaron Inglés en
Noviembre |
73 |
80.22 |
|
Aprobaron Inglés en
Diciembre |
10 |
10.99 |
|
Aprobaron Inglés en
Marzo
|
7 |
7.69 |
|
Adeudan Inglés |
1 |
1.10 |
|
Aprobaron Lengua en
Noviembre |
72 |
79.12 |
|
Aprobaron Lengua en
Diciembre |
15 |
16.48 |
|
Aprobaron Lengua en
Marzo
|
3 |
3.30 |
|
Adeudan Lengua
|
1 |
1.10 |
Administra.m.os
las evaluaciones y tabula.m.os los resultados obtenidos.
|
Habilidad |
Inglés |
Castellano |
|
|
Siempre |
Nunca |
A/V |
Siempre |
Nunca |
A/V
|
|
Reconoce partes de un texto.
|
45.66 |
54.34 |
- |
100 |
- |
- |
|
Identifica idea
principal
|
78.26 |
21.74 |
- |
78.26 |
21.74 |
- |
|
Responde preguntas
sobre el texto
|
34.78 |
6.52 |
58.70 |
39.13 |
13.04 |
47.83 |
|
Reconoce sistema
morfológico
|
89.13 |
4.35 |
6.52 |
10.56 |
41.30 |
48.14 |
|
Maneja sintaxis de
la lengua
|
91.31 |
8.69 |
- |
73.92 |
26.08 |
- |
|
Usa marcadores
cohesivos
|
50 |
50 |
- |
56.53 |
43.47 |
- |
|
Utiliza ortografía
correcta
|
30.43 |
34.78 |
34.79 |
86.95 |
6.52 |
6.53 |
|
Utiliza puntuación
correcta
|
47.82 |
15.21 |
36.97 |
36.95 |
6.52 |
56.53 |
|
Reconoce sistema
semántico
|
47.82 |
8.69 |
43.49 |
71.73 |
26.08 |
2.19 |
Nota:
A/V a veces
Consideraciones
Finales
Nuestra inquietud surgió a partir de
inconvenientes que enfrenta.m.os diaria.m.ente en el aula especialmente cuando
tenemos que desarrollar contenidos referentes a la sintaxis de la lengua inglesa
y que sabemos son compartidos por la mayoría de nuestros
colegas.
Esta
investigación nos ha brindado la
posibilidad de llevar a la práctica y comprobar ideas surgidas a lo largo de nuestra práctica
profesional.
Como
la lengua es un todo y no es posible evaluar la sintaxis en forma aislada,
decidimos incluir otros aspectos de la lengua en las evaluaciones. Esta
información nos brinda un
panora.m.a más a.m.plio y detallado que podrá dar origen nuevas
investigaciones.
Una
vez administradas las evaluaciones, tabulados los datos y calculados los
porcentajes, analiza.m.os cada una de las habilidades, comparando los resultados
obtenidos en cada idioma. Llega.m.os a las siguientes
conclusiones:
Los
alumnos tienen mayor habilidad en Inglés para reconocer las partes de un
texto.
En
a.m.bos idiomas coincide y es elevado el porcentaje de alumnos que identifica
ideas principales.
Siempre responden a las preguntas referidas
a un texto, teniendo mayor
dificultad en Castellano para precisar las mismas.
Es
bajo el porcentaje de alumnos que conoce la morfología en Inglés, siendo todo lo
contrario en Castellano.
Es
alto y mayor el porcentaje de alumnos que reconoce el sistema semántico en
Inglés.
En
a.m.bos idiomas aproximada.m.ente el 50% de los alumnos reconoce los conectores
utilizados en un texto.
Es de
destacar que la ortografía es mejor en Inglés que en Castellano. En este punto,
surgen los siguientes interrogantes: ¿Se debe esto a que los alumnos utilizan a
diario mayor número de vocablos en Castellano? O ¿es a causa de que los alumnos prestan mayor atención a la
escritura de los vocablos en Inglés
por ser una lengua extranjera?
En
a.m.bos idiomas, menos del 50% de los alumnos utiliza correcta.m.ente la
puntuación, presentando mayor dificultad
en Inglés.
Del análisis anterior se desprende
que en semántica, ortografía y reconocimiento de las partes de un texto,
los resultados obtenidos fueron mejores en Inglés que en
Castellano.
En cuanto al punto al que nos referimos específica.m.ente en la hipótesis
y que dió origen a la presente investigación, de acuerdo a los porcentajes
observados en a.m.bos idiomas concluimos:
Tanto en inglés como en castellano es alto el porcentaje de alumnos que
utilizan correcta.m.ente la sintaxis: 91,31 % en castellano y 73,92 % en
inglés.
El
porcentaje de alumnos que no logra utilizarla correcta.m.ente es del 8,69 % en castellano y del 26,08
% en inglés .
Por
lo tanto, se demuestra en forma parcial nuestra hipótesis, ya que se observa un
porcentaje del 17,31 % de alumnos que conocen la sintaxis del castellano y
no logran realizar la transferencia
para el aprendizaje de la misma en inglés lo que origina un nuevo interrogante :
¿qué otros factores condicionan este aprendizaje?
Sin embargo, y
teniendo en cuenta el desenvolvimiento de los alumnos de acuerdo a los
resultados anuales que se desprenden del análisis de las libretas de
calificaciones, el porcentaje de
alumnos que aprueban en Noviembre,( Inglés: 80,22% Lengua:79,12%) que recuperan en
Diciembre, (Inglés:10,99% Lengua:
16,48% rinden en Marzo (
Inglés:7,69% Lengua: 3,30%) o
llevan previas (Inglés: 1,10% Lengua: 1,10%), es muy similar en a.m.bas
asignaturas.
©
2003 by Liliana Geranio & Viviana Iglesias. All
rights reserved.
------------------------------------------------------------------------
2.- A JOURNALIST´S
IMPRESSIONS OF ARGENTINA
Our dear SHARER Dr. Alicia Ramasco
has sent us this article which a friend of hers wrote about our
country:
Impressions of
Argentina
Eric
Freedman –
Assistant Professor of Journalism - Michigan
State University
There’s an energy on the streets of Buenos
Aires – vendors with knickknacks and baked goods and lottery tickets, musicians
and mimes and dancers, kiosks stacked with newspapers and magazines,
professional dog walkers with a half-dozen or more leashed pets. One afternoon
we watched the marchers of Madres de la Plaza, accompanied by drums and banners,
as they rallied within view of the Casa Rosada. Even late at night in mid-week,
cafes are open, children are out with their parents, employees hand out flyers
promoting restaurants and leather shops, and people line up at the movie
theaters.
At the sa.m.e time, there’s a high level of
police visibility. Officers (mostly male) in bulletproof vests stand on the
streets and uniformed security guards are posted in many stores and fast food
places. There are beggars as well (as there are in some places in the United
States), many of these are women holding children and stationed in front of
tourist attractions such as the Catedral Metropolitana on Plaza de Mayo.
#
Cemeteries are often described as cities of
the dead. The Cementario de la Recoleta fits the description right-on with
mausoleums cheek to cheek like townhouses. There is a similarity to most of
them, with their angels and crucifixes, square corners, domes of stone and
stained glass, bronze plaques and glass doors. So many who were once rich,
fa.m.ous, powerful or all three are here, generals and mayors and captains of
banking and industry, all equals now with their na.m.es largely forgotten.
No sign points visitors to the Duarte
mausoleum, which holds the remains of the most fa.m.ous resident of Recoleta,
Eva Marie Duarte de Peron, but visitors find it and the modest plaque with her
na.m.e. Admirers have woven silk flowers through the iron grating, and two large
bouquets – one from the Departmento de la Mujer and the other from FENTOS lay in
front, marking the National Day of Women – fresh roses and lilies, hyacinth and
carnations wilting in the heat of an early fall afternoon. Ca.m.eras flash and
visitors pose. Nobody pays attention to the polished black mausoleum directly
opposite, that of Paride Giacomazzi y Fa.m.ilia, and nobody seems to offer a
prayer for them.
There are certainly many stories here,
stories not of the fa.m.ous but of those whose graves evoke questions. For
exa.m.ple, who was Liliana Crociati de Szasza, memorialized in a bronze statue
with her dog, el fiel a.m.igo Sabu? We can see that she was slender, died young
(1944-1970) and had long straight hair. Red and pale purple flowers growing next
to the statue add color to her generally somber surroundings, but her history
remains a secret to passers-by. And who was the man na.m.ed Roverano, depicted
in a sculpture wearing a sailor’s uniform and clutching a sailor’s cap in his
right hand – his left hand missing, either in life or posthumously chopped off
by a vandal? We see him stepping off a sinking ship carved into stone, the
Ayudate, but his history also remains undisclosed.
We are left with other questions too. Why
does one mausoleum have a lion’s head knocker door knocker? Do mourners need
permission from the dead to enter? As for the woman whose friends remembered her
virtues on the first anniversary of her 1942 death, did they remember her on the
second and the third and the fourth anniversaries as well?
#
Las islas del Delta de Rio Parana de las
Palmas are a mosaic still being formed by nature and, we are told, that is also
true of their residents -- some eccentric, some wealthy, some poor squatters,
most independent in spirit, a mix of escapists and realists, happy in relative
solitude compared to the crowds and congestion of Buenos Aires. City dwellers
escape to the delta for a day or on weekends. Members of rowing clubs started by
Italians, French, British, Spanish and other ethnic settlers train here, their
oars painted loyally in the colors of their clubs.
But it’s the year-round inhabitants who shop
at the little stores, travel by their own boat or water bus, send their children
to island schools and worship at island churches. Electric power lines run
through and occasional TV satellite dishes are apparent, but some choose to go
without electricity. One fa.m.ily of squatters lived for a while on a rusting,
abandoned boat that we kayaked past.
Meanwhile, developers’ plans are underway to construct resorts. What
would the English poet John Donne, who wrote how “no man is an island,” have
thought about this place?
© 2004
by Eric Freedman. All
rights reserved
----------------------------------------------------------
3.- JOHN BURNSIDE´S POEMS
ON ARGENTINA
Our dear SHARER Mary Godward writes to
us:
Dear All,
I have
just received these poems from John Burnside on his visit to Argentina. in his
e-mail he said, 'I finally finished the suite of poems I started when I was
travelling around on my last visit to Argentina. Here it is - Argentine songs,
in my manner -'
In
Argentina
I.- Plaza San Martín (Tango)
I keep coming back
to the
city I know from a drea.m.:
no one at all on the street
and the land
all around
haunted by winds
and the silt-coloured murmur
of
gauchos.
Mostly, it's not like that
- there are people and
buildings
women with fla.m.es in their eyes
and a river of
boys
hoping for something more
than manhood
- a tango,
say,
a dance they can sift from the night
or a song in the
blood
that others could see
in the slow work we make
of a
lifetime.
Mostly, it's guesswork and noise
like the business of
home
but now and again
for moments that don't quite begin
a
person can come to himself
on San Martín
- a person not quite
the
person I might have been
and no more or less happy or true
than a
stranger's childhood
- come to himself in the dawn
as a
waking drea.m.
and matching the shadows he knows
with the shadows he
finds
in the garnet and star-tinted blooms
of the palos
borrachos.
II.- Una canción en la niebla
(Milonga)
What we mean when we talk about love
is probably
not what we think, and has mostly to do
with the noise of the wind, or
the rain, or the glimmer of lights
in a fog that can drift in from nowhere
and fill the square
with something like the opposite of song:
not
silence, exactly, but all that a silence infers
from windows and empty
streets
and the promise of dawn.
What we mean
when we talk about love
is not what we thought we meant, when the music
began
and the singer stepped out of the dark, like a wounded bird,
to
tell us about the night, and the colour of distance,
how everything turns
around us and how we turn
from one to another, resisting the pull of the
dark;
and even when we walk out in the first
glimmer of day, together,
it always seems
what we mean when we talk about love is mostly a
way
of seeing ourselves alone in another place,
awake in a world we
had never expected to find
and ready to dance, in the absolute blue of the
morning.
III.- Near the Plaza de Mayo
(Tango)
It was mostly a night like this,
or had been, till
a shadow in the wall
detached itself
and stepped into the
dawn.
A man, I thought, with something in his look
I knew from long
ago, a formal grace
from picture books, or old films: something
faint,
as if it had been washed out, then retouched
with skill and
love and judgement; imprecise,
though none the worse for that;
approximate
as beauty always is, and not to be
remembered or
described
by such as me: a not-quite human form
returning to a street
it must have known
to look again, as if there might have been
some
detail it had missed, or only half-
recalled, the day it slipped from out
this world
and soared, through miles of light, to touch the
sea.
IV.- The Argentine Skunk
(Cha.m.a.m.é)
We had stopped the car and were out
in the
wide dark of the pa.m.pas,
scanning the numberless stars for The Southern
Cross,
while the driver sat at the wheel, with his mate and beads,
so
my head was tipped to the sky
when I smelled it: a sour-water
stink
crossing the river of highway that ran to Brazil;
the animal gone,
by then, and my mind half away
in pursuit, before you told me what it
was:
the skunk of the pa.m.pas, hog-nosed and quick as the wind,
vanishing
into a legend of scrubland and dust
that stayed in my head for days, while
the stars burned out
and the old creatures hurried away to their holts
and lairs
at the edge of my mind, the creatures I never see
but scent, as
their paths cross mine, in the starry dark,
brothers from somewhere near
Eden, whose warmth is my own.
I hope
you've enjoyed reading the poems, they are 'very Burnside'.
Kind
regards
Mary
Mary
Godward
Manager Knowledge and Learning
British Council
----------------------------------------------------------
4.- WHATEVER
HAPPENED TO VIDEO IN THE EFL CLASSROOM?
Our
dear SHARER Sergio A.m.brosino from La Plata wants to SHARE this article with
all of us:
"What ever happened to
video in the classroom?"
by Peter
Viney
Ten years
ago, many people believed that video would be a basic everyday (even every
lesson) part of classroom teaching by now. So what happened?
I started
using video with open reel tape in the 1970s, so this is not cutting edge
technology. I've co-written thirteen video courses in the last twenty years.
During those twenty years I've told audiences that in the near future, video
would be such a normal, everyday part of English teaching that we wouldn't
imagine teaching without it. Well, the future's here, and where's video?
“Most
teachers recognize the value of exposing their students to a wider world of
English than just the teacher's face, voice and desire to be centre-stage.”
Why
should video be an essential tool? The audio CD or tape is a specialist tool,
and is actually a bit silly. How many people spend time listening to talk radio
discussions and dra.m.as (apart from course book authors)? The realistic uses of
audio are for telephone work, songs, self-access audio "drilling" exercises,
specialist listening exercises and specialist pronunciation work. It's a dumb
medium for presenting situations, showing discussions, or imparting factual
information. Even that old listening for specific information chestnut, the
airport announcement, has largely been rendered redundant because computer
screens have replaced audio announcements. We get a student struggling in a
foreign language, so what do we do? By using audio as the major and preferred
source of pre-recorded input, we blindfold him or her, and restrict their
information flow to ears only.
Let's
ignore the extreme Luddite teacher ("Teaching aids? Bunkum! Give me a pointed
stick and a flat piece of sand, that's all the visual aids you'll ever need.
Chalk and blackboards? Luxury!"). There are people who still in 2004 view the
humble cassette-player as the march of merciless machines into the human world
of language teaching. There are still some who say, "Cassettes? Never use them.
They get much more of a laugh out of me acting it all out." However, most
teachers recognize the value of exposing their students to a wider world of
English than just the teacher's face, voice and desire to be centre-stage. There
is no doubt in my mind that this wider world should embrace visuals as well as
sound.
Almost
any work is enhanced by video. A short list:
Presentational material, fiction or
factual
Factual information
Cultural background
Dra.m.atic acting out
Pronunciation work with close ups on faces
Communication skills (with emphasis on
non-verbal communication)
Picture-only material for presentation or
discussion
Songs with visuals / mouth movements
News and current affairs (preferably
recorded within the last 24 hours)
Sports material – great if you take the
soundtrack off a race and get students to predict and bet on the result
Longer material for extensive viewing
Unstructured real material for extensive
viewing
Film versions of literature
Ca.m.era work filming students doing pair
work, role plays, monologues, discussion
Student-made films and projects
Teacher-training, with the focus on
performing micro skills like eye contact, question technique, gesture
Some of
it you get from publishers. Some of it you record off air. Some of it is
authentic DVDs or video. Some of it you film in class. Some your students film.
You can
now find video material to fit every taste or method. So why aren't more
teachers using video on a daily basis? Is it the hassle of lugging a trolley to
the classroom? Is it having to pre-book-equip.m.ent? Is it having to rely on
technicians? None of this should be true nowadays. Are schools too mean to
invest in the hardware and software? I admit that video is a problem for a
teacher travelling around between companies or private students, but already you
could get around that with a laptop and a
DVD.
The
pre-requisite is a TV screen and a readily-accessible video or DVD player in
every classroom. (See technical note below). I'll never do it, but if ever I
opened a language school, there would be video in every room. I'd use it in 50%
or more of lessons. Sometimes it would be a whole lesson. Most often it would be
a ten minute phase. In a perfect world, with lots of money, I'd have a fixed
digital ca.m.era that could be used at any time to record a role-play or other
activity. This does not need state-of-the-art hardware either. Unless you're an
accomplished ca.m.era operator, a fixed ca.m.era is the best option, the wide
shot being far less disconcerting than a.m.ateur ca.m.era work.
Years
ago, we were working on material (Grapevine) where every fifth lesson
could be replaced by a parallel video lesson. At the time, I said "Next time we
do a major course, there'll be one or two-minute videos for every lesson". That
would have been ideal, as video wouldn't take over a lesson, but be a segment.
We haven't done it because purely and simply there isn't the market to make it
viable.
So, why
isn't video the universal classroom tool now? Is it the awkwardness of using it?
Are schools too mean to invest? Is it price? Companies think nothing of
upgrading computer software yearly. I have boxes of old versions of Word and
Photoshop. I just paid nearly £100 ($190) to upgrade Macintosh System 10.2 to
system 10.3. But as soon as video is mentioned, they say "I can buy Pirates
of the Carribbean for $20. Why should I pay $200 for a video course?" The
answer is that one sells in hundreds or if very successful indeed, thousands.
The other sells in millions and has already recouped all its production costs on
theatrical release. Teachers might complain about the high cost of ELT video,
but most ELT videos are lucky to break even on their production costs. Videos
are largely seen as "loss leaders" by some publishers (not mine, I hasten to
add) designed to support main courses rather than as projects in their own
right. And some publishers have been selling off very cheaply made (or
bought-in) videos at unrealistic prices, thus undermining the price of quality
videos, and also putting people off video by palming teachers off with poor
quality material.
I wonder
if it's that video takes lessons in a certain direction and therefore eats up
too much time? Is it regarded as a passive medium? It shouldn't be, as video
should be something students work with in an active way with the full range of
paired, grouped, individual and class-centred activities. Video used properly is
NOT a passive viewing experience and needn't control the shape of the lesson.
I even
wonder if it's the sort of misguided video talk at conferences ("How I used the
Extended Version of Lord of The Rings with my Pre-Intermediate Tourism
class with exa.m.ples of the worksheets I used over the three years it took").
This has been aggravated by the strange decision of IATEFL to combine their
video special interest group with their literature special interest group. Any
idea that the two are related betrays a deeply-misguided view of video. There
has been far too much emphasis on using full-length authentic material at the
expense of tailor-made ELT material. I see video as an addition to the teaching
repertoire, not an end in itself. If students want to labour through a three
hour film, it may be useful, but they can do it in their own time.
The cost
of a purpose-made ELT video per student per minute is still very low, comparable
with photocopying costs in many cases. In the end, it can't be lack of material
anymore, though my drea.m. of having 40 or 50 one or two-minute segments to
accompany a course has not been achieved, and I can't see it happening in the
present climate. But I detect a general lack of enthusiasm connected to video
nowadays that is depressing. I can't imagine teaching by blindfolding the
students any more than I can imagine teaching with the whole class wearing
earplugs.
Technical Note: Video and DVD
One
second of video has 25 fra.m.es or pictures in the PAL system (UK, Germany) or
30 fra.m.es in the older NTSC system (Japan, North A.m.erica). Realistically,
PAL has more accuracy for copies of feature films, because movies are filmed at
24 fra.m.es a second. PAL generally plays them one twenty-fifth faster, which
you won't notice. NTSC has to "double" random fra.m.es to get the number to
thirty, which makes it jerkier.
Soon it
will be DVD, but DVD isn't as good as video for a lot of activities, because
it's harder to freeze on a single fra.m.e. DVD works by compression. It only
records the changes between one fra.m.e and another and composes them into a
picture. Without a lot of fiddling around it's hard to get within 5 or 6
fra.m.es of where you're going. When you're working with facial expressions, you
really need to get the precise fra.m.e quickly. We discovered this while writing
the ELT version of A Grand Day Out. We obtained the DVD with subtitles
and started work. To replace the existing dialogue with simplified dialogue
requires careful attention to mouth movements, and by the second day of writing,
we'd returned to the video.
© 2004 by ELTNews- The Web site for
English Teachers in Japan
------------------------------------------------------------
5.- KICKING OFF WITH TONS
OF CLASSROOM ENERGY
Our dear SHARER and friend
Alejandra Jaime has got an announcement to make:
Anglia Exa.m.ination Syndicate in
collaboration with English & Fun
have the pleasure to announce their first ELT Seminar in 2004: Kicking
off with tons of classroom energy
Saturday, 24th April - 09.00 a.m. -
02.00 p.m
Venue:
Instituto San Isidro Labrador - Av. San Isidro 4640 - Ciudad de Buenos Aires
Registration
09.00 - 09.30
a.m.
First
Session
09.30 - 10.45
a.m.
1. Prof.
Oriel Villagarcía M.A.
On behalf of Richmond
Publishing
"Visualize to learn"
Visualization, the technique of
making pictures in your mind is usually associated with mind control, new ageish
therapies or metaphysics. Strictly speaking, however, practically all of us
visualize at one time or another even if we are not aware of it. Visualization
can be put to good
use in the English language
classroom to teach vocabulary, gra.m.matical structures, and to provide
opportunities for conversation, a.m.ong other things. Visualization is very easy
to implement and can really help students become better learners. This workshop
will show you how.
Oriel Villagarcía completed his
studies as Profesor en Inglés with a Magna Cum Laude distinction at the
Universidad Nacional de Tucumán. He did graduate studies in Linguistics at the
University of Texas as a Fulbright Scholar and obtained his M.A. in Linguistics
for language teaching at the University of Lancaster as a British Council
Scholar. He has recently started “Tools for Teachers”, an organization that aims
at bringing insights to teachers from fields not usually associated with
ELT.
Second
Session
11.15 a.m. - 12.45
p.m.
2. Prof.
Fernando Armesto
“Are ga.m.es a serious
matter?"
*Ice breakers * Reading / Writing
Fun Activities
*Springboards for reading *Springboards for writing *Springboards for vocabulary
work *Playing ga.m.es
using Dra.m.a Techniques *Teacher /
Student-crafted ga.m.es
* Come and share the experience of
playing Ga.m.es and discover their potential educational value.
* Discover how working with
icebreakers, vocabulary ga.m.es, ga.m.es to practise writing, Dra.m.a
techniques, reading aloud, storytelling can be an unforgettable
experience.
* Play ga.m.es made by real
students and have FUN!!
Fernando
Armesto is a Lecturer at Instituto Nacional Superior del Profesorado Técnico de
la Universidad Tecnológica Nacional in the Chair of Didactics for EGB 1 and 2.
He is also the Head of English at Colegio
Belgrano Uno for both Primary and Secondary levels.
He is a formerly Lecturer in
English Language at Universidad Austral and Universidad del Museo Social
Argentino (UMSA) and Head of English Department at Instituto de Educación
Integral. Since 1996, he has
specialized in E.S.P., working in the fields of Hotel Catering and Management
and Journalism. He is the co- author of the resource book "Tourism" published by
Macmillan Heinemann. He has been engaged in several Dra.m.a Clubs and Societies
and as a teacher he has worked with Dra.m.a with children, adolescents and
adults. He has also participated as an actor and assistant director in various
plays with the Buenos Aires Players and The Suburban
Players.
Third
Session
01.00 - 01.45 p.m.
3. Anglia Exa.m.ination
Syndicate
Prof. Natalia Kunz will conduct a
45-minute presentation on the latest 2004 news regarding Anglia
Exa.m.s.
Raffles - Presentation of
Certificates
01.45 - 02.00
p.m.
Registration Fee: Anglia
Members $ 10
Non-Anglia Members
$12
To register, please
contact:
------------------------------------------------------------
6.- THE
MAGIC OF TEACHING ENGLISH TO YOUNG CHILDREN
Pontificia Universidad Católica Argentina “Santa
Maria de los Buenos Aires” and Centro de Graduados en Lenguas Vivas de la UCA
announce:
Omar Villarreal in “The Magic of Teaching
Children”
At
UCA - Edificio San Alberto Magno –
Av. Alicia Moreau de Justo 1500. Puerto Madero –
Capital Federal
On Fridays 7th - 14th - 21st – 28th of
May from 4:00 to 6:00 p.m.
THE MAGIC OF TEACHING
CHILDREN
* How can children acquire English "naturally"
in Kindergarten and the Primary School?
* When should very young children start
reading and writing in English
?
* How can we choose the best methodology,
textbook and materials to suit the needs of the children in different learning
contexts (bilingual schools, state schools and private classes)
?
* How should we go about planning our work for
the whole year,for each of the units and for each lesson
?
In this series of workshops, Professor
Villarreal will address these issues and will practically demonstrate the “HOW TO” of teaching English to young children and provide a
bagful of stories, gra.m.mar activities, songs and ga.m.es to make your
classroom really magic.
Lecturer
: Lic.Omar Villarreal
Profesor
en Inglés e Inglés Técnico (INSPT), Licenciado en Ciencias de la Educación
(UCALP) Licenciado en Tecnología Educativa (FRA-UTN).
His
post graduate studies include: Applied Linguistics (INSPLV) and Educational
Research (Universidad Nacional de Córdoba).
Chair
of Didactics I and II and Methods III at Universidad Tecnológica Nacional and
ISFD Nro 41. Lecturer
in Didactics of ESP at Licenciatura en Inglés Universidad Católica de La
Plata. Visiting-lecturer
for several National Universities.
He
has taught English at all levels: Kindergarten through University and has been
Head of English in Primary and Secondary Schools for more than 12
years.
Teacher–trainer
for Red Federal de Formación Docente Continua, Centro de Pedagogías de
Anticipación del Gobierno de la Ciudad de Buenos Aires and the Ministry of
Education of Provincia de Buenos Aires.
Former
Head of the School of English of Universidad Austral and of Instituto Superior
del Profesorado Modelo de Banfield.
Regular fee: $75 /
Enrollment before
April 30th $70 ( 3 x
$200)
UCA
Graduates and Students: $70 /
Enrollment before
April 30th: $65 ( 3 x $
185)
Centre
Members: $65 / Enrollment before April 30th: $60 ( 3 x
$170)
Enrolment :
- At Centro de Graduados en Lenguas Vivas.
Mon. Tue. 11:00 to 15:30 Wed Thurs.12:00 to 15:30 and Fri 12 to 17 Tel.no. 4338-0775. E-mail:
gralen@uca.edu.ar
- By bank transfer or deposit at Banco Comafi
(any branch). ‘Cuenta Corriente Especial No. 0081-534847-4 CBU 299 000 86 00 815 348 740 015,
“Asociación Centro de Graduados en Lenguas Vivas de la UCA” CUIT:
30-69636774-0. Bank deposit slip should be faxed at 4301-8533.
Confirm fax by e-mail.
------------------------------------------------------------------------
7-
NEWS
FROM E-TEACHING ON LINE
Our dear
SHARER Alicia Lopez Oyhenart has sent us these very good news:
E-teachingonline editorial group
wants to thank friends and colleagues for accompanying the project all these
months and invites them to...
they will find lovely activities
for Animal and Earth Day.
There are loads of cool crafts for
Pre school.
For Teens and Adults the magonline
offers activities on Terrorism and Freedon of the Press.
In the Computer Room students can
work on How to Keep Healthy and Prom Dresses.
Karen Ombler and Terry Cullen, the
month's Guest Writers, give useful tips on Reading.
There are activities from Preschool
to Adult levels, each containing a song, with language practice, and a Take 5'
exercise to print and hand out to students.
*The SURVIVAL CORNER provides loads
of updating and helpful suggestions
*The CALENDAR of EVENTS is a must:
teachers will find what's on in the ELT world this
month.
E-teachingonline is also pleased to
announce the following seminars:
April 24th : How to teach TOEFL and get
your students to get top scores.
the computer adaptive format will
be analysed and successful procedures exa.m.ined. Attendants will be able to see
the Power Prep to evaluate exa.m. material. A three-hour workshop Fees: $30
May 8th : The 2004
Language Teacher
Clinic.
a four-hour language update. The
course will explore :
Using humour to teach language. A
lively workshop with loads of activities to help your students understand sit
coms, movies, songs, etc.
The English teacher as a
professional. What is it exactly?
Teacher training & teacher
develop.m.ent. Why the distinction?
Teaching Resources of Y2003: How to
use all the modern technological tools in the English class: CD-Roms, Word
Processors, Internet, e-mail, Cable TV, newspapers on line to help you motivate
and teach.
In the computer class. Presentation
of great activities.
Media Literacy: why is it an
essential life skill for today's young people.
Some language reviews and updates.
We will deal with some of those current colourful idioms and everyday
expressions that brighten up your class.
Fees: $ 40=
Form of payment for both seminars:
deposit Banco Rio Cta Cte: 187-370/2
Certificates of attendance will be
issued
Venue :
Santa Fe 5130 Contact: 4782-2582
Lecturer:
Alicia López Oyhenart. A graduate of the ISN “Joaquín V.
González”, she specialized in English for Special Purposes at Columbia
University, New York.
Co-author with Mabel Uranga of
How?1 & 2 -Co- author with Celia Zubiri of Bessland Parts A & B-Kel
Ediciones, Co-Editor of E-teachingonline, the first activity magonline for E.
teachers in Argentina.
A regular contributor to The Buenos
Aires Herald (Education) since 1999 a.m.ong a wide variety of teaching
activities at Secondary and University level.
------------------------------------------------------------
8.- IATEFL-
CHILE CONVENTION
Our
dear SHARER Paula
Jullian Romani at pjullian@puc.cl has sent
us this invitation:
IATEFL-Chile
and Facultad de Letras of Pontificia Universidad Catolica de Chile are pleased
to invite you to the 8th International Conference:
“Teaching
a Country: English Teachers Meeting Educational Needs"
at
the Universidad Catolica Centro de Extensión,
Ala.m.eda 390, Santiago on
21-22 May, 2004.
For further information and registration, please
contact: 'Oficina de Inscripciones y Matriculas' (OFIM) - Tel No. 686 65 40 -
686 65 06 - 686 65 00
E-mail: cextension@puc.cl
Sponsors: The
British Council, The British Institute,Santiago, The Northa.m.erican Institute
and Pearson Education
------------------------------------------------------------
9.- “THE TELL –TALE
HEART” REVISITED
Our dear SHARER Afred Hopkins wants
to SHARE this theatrical experience with all of us:
El Centro de
Estudios Ingleses
presents:
"What a Gag! The Tell-Tale Heart
Cracks up!"
A spooky tongue in the cheek
peek-a-boo at Edgar Allan Poe's tale
Directed, acted and retold by Mr.
Alfred Seymour Hopkins
8:30 p.m., May 15th 2004 A.D.
Club de las
Artes: Salta 755
(Any resemblance to reality is pure
artistic coincidence!)
The parody-like stage adaptation of
the classic horror story about a man who kills his beloved companion because he
cannot stand the look in his eye. A thriller that alerts us to the extreme
frailty of the homo sapiens sapiens. Anyone who wants to give us their feedback
on this performance is willing to do so by writing to hopkins@a-hopkins.com
Tickets: $6 pesos. Discounts are
available for previous purchase at the CEI: 4962-5409
------------------------------------------------------------------------
10.-
TOWARDS A PROFITABLE CAREER
Our
dear SHARER Roxana Fernandez announces a series of
workshops:
Your Way to a Happy and Profitable
Career.
* Do you have a clear idea of how
to plan your lifetime career?
* Can you define
"Networking"?
* Do you know how to create a
really good first impression through your CV and Cover
Letter?
* Can you express yourself
confidently and use the correct English terms during a job
interview?
If you answer "NO" to any of these
questions you should take advantage of this unique
opportunity!
Willia.m. Shakespeare School of
English invites you to participate in a
4-Saturday workshop facilitated by
Garth Hemming* and
designed to start you on the right
road to a happy and profitable lifetime career:
* Saturday 1:- The Real You - Creating a Career
Plan
* Saturday 2:- Who can help You? - The importance of
Networking
* Saturday 3:- Creating the best possible First
Impression - your CV and Cover Letters
* Saturday 4:- No Fear! - Getting ready for that First
Job Interview
Attendance certificates (which add
value to your CV) will be issued to those participants who have attended at
least 75% of the workshop.
You will also be given a Glossary
of terms related to the subject of careers and interviews and you will prepare
your own CV and Cover Letter for use in your
job search
Dates: Saturdays 8, 15, 22 and 29
May, 2004 from 9.00a.m. to 12.00 midday
Venue: Willia.m. Shakespeare School
of English, Pichincha 143, Boulogne, San Isidro
Cost: $100,00 per person for four
3-hour sessions, payable in advance.
Enrol before April 15 and take
advantage of a 10% reduction!
Biodata of facilitator/presenter:
Mr. Hemming is a native speaker who
has been involved in ELT for over 15 years and has taught all levels and age
groups. He has also studied and specialized in teaching Business English and has
conducted in-company business courses in B.A. for more than 10 years
where he has trained many of the
present-day successful managers.
--------------------------------------------------------------
11- ACTING WORKSHOP IN
SAN ISIDRO
Our dear SHARERS at Hugo Halbrich
writes to us:
Acting workshop (in
English)
The Acting Workshop is being held
on mondays from 8:30 to 10:30 p.m. at The Playhouse, Moreno 80, San Isidro.
Starting Monday, April 19th.
Fee: $65 per
month
We hope you can join
us.
The workshop is for those who have
an interest in theatre but no (or little) formal training and want to review
basic acting skills necessary to feel comfortable coming to an audition, getting
on-stage, and delivering a monologue, song or speech.
The Activities in the Workshop
include:
--basic relaxation exercises for
performers
--preparation and presentation of
monologues, scenes, or songs.
--improvisation and theatre
ga.m.es
--play reading and text analysis
for acting.
--how to
audition
Age requirements: seventeen or
over
Language requirements: First
Certificate level (fluent in the English language)
Physical requirements: Normal
flexibility for exercises
During the workshop, each
participant will present at least 1 monologue, and participate in 1 scene (if
you are a singer you may work on a song as monologue)
The workshop will be conducted by
Hugo Halbrich. Mr. Halbrich has a BA in Theatre Arts (California State
University, San Diego) and an MA from the University of Connecticut. He trained
in New York with Raul Julia, Harold Clurman (one of the founders of the Actors
Studio), Mitchell Nestor, Joan Lange. He has also attended workshops with Eric
Morris and Augusto Fernandes. Mr. Halbrich has been involved in over 70 stage
productions, as well as TV soap operas, commercials and
films.
--------------------------------------------------------------------
12-
COURSES AT UNIVERSIDAD DEL CENTRO EDUCATIVO LATINOAMERICANO
Our dear SHARERS from Secretaria de Extensión
Universitaria UCEL have sent us this
message:
(1) 5th FTBE "Business English"
Course
(80hs
cátedra Resolución Ministerial del PROCAP 189/2002 ISP Profesorado en inglés Nro
16)
If you are one of those trainers
who would like to:
* focus on designing more learner
centered business courses
* give more attention to needs
analysis and tailor-made programmes
* use authentic material and
documentation for the increasing number of objective specific courses which
cannot be covered by a coursebook
* provide plenty of opportunities
to practice the language and skills in the most appropriate specific business
context.
Course
tutors: Ma. del Carmen Fernández
Beitia; Alejandra Garré; Ma. Belén González M.; Mariela Rodriguez; Julieta de
Zavalía.
Dr. Carlos
Marchese, Dr. Rogelio Pontón y Lic. Diego
Marcos.
Schedule: April 16th - July
30th.
Date: Fridays 6 to
9:00pm
Registration fee: $35 (includes materials)
Course fee: $280- or $ 75 per month
($300)
LCCIEB Assessment (optional): The
training is designed to enable participants to take the FTBE exam (Foundation
Certificate in the Teaching of Business English) of the London Chamber of
Commerce and Industry Examination Board after their
course.
(2) Programa
de capacitación TIP para Traductores, Profesores e
Intérpretes
* CURSO DE
INGLES MEDICO
Docente:
Prof. Beatriz Galiano
Metodología:
* Práctica
intensiva de traducción e interpretación de textos técnicos de medicina.
*
Presentaciones multimediales del cuerpo humano con explicaciones técnicas en
español coordinadas por destacados profesionales médicos.
Carga
horaria: módulos temáticos de 8 horas.
Comienzo:
viernes 16 de abril - Horario de clases: viernes de 8:00 a
10:00hs
Costo del
curso: $ 50 por módulo de 8 horas (incluye materiales y coffee-break)
*
TRADOS
Módulo 1:
Introducción al uso del programa TRADOS.
Módulo 2:
Hands on - práctica intensiva en el uso del programa.
Docente:
Traductora Julieta Bielsa (Project Manager Ocean Translations)
Carga
horaria: 12 hs
Comienzo:
viernes 16 de abril - horario de clases: viernes de 10:00 a
12:00hs
Costo del
curso: $ 75 (incluye materiales y coffee-break)
* NORMATIVA
LINGUISTICA ESPAÑOLA (organizado conjuntamente con Rosario
Traducciones)
Docente:
Lic. Mariana Bozzetti - coordinado por la Lic. Alicia
Zorilla.
Carga
horaria: 24 hs
Comienzo:
sábado 24 de abril
Horario de
clases: sábado de 14:00 a 18:00hs (último sábado de mes de abril a
septiembre)
Costo del
curso: $ 180 (una cuota) ó 2 cuotas de $100 (incluye materiales y coffee-break)
* CURSO DE
EDICION DE TEXTOS
Docente:
Lic. Mariana Bozzetti - coordinado por la Lic. Alicia
Zorilla.
Carga
horaria: 24 hs
Comienzo:
sábado 24 de abril
Horario de
clases: sábado de 9:00 a 13:00hs (último sábado de mes de abril a
septiembre)
Costo del
curso: $ 180 (una cuota) ó 2 cuotas de $100 (incluye materiales y coffee-break)
Venue for
all courses : UCEL - Universidad
del Centro Educativo Latinoamericano
Av.
Pellegrini 1332 - Rosario
Se
entregarán certificados de asistencia.
Informes e
Inscripción : Extensión Idiomas
9 a 12:00hs
y 17 a 21:00hs
Tel.: (0341)
449 9292 interno: 117 / 112
--------------------------------------------------------------------
13-
MAY WITH THE BUENOS AIRES PLAYERS
Our dear SHARER
and friend Celia Zubiri has sent us this update:
Les
envia.m.os las funciones y giras progra.m.adas para el mes de
Mayo.
Ante
cualquier duda sobre los niveles de las obras, actividades e información sobre
giras a Martínez, Haedo, Lomas de Za.m.ora y resto de las provincias en los
próximos meses, pueden dirigirse a nuestra página web: www.thebsasplayers.com
Funciones en
el Teatro Santa.m.aría - Montevideo 842, Capital- Reservas: 4812-5307 /
4814-5455
Master Cat - Mon 3/5 - 2:30 P.M. ,
Wed 19/5 - 10 A.M. and Fri 28/5 -
2:30 P.M.
Herculesd - Tues 4/5 - 2:30 P.M.,
Mon 17/5 - 2:30 P.M., Fri 21/5 - 2:30 P.M. and
Wed 26/5 - 2:30
P.M.
Pretenders - Tues 4/5 - 10 A.M.,
Tues 18/5 - 10 A.M. and Thur 20/5 - 2:30 P.M.
Ticket price
$6*
Much Ado About…Beatrice and
Benedick
May 7, 14, 21, 28 - 7
P.M.
Ticket Price $ 10 (for groups of
ten people or more $8)*
*Estos precios
son válidos únicamente para las funciones en Capital Federal y cono
suburbano.
GIRAS
WEDNESDAY, 5th -ROSARIO- Teatro Broadway - San
Lorenzo 1223
9 A.M. -
Pretenders
11 A.M. -
Hercules
2 P.M. - Master
Cat
4 P.M. -
Hercules
6 P.M. -
Pretenders
8 P.M. -
Pygmalion
SPONSORED BY ARCI &
APRIR
THURSDAY, 6th -RAFAELA- Teatro Lasserre- Av Lehmann
228
Sales representative: Ma.
Eugenia
Marzioni de Della Torre
5:30 P.M. - Master
Cat
7:30 P.M. -
Hercules
9:15 P.M. -
Pretenders
FRIDAY,
7th -PARANÁ- Biblioteca Popular de
Paraná - Buenos Aires 256
11 A.M. - Master
Cat
2 P.M. - Master
Cat
4 P.M. -
Hercules
6 P.M. -
Pretenders
8 P.M. -
Pygmalion
MONDAY, 10th
-CORRIENTES-Teatro a
confirmar
2 P.M. - Master
Cat
4 P.M. -
Hercules
6 P.M. -
Pretenders
8 P.M. -
Pygmalion
TUESDAY, 11th -RESISTENCIA- Teatro y funciones a
confirmar
WEDNESDAY, 12th -CURUZÚ CUATIÁ-
Teatro Municipal
3 P.M. - Master
Cat
5 P.M. -
Hercules
THURSDAY, 13th -CONCORDIA- Teatro y
funciones a confirmar
THURSDAY,
27th -LA PLATA- Teatro Coliseo Podestá -Calle 10 e/46 y
47-
Belén Paoli
- (0221) 15-503-0783
9.30 A.M. -
Pretenders
11.30 A.M. - Master
Cat
2.30 P.M. -
Hercules
5.30 P.M. -
Pretenders
7.30 P.M. -
Pygmalion
--------------------------------------------------------------------
14- OMAR IN
MONTEVIDEO,URUGUAY.
Omar
will be travelling to Uruguay next Friday 23rd to deliver a series of
lectures to different audiences. One of them to teachers from Instituto del
Profesorado Artigas (IPA) and one for a general audience on Saturday morning on
the following topic :
Towards the
development of the Communication Skills through Grammar
It has been suggested - notably by
Scott Thornbury - that we use grammar to cover distances. The distances can be
either social or contextual and the greater the distance the more grammar we
need to cover it. In the first instance we might try to cover the distance
through gesture. If gesture won't do it then we'll use words. If words alone
won't suffice then we'll use grammar. The basic point is that in the real world
we use grammar when it matters: that is, when the social or contextual distance
to be covered requires it. It's a simple idea but a very powerful one. In this
session Professor Villarreal will demonstrate classroom activities that are
designed to make students aware of why grammar matters. Activities that will
help them convey meanings in a more socially acceptable and/or communicatively
competent way. The talk will be illustrated with exercises from “Inside
Out”.
If you wish to attend this lecture, please
contact:
Juan C. Lozano -
Editorial Macmillan Uruguay
José E. Rodó 1674 - 11200 Montevideo -
Uruguay
Tel/Fax (598-2) 4001178 - e-mail: machelt@netgate.com.uy
--------------------------------------------------------------------
We would like to finish this issue of
SHARE with a very short story that a dear friend and SHARER of ours, José Luís
García from Catamarca, has sent us:
EL PUERCO
ESPIN
Durante la
era glacial , muchos animales morian por causa de frìo. Los puerco espines ,
percibieron esta situación ,acordaron vivir en grupo, así se daban abrigo y se
protegían mutuamente. Pero las espinas de cada uno herían a los vecinos más
próximos, justamente a aquellos que le brindaban calor, y por eso se separaron
unos de otros. Pero volvieron a
sentir frío
y tuvieron que tomar una decisión , o desaparecían de la faz de la tierra o
aceptaban las espinas de sus vecinos, con sabiduría , decidieron volver a vivir
juntos.
Aprendieron
así a vivir con las pequeñas heridas que una relación muy cercana podía
ocasionar , porque lo que realmente era importante era el calor del otro.
Sobrevivieron!!!!!
Moraleja de
la historia: la mejor relación no es aquella que une personas perfectas, es
aquella donde cada uno acepta los defectos del otro y consigue perdón por
los suyos propios.
HAVE A
WONDERFUL WEEK!
Omar and Marina.
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