New Routes #64
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ISSN 1516-3601 <strong>#64</strong>, JAN/2018<br />
Nuevas Rutas<br />
Interview with<br />
Elaine Hodgson<br />
by Jack Scholes<br />
Cómo trabajar la<br />
interacción oral en el<br />
aula de ELE<br />
por Óscar Rodríguez García
disal_distribuidora<br />
@disal_distribuidora<br />
A revista dos proossionais<br />
de idioma!<br />
/disalchannel<br />
blogdisal.com.br<br />
Aqui você encontra um<br />
mundo de conhecimento!
Há mais de meio século, servindo a<br />
Cultura e a Educação. Só uma empresa<br />
com essa tradição pode proporcionar<br />
experiências com maestria!<br />
Encontre uma de nossas livrarias mais próxima de você<br />
ou entre em contato conosco!<br />
www.disal.com.br<br />
Televendas: (11) 3226-3111<br />
E-mail: comercial@disal.com.br
Sumário<br />
EXCLUSIVA<br />
PARA CLIENTES DISAL<br />
05. Editorial<br />
06. Blog Disal<br />
07. Opiniões -<br />
Porque eu leio<br />
08. <strong>New</strong>s<br />
12. Interview<br />
16. Cover Topic<br />
20. Slang<br />
22. How do you say...<br />
in English?<br />
24. Escola em Destaque<br />
25. Disal Indica<br />
26. Book Review<br />
28. Variedades<br />
30. Dicas<br />
Publisher<br />
Renato Guazzelli<br />
Editor<br />
Jack Scholes<br />
Conselho Editorial<br />
Francisco Gomes de Matos<br />
Graeme Hodgson<br />
Heloisa Brito de Albuquerque Costa<br />
Karen Fraser<br />
José Olavo de Amorim<br />
Lizika Goldchleger<br />
Lyle French<br />
Nancy Lake<br />
Profª Dra. Gretel Eres Fernández<br />
Profª Antonieta Celani<br />
Sara Walker<br />
Colaboradores desta edição<br />
Alan Couto<br />
Elaine Hodgson<br />
Henrique Moura<br />
Jack Scholes<br />
José Roberto A. Igreja<br />
Karin Heuert Galvão<br />
Nick Robinson<br />
Óscar Rodríguez García<br />
Sara Walker<br />
Tim Gifford<br />
<strong>New</strong>s<br />
Lyrica Seki<br />
Nuevas Rutas<br />
Sara Tcharkhetian<br />
Eventos<br />
Lyrica Seki e Henrique Xavier<br />
MKT & Comunicação Corporativa<br />
Lyrica Seki<br />
Arte: Projeto e Diagramação<br />
Myatã Comunicação<br />
Jornalista Responsável<br />
José Nello Marques / MTP: 14162<br />
10/32/36.<br />
Articles<br />
40. Nuevas Rutas<br />
44. Eu Recomendo<br />
A <strong>New</strong> <strong>Routes</strong>® (ISSN 1516-3601) é uma publicação<br />
digital, quadrimestral destinada a profissionais<br />
de idiomas, institutos de idiomas, colégios de<br />
ensino infantil/fundamental/médio, universidades e<br />
faculdades.<br />
Ela é um benefício exclusivo que a Disal oferece<br />
a seus clientes em todo o Brasil e é distribuída<br />
gratuitamente.<br />
Se você ainda não possui cadastro na Disal, faça-o<br />
através do nosso site: www.disal.com.br e aproveite<br />
mais essa vantagem de ser cliente Disal.<br />
Em caso de dúvidas ou mais esclarecimentos, favor entrar<br />
em contato com o departamento de Marketing Disal:<br />
11 3226-3100 ou newroutes@disal.com.br.<br />
Contatos comerciais:<br />
Disal S. A. Depto. Comercial<br />
Av. Marginal Direita do Tietê, 800<br />
CEP 05118 100 - Jaguara - São Paulo<br />
Tel.: 11 3226-3100 - Televendas: 11 3226-3111<br />
e-mail: newroutes@disal.com.br<br />
46. Atividades<br />
Os artigos e textos desta publicação não refletem necessariamente a opinião dos editores ou do conselho editorial, assim<br />
como os anúncios veiculados são de inteira responsabilidade dos respectivos anunciantes.<br />
04 | <strong>New</strong> <strong>Routes</strong>® Disal
Editorial<br />
HAPPY NEW YEAR! outdated or regressive way of teaching,<br />
A Very Happy <strong>New</strong> Year to all <strong>New</strong><br />
<strong>Routes</strong> readers! The interviewee in this<br />
first issue of 2018 is Elaine Hodgson, a<br />
teacher whose professional career has<br />
been built steadily and successfully<br />
through the years and who has moved<br />
into materials writing while remaining<br />
in the classroom as a teacher. She<br />
discusses many issues including the<br />
importance of professional growth,<br />
certificates and courses, teacher<br />
associations and conferences, critical<br />
thinking, taboo and difficult topics in<br />
the classroom, feminism and gender<br />
equality in ELT, and some of the main<br />
new challenges teachers face today.<br />
She is about to move with the whole<br />
family to England and she takes with<br />
her many wonderful and unforgettable<br />
professional memories from Brazil.<br />
We wish her continued success and<br />
great happiness in all her personal and<br />
professional endeavours.<br />
The Cover Topic by Nick Robinson<br />
and Tim Gifford takes A Critical Look<br />
at Digital Pedagogy. They propose<br />
that ‘the essence of digital pedagogy<br />
can be captured by the following<br />
statements: It’s about using digital<br />
tools thoughtfully. It’s about deciding<br />
where not to use those tools. It’s about<br />
evaluating the use of those tools on<br />
learning. A critical appraisal of the<br />
use of technology would primarily be<br />
concerned with evaluating the extent<br />
to which the use of the tool actually<br />
delivers benefit to the teaching and<br />
learning process.’ They quote David<br />
Graddol, who says that ‘in some cases<br />
technology causes us to revert to an<br />
and that’s the reason why it’s proving<br />
difficult to demonstrate improvements<br />
in learning when technology is used.’<br />
They sum up by saying: ‘And this is<br />
where, for us, the concept of digital<br />
pedagogy becomes all the more<br />
important. As educators, trainers,<br />
content developers and publishers<br />
working in a profession that continues<br />
to be assailed by new technological<br />
solutions, being able to ask the right<br />
questions and to proceed thoughtfully<br />
and critically is key.’<br />
Henrique Moura’s aim in the article The<br />
Praxis of Practice ‘is to (1) understand<br />
what practice is and what it is not;<br />
(2) understand what the concept of<br />
practice entails; (3) analyse what the<br />
different kinds of practice and their<br />
denominations are; (4) establish<br />
the difference(s) between practice<br />
and task.’ He concludes by saying,<br />
‘Practice activities lubricate the<br />
language acquisition mechanisms and<br />
facilitate the process of translating the<br />
knowledge about language into the<br />
knowledge of using language in real<br />
life. What teachers need to be aware<br />
of is that different practice activities<br />
have different characteristics, and<br />
that the challenge they pose needs to<br />
be measured and gradually increased<br />
so students depart from a position in<br />
which the teacher tightly controls the<br />
language they use, to a position where<br />
they can freely experiment with it.’<br />
No segundo artigo, Gestão educacional:<br />
como formar um time nota 10? o Alan<br />
Couto compartilha ‘três grandes<br />
segredos para gestão eficaz de pessoas,<br />
e que uma vez colocados em prática,<br />
certamente vão te ajudar a ter um<br />
time nota 10!: Treinamento, Feedback<br />
e Coaching. Em resumo, vivemos<br />
rodeados de estímulos, e chama a<br />
nossa atenção o que sai do padrão,<br />
portanto, se você quer garantir que o<br />
seu time educacional esteja trilhando<br />
um caminho de sucesso, lembre-se<br />
sempre de cuidar das pessoas para que<br />
elas deem o melhor de si, e compreenda<br />
que todas as ideias apresentadas nesse<br />
texto são um processo, demandam<br />
tempo, e não devem ser encaradas como<br />
estratégias emergenciais, afinal, seriam<br />
muito mais difíceis de implementar,<br />
uma vez que você teria que encaixá-las<br />
em sua estratégia original. Pense nisso!<br />
Finally, with a new school year starting,<br />
check out the tip in the Dicas section -<br />
Best case scenario/worst case scenario.<br />
Chaz Pugliese offers an activity for<br />
students to share their expectations<br />
about the course, which works best<br />
when done during the first or second<br />
session of a new course.<br />
Enjoy!<br />
Jack Scholes<br />
Editor<br />
newroutes@disal.com.br<br />
En este artículo, el autor nos habla<br />
de la importancia de la interacción<br />
oral en el aula. De las seis actividades<br />
comunicativas la interacción es la<br />
única que está basada en el principio<br />
de cooperación. Para que los alumnos<br />
tengan éxito a la hora de hablar, las<br />
actividades comunicativas tienen que<br />
ser rentables, variadas y basadas en<br />
usos funcionales que los estudiantes<br />
puedan replicar. Los aprendientes<br />
tienen que enfrentarse a modelos<br />
de lengua reales desde el primer<br />
día de clase, para que se motiven a<br />
comunicarse en L2.<br />
Sara G. Tcharkhetian<br />
apoioped.espanhol@disal.com.br<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 05
Blog Disal<br />
Ignite ELT: A road towards<br />
professionalism – Karin Heuert Galvão<br />
A few weeks ago, I caught myself<br />
writing a hateful blog post. I was<br />
upset, confused and blue, and I must<br />
confess that leaving ELT was, for<br />
the first time ever, number one on<br />
my list.<br />
Thank Heavens for my family, friends,<br />
colleagues, reiki and a good dose<br />
of Bach flower remedies. Yes, I was<br />
about to become a quitter, for the<br />
very first time in my life.<br />
I am an avid user of social media,<br />
though I recognize and appreciate<br />
its benefits, such as interaction,<br />
networking and sharing, having used<br />
Facebook has become ludicrous. As<br />
an EFL teacher and teacher trainer, I<br />
operate social media as a way to not<br />
only connect with people, but also<br />
advertise my work, because let’s be<br />
honest, one must earn a living.<br />
For some time now, I have<br />
been observing an avalanche<br />
of advertisements on courses,<br />
workshops, trainers and the like. You<br />
must be thinking: “Isn’t it great? Now<br />
we have access to more courses and<br />
workshops.” Well, indeed. Information<br />
has never been easier and courses<br />
are one way to go.<br />
But I can’t help but wonder: when<br />
should we say “enough”?<br />
I draw a line when colleagues start<br />
calling each other “divas” or “kings”.<br />
Professional development shouldn’t<br />
be about who becomes the “Career<br />
Development Diva Extraordinaire” or<br />
the “YL Queen”, it’s about evolution,<br />
progress and reaching goals,<br />
personal goals.<br />
Even though I have been working as a<br />
teacher for 17 years, I have never felt<br />
that what I knew was enough. Some<br />
friends call me a “CPD addict”, I actually<br />
“get high” on learning, knowing that I<br />
will be challenged makes me realize I<br />
can do more (and I’m not talking about<br />
certificates or diplomas, but skills).<br />
Not long ago I started presenting at<br />
conferences, so it seems to some that<br />
I’m the “<strong>New</strong> Kid on the Block”, it’s<br />
true, to some extent. My feeling back<br />
then was translated into words last<br />
Sunday, during a Game of Thrones<br />
episode (yes, I’m a fan.): “I’m tired of<br />
reading of the achievements of better<br />
men.” said Samwell Tarly, so I began to<br />
write because I too had a story to tell.<br />
Regardless of social media and the<br />
pressure we all suffer from the market<br />
and, more importantly, from one<br />
another, we should focus on what WE<br />
want to develop, whether you want to<br />
learn more about language, or teaching<br />
skills, become the best version of what<br />
you want for yourself because that is<br />
who you are going to see in the mirror<br />
every day, not your persona. Some<br />
might say that you are “apagadinha”<br />
(unnoticed) on Facebook and that will<br />
certainly affect your income, others<br />
might approach you because they<br />
actually care.<br />
David Master, a former Harvard<br />
Business School Professor, once said:<br />
“Professionalism is not a label you give<br />
yourself – it’s a description you hope<br />
others will apply to you.” Your actions<br />
and nature will resound, and this<br />
cannot be measure by the number of<br />
likes. I have recently read a post by<br />
Elaine Hodgson about “The price we<br />
pay for (not) promoting ourselves.”,<br />
and I have to agree with her. It is unfair.<br />
We end up being forgotten if we don’t<br />
post here and there, everywhere. As<br />
beautifully said by Elaine, “let’s not<br />
get vain”, what matters is the work we<br />
perform, the student we help and the<br />
lives we touch while teaching.<br />
In conclusion, professional<br />
development must be about what<br />
you want for your career, it’s a very<br />
personal plan and odyssey, and there<br />
is no room for “divas”, “queens” and<br />
“kings”, only for growth mindset.<br />
“Dracarys”.<br />
Daenerys Targaryen – Mother of<br />
Dragons.<br />
Karin Heuert Galvão has worked for 17 years as an EFL teacher and 9 years as<br />
Director of i-Study Interactive Learning, a language school based in São Paulo,<br />
Brazil. She holds, among others, the CELTA and IH Certificate in Online Tutoring.<br />
She also works as an ELT consultant for schools, helping them find solutions for<br />
their EFL programs. Karin is also a member of the Advisory board of EFLtalks,<br />
she has been working with the Intercultural Language SIG as their Vice-President<br />
(Braz-TESOL) and with the BESIG as their Treasurer (Braz-TESOL). In order to<br />
help teachers develop their careers and her own, Karin is always looking for<br />
opportunities to teach, learn and share ideas.<br />
www.istudy.com.br<br />
06 | <strong>New</strong> <strong>Routes</strong>® Disal
Opiniões<br />
POR QUE EU LEIO A NEW ROUTES?<br />
“Você trabalha ou só dá aula?”<br />
Essa é uma pergunta que ouvimos<br />
com frequência na área de idiomas.<br />
Aparentemente, muitos confundem<br />
nossa profissão com um hobby ou<br />
complemento e quem pensa dessa<br />
maneira, pode acreditar que está<br />
enganado.<br />
Ser professor é uma profissão muito<br />
importante, que exige preparo,<br />
dedicação, seriedade, criatividade e<br />
acima de tudo, muito amor.<br />
O desenvolvimento profissional<br />
e atualização constante se faz<br />
necessário para que nossas aulas<br />
sejam sempre mais eficientes,<br />
cativantes e prazerosas.<br />
A revista <strong>New</strong> <strong>Routes</strong> nos abre<br />
milhões de novas possibilidades para<br />
nossas aulas. Desde novos conceitos<br />
em metodologia, idéias de games,<br />
atividades prontas e outros recursos<br />
incríveis. A cada edição, são novas<br />
entrevistas em diferentes idiomas,<br />
sessões de vocabulário, referências<br />
em livros e muito mais.<br />
A <strong>New</strong> <strong>Routes</strong> é uma grande fonte<br />
de inspiração para todos nós,<br />
professores de idiomas.<br />
Trabalho na Headword Language<br />
School há mais de 10 anos, e nunca<br />
deixei de aproveitar os artigos<br />
dessa revista. Há sempre algo novo<br />
para aprender. Além de utilizar<br />
constantemente os materiais da<br />
Disal, que são excelentes.<br />
Por isso, professor, aqui vai minha<br />
dica: não deixe de se desenvolver e<br />
aprender mais. E com a <strong>New</strong> <strong>Routes</strong>,<br />
você sempre estará atualizado.<br />
Vanessa Laurindo Martinez<br />
Santo André / SP<br />
Tecnóloga em Comércio Exterior.<br />
Coordenadora de ensino e Professora<br />
de inglês na Headword Language<br />
School.<br />
ANUNCIE NA<br />
NEW ROUTES,<br />
A REVISTA DOS<br />
PROFISSIONAIS<br />
DE IDIOMAS.<br />
COM DIVULGAÇÃO ATIVA POR<br />
MAIS DE 3 MESES, VOCÊ SERÁ<br />
VISTO POR MILHARES DE PESSOAS.<br />
Para mais informações, envie um<br />
email para marketing@disal.com.br<br />
ou ligue para 11 3226-3111
<strong>New</strong>s<br />
HIGHLIGHTS DA SEXTA EDIÇÃO DO<br />
SIMPÓSIO PROFISSÃO TRADUTOR<br />
Ana Julia Perrotti-Garcia, Organizadora do PROFT<br />
O 6º Simpósio Profissão Tradutor<br />
(PROFT 2017) foi realizado nos dias<br />
3 e 4 de novembro, em São Paulo.<br />
Circularam pelo evento, entre<br />
participantes nas palestras e oficinas,<br />
expositores, palestrantes e equipe<br />
organizadora, aproximadamente 600<br />
pessoas, de diferentes regiões do Brasil<br />
e do mundo. Nesta edição, foi lançada a<br />
nova mascote do evento: uma simpática<br />
corujinha desenhada pelo artista<br />
plástico Alex Barasino especialmente<br />
para o evento. Em camisetas, canecas<br />
e banners, a corujinha foi badalada por<br />
todos os presentes.<br />
Professoras Ana Julia, Maura Xavier e Catia Santana,<br />
com Fabio Santana<br />
As palestras eram traduzidas por<br />
voluntários, e os participantes ainda<br />
podiam dar seu feedback para os<br />
intérpretes iniciantes. A palestra<br />
de Gustavo Spandau, comparando<br />
o sistema legislativo no Brasil e<br />
na Argentina, do ponto de vista<br />
terminológico, foi proferida em<br />
espanhol e a de Liam Gallagher, em<br />
inglês. Também houve uma intérprete<br />
de LIBRAS (Juliana Fernandes), que<br />
traduziu algumas das palestras. Entre<br />
elas, a minha (Ana Julia Perrotti-Garcia),<br />
em que abordei alguns aspectos da<br />
audiodescrição como ferramenta de<br />
acessibilidade e mercado de trabalho<br />
para tradutores e intérpretes.<br />
Fez grande sucesso entre os<br />
participantes a palestra de Maria Luiza<br />
Maia, que falou sobre sua experiência<br />
com tradução técnica na área de saúde<br />
durante as paralimpíadas Rio 2016.<br />
Daniela do Canto, da Universidade<br />
Federal de Santa Maria (RS) trouxe<br />
informações muito interessantes sobre<br />
o Núcleo de Idiomas e Traduções da<br />
SAI/UFSM e Dilma Machado, conhecida<br />
dubladora, cantora e atriz do Rio de<br />
Janeiro, compartilhou com os presentes<br />
um pouco de sua experiência sobre<br />
tradução para dublagem. Como já está<br />
se tornando tradição, mais uma vez a<br />
consagrada tradutora e escritora Isa<br />
Mara Lando ministrou uma palestra e<br />
uma oficina no PROFT, divulgou seus<br />
livros e distribuiu muitos autógrafos<br />
para seus inúmeros fãs.<br />
O PROFT recebeu apoio de instituições<br />
de prestígio internacional, como<br />
ProZ, ABRATES (Associação Brasileira<br />
de Tradutores) e ATA (American<br />
Translators Association). Entre as<br />
diversas faculdades que apoiam e<br />
prestigiam o evento, este ano os<br />
destaques ficaram por conta da FMU<br />
(que disponibilizou um grande número<br />
de monitores para atuarem no grupo<br />
de apoio, além de palestrantes e<br />
membros da coordenação do PROFT).<br />
O Presidente da ABRATES William Cassemiro entrega<br />
prêmio à ganhadora (centro), juntamente com a Prof<br />
Ana Julia (dir.)<br />
A Universidade do Sagrado Coração,<br />
de Bauru, expôs um grande número de<br />
pôsteres acadêmicos, inclusive sendo<br />
a filiação da ganhadora do Prêmio de<br />
Melhor Pôster de 2017. A professora<br />
e tradutora Meritxell Almarza, da<br />
Estacio, abordou os desafios da<br />
tradução jornalística em uma palestra<br />
interessantíssima. A UNINOVE, que foi<br />
patrocinadora Platina, além de enviar<br />
diversos alunos e professores ao<br />
evento, também teve grande destaque.<br />
E por falar em patrocinadores, este<br />
ano o evento recebeu apoio de<br />
diversas instituições nacionais e<br />
internacionais de renome. O stand da<br />
DISAL, patrocinadora Ouro, foi um dos<br />
mais animados e de sucesso do evento.<br />
Detalhe das canecas e corujas Mascotes do PROFT<br />
O PROFT já é conhecido por trazer<br />
sempre temas variados, profissionais<br />
experientes e acadêmicos renomados<br />
dividem o palco com colegas em início<br />
de carreira, mas com temas igualmente<br />
relevantes. Uma das mais experientes<br />
e que foi extremamente aplaudida foi a<br />
Profa. Dra. Maria Cristina Vianna Kuntz,<br />
da Universidade de São Paulo, que falou<br />
sobre alguns problemas de tradução<br />
da obra O Vice-Cônsul de Marguerite<br />
Duras.<br />
Uma grande novidade deste ano foi a<br />
cabine de interpretação consecutiva.<br />
A palestrante Isa Mara Lando. Ao fundo vemos a cabine<br />
de interpretação.<br />
Stand da DISAL no PROFT 2017, um dos mais visitados<br />
e alegres do evento.<br />
PROFT 2018 já tem data (16 e 17 de novembro) e será realizado no mesmo local do<br />
evento anterior. Visite o site do PROFT para obter mais informações, saber sobre<br />
os prazos para envio de resumos, propostas de oficinas e reservas de vagas.<br />
08 | <strong>New</strong> <strong>Routes</strong>® Disal
Artigo<br />
O QUE É O<br />
BRAZ-TESOL?<br />
Fundado em 1986, o BRAZ-TESOL é<br />
a maior associação de professores<br />
de inglês do Brasil. Somos uma<br />
organização sem fins lucrativos que<br />
conta com a adesão de mais de 10.000<br />
profissionais do ensino de inglês como<br />
língua estrangeira.<br />
Nosso nome é formado por BRAZ,<br />
de “Brazil”; e TESOL, abreviação de<br />
“Teachers of English to Speakers of<br />
Other Languages”; ou seja, Professores<br />
de Inglês para Falantes de Outras<br />
Línguas.<br />
O BRAZ-TESOL é afiliado ao TESOL<br />
International, maior associação de<br />
professores de inglês do mundo, sediada<br />
nos Estados Unidos; e do IATEFL,<br />
também uma das maiores associações<br />
internacionais de professores de inglês,<br />
sediada no Reino Unido. Além disso,<br />
somos integrantes do Southern Cone<br />
TESOL (juntamente com Argentina,<br />
Chile, Paraguai e Uruguai).<br />
O BRAZ-TESOL representa profissionais<br />
dos setores público e particular no Brasil,<br />
bem como autônomos. Como parte dos<br />
benefícios oferecidos aos associados,<br />
publicamos trimestralmente uma<br />
revista que é enviada a profissionais de<br />
todo o país.<br />
Além disso, organizamos seminários, simpósios, workshops, webinars<br />
e cursos ao longo do ano em diversas regiões do país a fim de estimular o<br />
desenvolvimento profissional e a maior qualidade do Ensino de Língua Inglesa<br />
no Brasil.<br />
A cada dois anos, o BRAZ-TESOL promove uma grande conferência<br />
internacional em uma região diferente no Brasil. O evento reúne professores<br />
de inglês de todo o Brasil e do exterior para quatro dias de aprendizagem,<br />
compartilhamento, networking e desenvolvimento.<br />
É, sem dúvida, o maior e mais importante evento sobre ensino de inglês no<br />
Brasil, atraindo não só profissionais do Brasil e de países vizinhos, como<br />
também os principais palestrantes de renome internacional nessa área.<br />
A conferência já teve edições realizadas em Belo Horizonte, Brasília, Curitiba,<br />
Florianópolis, Fortaleza, Goiânia, João Pessoa, Recife, Ribeirão Preto, Rio de<br />
Janeiro e São Paulo. Em julho de 2018, a 16ª edição acontecerá em Caxias do<br />
Sul, na prestigiada Universidade de Caxias do Sul - UCS.<br />
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Nossa presença é feita em todas as<br />
regiões do Brasil é feito através de<br />
representações regionais (Chapters) e<br />
Grupos de Interesse Especial (SIGs, na<br />
sigla em inglês), que organizam eventos<br />
em suas localidades e encontros<br />
sobre assuntos específicos da área,<br />
respectivamente.<br />
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Interview with Elaine Hodgson by Jack Scholes<br />
ELAINE HODGSON<br />
JS: Could you please tell us first a little bit about your<br />
background and professional experience?<br />
EH: I started teaching when I was 15. I taught a few classes<br />
in the evenings and weekends. Nowadays I think it is just<br />
unbelievable that someone offered me a job when I was just<br />
a teenager, but I was happy to make some money and to<br />
learn more as, in order to teach, I had to study things in<br />
more detail. However, at the time, I was doing a technical<br />
course in chemistry. I had never intended to teach English<br />
as a career. My plans were to go to university to study<br />
chemistry (which I did) and to find a job in a lab (which I<br />
also did – I worked in chemistry labs for just over 3 years,<br />
first as a trainee and then as a technician). However, there<br />
was a severe crisis and I lost my job at the laboratory. A<br />
teacher my mother knew suggested I tried a position at<br />
Cultura Inglesa Santo André, where I had studied for 6<br />
years. I had no hope of getting a job there, but I went and<br />
talked to the director, Elaine Azevedo, who had been my<br />
last teacher. She suggested I studied at the library and did<br />
the TTC. I went to the library every single day for about a<br />
month, took the TTC but didn’t pass. They advised me to<br />
teach at a smaller school to get some experience and do<br />
the TTC again the following year. I followed their advice,<br />
but kept studying chemistry at university. I was not sure<br />
what path I wanted my professional life to take. Well, in<br />
1990 I did the TTC again, passed, and ended up working for<br />
the Cultura São Paulo for 9 years, after undertaking a postgraduate<br />
teaching qualification at university<br />
JS: Your professional career has been built steadily and<br />
successfully through the years. How would you suggest<br />
that new professionals organize themselves in order to<br />
build professional growth? How important is it to have<br />
certificates and do courses? Is it worth doing an MA or PhD,<br />
as you did?<br />
EH: I strongly believe studying is key to improving your<br />
teaching. A teacher who doesn’t like studying cannot<br />
be a good teacher, in my view. Of course, studying and<br />
learning do not necessarily have to happen in a school<br />
environment, but schools and courses do help you get<br />
more organized, you will meet people who know more<br />
than you do, who are more experienced than you are and<br />
that can only be enriching and add to your career. I know<br />
certificates and exam boards are heavily criticised, but<br />
I’m “old school” and truly believe formal education plays<br />
an important role. At least organizing my career this way<br />
was very beneficial. As far as the MA and PhD, when I am<br />
asked if it’s worth it, I tend to say that it depends on what<br />
‘worth it’ means to you. To me, it was an opportunity to<br />
go beyond ELT and it was worth it. It was hard and there<br />
were several occasions I wanted to give up, but I am glad<br />
I persevered. It opened doors and, because I worked for a<br />
school that took certificates into consideration, it meant I<br />
was better paid. As a writer, I think it has some influence,<br />
but is not the most important asset.<br />
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Interview with Elaine Hodgson by Jack Scholes<br />
Most of all, courses in general - particularly the MA and<br />
PhD - showed me very clearly how little we know and how<br />
important it is to keep learning.<br />
JS: Being able to network efficiently is a key strategy for<br />
both personal and professional success. What is the best<br />
way to do this? How important are teacher associations<br />
and conferences, especially the BRAZ-TESOL International<br />
Conference?<br />
EH: The best way, I believe, is to have a genuine interest<br />
in what you are doing and attend conferences with that in<br />
mind. If your work is good and you are able to show it, the<br />
consequences can only be positive. However, people who<br />
are just interested in the networking tend not to survive<br />
for long. Conferences, be they large conventions like<br />
the BT International, or smaller seminars, offer both the<br />
opportunity to pursue professional development and to<br />
network. The secret, I guess, is to combine both.<br />
JS: Do you think that teaching EFL nowadays is more difficult<br />
than when you first started teaching? What are some of the<br />
main new challenges teachers face today?<br />
EH: Some things are easier today, some are more difficult.<br />
For instance, using songs in the classroom is much easier<br />
as you don’t have to spend hours trying to record a song<br />
from the radio and then transcribe it. Also, you don’t need<br />
to browse through one magazine after the other trying to<br />
find THE visual aid you need. Today you have so much more<br />
access to information, aids, seminars, courses and so on.<br />
On the other hand, the market became more competitive<br />
and that’s a real challenge. Teachers complain about work<br />
conditions, poor pay, students who have no motivation…<br />
Honestly, I guess the problematic issues are pretty much the<br />
same today compared to when I started, except for the fact<br />
that students do have very little patience today. In a society<br />
that demands immediate responses and results, raising<br />
awareness that learning a language is a process, that it will<br />
take time and effort, is hard. There will always be somebody<br />
offering a miraculous solution around the corner.<br />
JS: Some people say that teaching is too much of a sacrifice<br />
for very little money. What advice would you give to<br />
teachers who are disillusioned with the profession or feel<br />
overwhelmed by the number of hours they have to teach<br />
just to pay the bills?<br />
EH: Get another job. There will always be better jobs. I have<br />
several friends who, after many years in language schools,<br />
decided they wanted more from teaching. For some it was<br />
more money, for others more freedom and flexibility. These<br />
friends now teach at universities, run their companies,<br />
teach private lessons, work for publishing houses or regular<br />
schools. Some, however, still teach in language schools and<br />
are happy. Teaching does not pay as much as some other<br />
careers. If the amount of money you expect to earn is not<br />
what you’ll make from teaching, then considering another<br />
career should always be an option.<br />
JS: Considering the wider context of our modern global<br />
community, what skills do you believe need to be<br />
incorporated into Language Teaching to better prepare<br />
young people for becoming Global Citizens? How much and<br />
how often should teachers encourage critical thinking in<br />
the EFL classroom?<br />
EH: Critical thinking is a must, but it’s so much easier<br />
said than done. In times of radicalism, like ours, aiming at<br />
developing critical thinking can be hard but not impossible<br />
and it’s totally worth the effort. It is important to mention<br />
that critical thinking is not exclusively about taboo topics,<br />
but about everything that surrounds us. For instance,<br />
why do overweight people appear so infrequently in<br />
coursebooks? Or people with special needs? Which<br />
characteristics make us consider somebody beautiful?<br />
Why is that? After all, schools, including language schools,<br />
have responsibility for helping learners understand things<br />
better and make more informed decisions. In addition<br />
to critical thinking, there are other skills that need to<br />
be developed at schools which are the so called socioemotional<br />
competences, like respect, collaboration, selfconfidence,<br />
responsibility, autonomy, organisation and so<br />
on. These skills have to be developed little by little, but on<br />
a daily basis. Such work has to be consistent, or there is<br />
little or no effect.<br />
JS: Do students know what they need and want? When<br />
might we need to insist that teachers/writers really do<br />
“know best”?<br />
EH: Teaching and learning are entwined and one teaches<br />
and learns best if there is mutual trust. Some students will<br />
have a clearer idea of what they need and want, probably<br />
based on past experiences. Some will just know what they<br />
want, though this may be far too general. For instance, most<br />
adult students I have taught wanted to speak English and<br />
didn’t care much about pronunciation, as if pronunciation<br />
would take care of itself. Others needed to develop their<br />
writing, but were not aware of the importance of planning,<br />
drafting or editing. Children and teens will have an even<br />
vaguer idea of what they need and want. So, I believe it<br />
is the teacher’s role to show pathways and possibilities,<br />
to widen horizons, to use their knowledge and expertise<br />
to help students learn better. At the same time, students<br />
need to trust their teachers and believe that they know<br />
what they are doing. However, teachers (and of course,<br />
writers) need to keep their minds open, to listen and<br />
to constantly evaluate what they do. It is particularly<br />
important to look for alternatives, for different ways of<br />
teaching something. It is not because you’ve done (or have<br />
always done) something in a particular way that it is THE<br />
way to do it. At the same time, students (and parents, in<br />
the case of children and teens) need to trust their teachers<br />
but also to be critical, in the sense of being analytical, of<br />
the learning process. Maybe it is possible to compare the<br />
teacher-student relationship to the doctor-patient one. We<br />
need to trust our doctors, but trust is not blindness.<br />
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Interview with Elaine Hodgson by Jack Scholes<br />
JS: We know that writers often have to avoid PARSNIPs<br />
(Politics, Alcohol, Religion, Sex, Narcotics, Isms and<br />
Pork) for market-driven reasons, but what is your view of<br />
covering taboo or difficult topics in the classroom, either<br />
through books that touch on these issues, or as a teacherled<br />
activity?<br />
EH: Taboo is part of life and the fact that the so-called<br />
taboo topics are not approached in the classroom is<br />
evidence of how poorly prepared we are to discuss ideas<br />
and break paradigms. It is depressing to know that we<br />
keep repeating that schools do not prepare for real life<br />
but when the opportunity for real life arises, we prefer<br />
not to do it. The discourse changes and we repeat that<br />
some topics should not be discussed at school, that<br />
school should teach subjects, content, not values. It is a<br />
kind of vicious circle; we do not approach taboo topics,<br />
we avoid preparing students for life, students who are<br />
not prepared for life are not prepared to deal with taboo<br />
topics and the circle begins again. And I am not saying<br />
that only students, or parents, are unprepared to deal<br />
with hard topics. Many teachers are also unprepared.<br />
They might feel insecure, afraid, or might impose their<br />
opinions on certain subjects. My fear is that even in<br />
difficult times like ours, when there seems to be little<br />
tolerance for difference, the list of taboo topics might<br />
even increase. As both a writer and a teacher, and also<br />
as a parent, I am well aware that there are limitations to<br />
what we can do at school. However, this should not be an<br />
excuse for not dealing with hard topics. What I believe we<br />
have to do is to be tactful and respectful. Unfortunately,<br />
at least in Brazil, I fear that instead of moving forward<br />
to a more tolerant society, we tend to hide behind the<br />
fallacy that schools should not interfere when topics<br />
are polemic.<br />
JS: What are your views regarding the topic of feminism<br />
and what should be done to foster discussion about<br />
gender equality in ELT? How important are groups which<br />
support women in ELT, like the recently-launched BRAZ-<br />
TESOL SIG called Voices?<br />
EH: Feminism has become far too relevant to be ignored<br />
in the classroom. I believe it is here to stay and its impact<br />
can be noticed if you look at coursebooks, for instance.<br />
Nowadays, it’s much more common to see women as<br />
protagonists and successful professionals and not only as<br />
successful mothers and wives as they were depicted in a<br />
not very distant past. We know, nevertheless, that there is<br />
still a lot to be done. Gender equity may not be a frequent<br />
topic in ELT yet and I think that we, as ELT professionals,<br />
have to keep insisting on having more women as plenary<br />
speakers, authors, editors and in other key roles so as<br />
to have a fairer balance. Groups play an important role.<br />
Just like any professional group, they gather people with<br />
similar interests. These groups also help raise awareness<br />
about issues that might be controversial in the classroom,<br />
such as domestic violence, beauty standards, prejudice<br />
and many others. Prejudice against women, for example,<br />
may go unnoticed on several occasions. Why not<br />
approach that in the classroom and in our conferences?<br />
JS: You have successfully moved into materials writing<br />
while remaining in the classroom as a teacher. How<br />
important is it, do you think, for textbook authors to<br />
continue to engage with students in the classroom on a<br />
daily basis?<br />
EH: It’s definitely important to have solid teaching<br />
experience because it will help you understand what<br />
really works in the classroom, anticipate difficulties and<br />
potential problems. Some activities look brilliant but they<br />
do not usually work. For example, if giving instructions for<br />
a game will take longer than the game itself, then I believe<br />
the game is not worth it. When you don’t have classroom<br />
experience you tend to allocate less time than you should<br />
doing some tasks. One useful piece of advice a teacher<br />
gave me at university was to prepare twice as much<br />
as you think you’ll need for a lesson. According to her,<br />
when we are inexperienced we tend to rush. As a writer,<br />
you have to have a clear idea of how long, on average,<br />
activities take. Now as for engaging with students on a<br />
daily basis, I don’t see it as a must. The key thing, I’d say,<br />
is to keep tuned in, read, study and, most important of all,<br />
listen to teachers and students.<br />
JS: If you had to describe your first publication, what<br />
would you say? And what would you say about your<br />
latest one?<br />
EH: My first publication was an article on teaching and<br />
learning pronunciation in the BRAZ-TESOL newsletter. It<br />
was a one-page article, but I remember it took me days<br />
to do it. Other articles followed, some shorter, some<br />
more complex, then I was invited to write theoretical<br />
introductions of books, scripts, teacher’s notes, video and<br />
writing activities, and so on. My first experience writing<br />
students’ books was with a British publisher. Then I was<br />
invited to write students’ books for Brazilian publishers.<br />
My last publication was a very innovative project aimed<br />
at primary students. It was a wonderful experience. All<br />
students’ books have been co-written. Now I cannot take<br />
days to write a page. It needs to be done much faster.<br />
Writing is a unique experience. You need several skills at<br />
the same time and you need to be good at teamwork.<br />
JS: How do books for teaching EFL published in Brazil<br />
compare with publications from other countries? Looked<br />
at from a wider perspective, how effective do you consider<br />
the Brazilian approach to be?<br />
EH: I’m not completely familiar with a wide variety of<br />
materials from other countries, except for ELT material<br />
that is used in Brazil. Brazilian books are as good as<br />
imported books we use here with, sometimes, the<br />
additional advantage of taking into consideration the<br />
context our students are more familiar with and, most<br />
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Interview with Elaine Hodgson by Jack Scholes<br />
of all, difficulties which are common among Brazilian<br />
learners. I believe it is important that coursebooks depict<br />
different realities, but it is also important that students<br />
‘recognise themselves’ in the books they use.<br />
JS: What would you say has been your most important<br />
professional achievement? Why?<br />
EH: Each phase of my professional career presented a<br />
particular challenge. Some were of a more practical nature,<br />
like teaching very young learners. It takes some time<br />
before you develop an extensive repertoire of activities<br />
that will make your classes flow and your students learn.<br />
Some challenges combine both practical and, let’s say,<br />
more philosophical issues. Therefore, I cannot say what<br />
my most important professional achievement has been as<br />
each has had its own importance, but writing PNLD books,<br />
which are the books specifically written for state schools<br />
in Brazil, has been the most challenging achievement.<br />
First, we have to start writing months before the<br />
guidelines are published, which makes the whole process<br />
a bit of a guessing game. We base the writing on previous<br />
editions and documents, on what is being discussed, but<br />
it is always a bet. At least in the past editions of PNLD<br />
books we had to tackle issues that are not commonly<br />
seen in books for the market, like domestic violence,<br />
different kinds of family, diversity in religious beliefs, in<br />
ethnic groups, and so on. And it was done carefully and<br />
beautifully, considering that schools are indeed a space<br />
for life skills, and not only for teaching school subjects,<br />
as some radicals insist.<br />
JS: You’re about to move the whole family to England.<br />
Your husband Graeme and your daughter Sofia are already<br />
there. Your PhD thesis dealt with metaphors. Do you have<br />
an appropriate metaphor for the occasion?<br />
EH: The first metaphor that comes to my mind is ‘Life<br />
is a journey’. That’s a conceptual metaphor studied by<br />
many cognitive linguists and, if I am not mistaken, first<br />
approached by Lakkof and Johnson in 1980 in Metaphors<br />
we live by (Metáforas do Cotidiano, in Portuguese), a book<br />
I strongly recommend.<br />
JS: What unforgettable professional memory will you take<br />
from Brazil?<br />
EH: There are so many wonderful professional memories,<br />
and I am so grateful for that. One that is particularly<br />
memorable is of a students’ end-of-year party just before<br />
I moved from Santo André-SP to Fortaleza-CE. At the end<br />
of the ceremony the assistant manager asked all those<br />
who had been my students to stand up. There were many,<br />
many more than I had expected to see. This memory still<br />
makes my eyes well up. It is amazing to know we touch so<br />
many lives, hopefully positively.<br />
The interviewee<br />
Elaine Hodgson is a textbook writer, teacher and<br />
teacher trainer. She is also a supervisor on the<br />
Distance MA in TEFL at Birmingham University (UK).<br />
She holds an MA from UECE and a PhD from UFC in<br />
Applied Linguistics. She’s written ELT/ESL material<br />
for several publishing houses in Brazil, Mexico and<br />
the UK including Loop (Macmillan), Orbit (Richmond)<br />
and the PNLD approved books Team Up (Macmillan)<br />
and Circles (FTD).<br />
www.elainehodgsonelt.com<br />
elainecchodgson@gmail.com<br />
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Cover Topic<br />
by Nick Robinson and Tim Gifford<br />
The English language teaching<br />
profession has undergone a<br />
sea change as a result of the<br />
proliferation of educational<br />
technologies. As the technology<br />
has become more sophisticated<br />
and is embedded in more and<br />
more aspects of the teaching<br />
and learning experience, there<br />
have been efforts to distill these<br />
advancements into a digital<br />
pedagogy. The assumption<br />
being that the world of language<br />
teaching must adapt in some<br />
way to take into account<br />
new digital products and the<br />
solutions they are offering.<br />
There is in fact some<br />
disagreement about whether<br />
the concept of digital pedagogy<br />
even exists. At an ELTjam event<br />
a couple of years ago one of the<br />
guest speakers jokingly heckled<br />
the Director of Digital Pedagogy<br />
at an international educational<br />
publisher, telling her that she<br />
might as well be “the director<br />
of Santa Claus”. The funny<br />
thing was that the director<br />
in question didn’t disagree.<br />
So, is it possible to work towards some kind of working definition of ‘digital pedagogy’? Since we know for a fact the<br />
pedagogy itself exists, perhaps we can take that as a starting point.<br />
A great definition of pedagogy from the Cambridge Advanced Learner’s Dictionary is that it’s “the study of the methods<br />
and activities of teaching.” 1 It is a refreshingly simple and elegant description, and divides the concept neatly into two<br />
constituent parts. Within English language teaching we have a long history of methods and those approaches are in turn<br />
facilitated by tried and tested activities. Arguably, we can reduce pedagogy to those two core attributes: methods and<br />
the activities used to facilitate them.<br />
In terms of methods within English language teaching, there are many to choose from: grammar translation, the Direct<br />
Method, the audio-lingual method, The Silent Way, the communicative approach to name only a few. Examples of activities<br />
that facilitate those approaches include role plays, information gaps, dictation activities, comprehension questions after<br />
reading or listening, controlled practice of grammar structure, and so on. All of these contribute towards the palette of<br />
1 - https://dictionary.cambridge.org/dictionary/english/<br />
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y Nick Robinson and Tim Gifford<br />
Cover Topic<br />
activities that an English language teacher uses to help his<br />
or her learners.<br />
In comparison to that simple definition of pedagogy, we<br />
have Professor Robin Alexander’s, which adds another<br />
dimension for consideration. Alexander describes<br />
pedagogy as “what one needs to know, and the skills<br />
one needs to command, in order to make and justify the<br />
many different kinds of decisions of which teaching is<br />
constituted.” 2 Alexander’s point here is that it’s not just<br />
about the implementation of methods and activities. It’s<br />
about the conscious decisions that are behind them.<br />
I’m sure most teachers would agree that there are four<br />
universal questions that inform every decision they make<br />
around their practice, starting with the glaringly obvious<br />
but often intimidating What am I going to do in class today?<br />
And then, in order to justify the response to that question,<br />
Why? Once those bases are covered we need to deal with<br />
How will this actually work in practice? That is, what are<br />
the nuts and bolts of the lesson going to be? And finally,<br />
the critical question: How will I know if it’s worked? That<br />
simple sequence is the bedrock of any educator’s practice,<br />
and provides the basis for the chain of decisions of which<br />
teaching is comprised.<br />
So, if that’s how we think about pedagogy, what does it<br />
look like if we introduce the ‘digital’ component? Is it just a<br />
matter of talking about all of the above, but just swapping<br />
in mobile devices and interactive whiteboards? We would<br />
argue not.<br />
The Digital Pedagogy Lab offers a definition of digital<br />
pedagogy that, we feel, sets the tone:<br />
“Digital Pedagogy is precisely not about using digital<br />
technologies for teaching and, rather, about approaching<br />
those tools from a critical pedagogical perspective. So, it<br />
is as much about using digital tools thoughtfully as it is<br />
about deciding when not to use digital tools, and about<br />
paying attention to the impact of digital tools on learning.” 3<br />
To some extent that sentiment echoes the four questions<br />
that underpin pedagogical decision making; reflecting on<br />
the choices being made in preparation for a lesson and<br />
evaluating whether those choices have been effective<br />
or not.<br />
With that in mind, we would propose that the essence of<br />
digital pedagogy can be captured by the following statements:<br />
1) It’s about using digital tools thoughtfully.<br />
2) It’s about deciding where not to use those tools.<br />
3) It’s about evaluating the use of those tools on learning.<br />
But what about questioning the use of digital tools at all?<br />
Is the emergence of a discourse around digital pedagogy<br />
inevitable, or has it simply been unchallenged? How is the<br />
use of technology in education being critiqued, in terms of<br />
both its merits and faults?<br />
A critical appraisal of the use of technology would<br />
primarily be concerned with the third statement in our<br />
description above; evaluating the extent to which the use<br />
of the tool actually delivers benefit to the teaching and<br />
learning process. If it doesn’t, why are we bothering in the<br />
first place? There are two notable devices that we can refer<br />
to in order to take that enquiry even further.<br />
The first is known as Postman’s Six Questions. Neil Postman<br />
was an American educator, author and cultural critic.<br />
He wrote about the role that technology was beginning<br />
to play in American society. Postman saw himself as a<br />
counterpoint to the relentless optimism and enthusiasm<br />
of the ‘technophiles’ and their impact on American society.<br />
We can observe a similar scenario when we look at the<br />
use of technology in education: on one side there is a<br />
cheerleading, evangelical community who are almost blind<br />
to the potential downsides of using technology to enhance<br />
learning, whilst on the other side you have people like<br />
Postman who say it is their duty to highlight the pitfalls of<br />
using technology – not just in education, but in life more<br />
broadly.<br />
Postman’s take on the rhetoric surrounding technology<br />
was unequivocal, as he wrote in his 1985 book Amusing<br />
Ourselves to Death: Public Discourse in the Age of Show<br />
Business:<br />
“Through the computer, the heralds say, we will make<br />
education better, religion better, politics better, our minds<br />
better — best of all, ourselves better. This is, of course,<br />
nonsense, and only the young or the ignorant or the foolish<br />
could believe it.” 4<br />
He certainly doesn’t hold back. It’s important to mention,<br />
however, that Postman made it clear that he wasn’t a<br />
Luddite. He was simply demonstrating what he saw as a<br />
healthy scepticism towards technology; he was able to<br />
appreciate the potential benefits, but he wasn’t prepared<br />
to ignore its detrimental effects.<br />
In his 1998 book Building a Bridge to the 18 th Century<br />
Postman proposed a very interesting set of questions that<br />
should be asked whenever a new technology is introduced.<br />
The first question is probably the most direct: What is the<br />
problem to which this technology is the solution? The idea of<br />
requiring a clearly defined problem is a really interesting<br />
2 - ‘Towards a comparative pedagogy’, Robin Alexander, from: Cowen,<br />
R. and Kazamias, A.M. (ed) International Handbook of Comparative<br />
Education, pp 923-942, Springer, 2009<br />
3 - http://www.digitalpedagogylab.com/hybridped/digitalpedagogy/<br />
4 - Amusing Ourselves to Death: Public Discourse in the Age of Show Business,<br />
Neil Postman, Penguin USA<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 17
Cover Topic<br />
by Nick Robinson and Tim Gifford<br />
one, especially as it’s not uncommon to see examples<br />
of technology in education that aren’t really solving a<br />
problem.<br />
He then encourages us to ask Whose problem is it? and then<br />
What new problems might be created by solving the original<br />
problem? Might there be an adverse butterfly effect, or<br />
some unforeseen outcome that plays out somewhere down<br />
the line?<br />
Similarly, we are urged to consider Which people and<br />
what institutions will be most seriously harmed by this new<br />
technology? The technology may be solving a problem for<br />
a very specific set of users in a specific context, but that<br />
might be at a cost to others elsewhere in the value chain,<br />
marketplace, or society more widely.<br />
Conversely, the next question asks What sort of people and<br />
institutions gain special economic and political power from<br />
this new technology? What might the new technology mean<br />
for the distribution of opportunities, access or resources<br />
for example?<br />
And then finally, What changes in language are being forced<br />
by these new technologies? Postman prompts us to think<br />
about how technological advances ultimately influence the<br />
way we think and, therefore, how we talk.<br />
These are expansive and thought-provoking questions<br />
when applied to the use of educational technologies. As a<br />
thought experiment, try applying those questions to some<br />
of the technology solutions in your teaching context. For<br />
example, take an interactive whiteboard that can display<br />
a digital version of a coursebook as an example. To what<br />
problem is that the solution? Consider the delivery of a<br />
blended learning solution through a learning management<br />
system. What problem is that solving, and for whom? Is it<br />
actually creating problems for someone not enrolled in that<br />
course? Including grammar practice in a language learning<br />
mobile app arguably solves a few problems for learners<br />
at that moment, but it potentially creates several more as<br />
a result, such as the ability to check understanding and<br />
actual production.<br />
What Postman’s questions provide is an impartial,<br />
objective approach to assessing educational technologies,<br />
and one that forces us to think about the wider implications<br />
of adopting it beyond the more immediate benefits of<br />
convenience or cost saving.<br />
Another example of a more critical view on digital<br />
pedagogy, more specifically for English language teaching,<br />
comes from British linguist David Graddol and is known<br />
as Graddol’s Maxim. David Graddol is famous for, among<br />
other things, his 1997 book The Future of English, which<br />
attempted to chart the development of English as a global<br />
language. He gave a talk on this topic as part of a twentieth<br />
anniversary review of that work at the International House<br />
Barcelona conference in February 2017. Whilst addressing<br />
the use of technology in language learning, Graddol<br />
introduced his maxim. He said:<br />
“In early experience with computer-based emerging<br />
technologies, I noticed what seemed a regressive aspect<br />
to courses designed for online use. This seemed partly<br />
because of the limitations of the technology, but also<br />
because the teacher lost ability to control the pedagogy<br />
which was imposed by the technology.”<br />
Graddol’s assertion that technology is having a deleterious<br />
effect on a teacher’s ability to make those fundamental<br />
decisions is an interesting one. He goes on to say that his<br />
observations led him to draw the conclusion that “the<br />
leading edge of pedagogy is never found at the leading<br />
edge of technology.” He goes even further, taking that<br />
negative correlation between technology and pedagogy<br />
to the extreme, claiming that “new technology brings<br />
regressive pedagogy.”<br />
According to Graddol, in some cases technology causes us<br />
to revert to an outdated or regressive way of teaching, and<br />
that’s the reason why it’s proving difficult to demonstrate<br />
improvements in learning when technology is used. In a<br />
profession where we’ve broadly landed on communicative<br />
language teaching as a best practice, it’s interesting to<br />
notice how few digital learning products attempt to actually<br />
facilitate communicative language learning. Instead, they<br />
rely on less sophisticated methodologies like grammar<br />
translation or the audio-lingual method.<br />
There are several reasons for why that might be the case,<br />
and lots of people have commented on this exact issue.<br />
For example, on his blog in 2014 Philip Kerr reviewed the<br />
digital language learning product Voxy, pulling the platform<br />
up on its methodological approach:<br />
“According to Wikipedia, Voxy is based on the principles<br />
of task-based language teaching. … What I saw was closer<br />
to those pre-1970s textbooks where texts were followed<br />
by glossaries. Voxy is technologically advanced, but<br />
methodologically, it is positively antediluvian.” 5<br />
That’s fairly scathing criticism of what is, for all intents and<br />
purposes, a fairly advanced language teaching product.<br />
Kerr’s reference to Voxy’s antediluvian approach aligns<br />
with Graddol’s idea that technology inevitably results in<br />
regressive pedagogy.<br />
But why is that case? Why do seemingly leading-edge<br />
learning technologies put forward old school pedagogical<br />
approaches? Looking at it from Postman’s perspective,<br />
if the pedagogy that’s facilitated by these products isn’t<br />
bringing around improved learning outcomes, then what’s<br />
the point?<br />
5 - https://adaptivelearninginelt.wordpress.com/2014/04/10/voxy-the-futureof-language-learning/<br />
6 - https://adaptivelearninginelt.wordpress.com/2014/04/06/edtech-andneo-liberalism-fragment-of-a-network/<br />
18 | <strong>New</strong> <strong>Routes</strong>® Disal
y Nick Robinson and Tim Gifford<br />
Cover Topic<br />
To answer that question, we come back to Philip Kerr.<br />
In 2014 Kerr wrote about what he saw as being a neoliberal<br />
approach to education. His reference point was<br />
adaptive learning, but we think that it might be applied to<br />
educational technology more broadly:<br />
“The major advocates of adaptive learning form a<br />
complex network of vested neo-liberal interests.<br />
Along with adaptive learning and the digital delivery<br />
of educational content, they promote a freemarket,<br />
for-profit, ‘choice’-oriented … ideology.” 6<br />
We’re not entirely convinced by Kerr’s accusation against<br />
the sinister forces behind educational technologies, but<br />
it’s a viewpoint that is certainly worth considering. For us,<br />
technology’s apparently regressive pedagogical approach<br />
might be more directly attributed to the individuals<br />
involved in its creation. More specifically, digital product<br />
teams that don’t necessarily have the educational<br />
experience or expertise to address the pedagogical<br />
aspect of their products. Their output often exemplifies<br />
the leading edge of design and user experience, but that<br />
slickness belies the lack of pedagogical substance. That<br />
leaves educators and learners in a position where they<br />
need to retrofit the pedagogy to the tech, rather than<br />
feeling like it was a consideration from the outset.<br />
And this is where, for us, the concept of digital pedagogy<br />
becomes all the more important. As educators, trainers,<br />
content developers and publishers working in a profession<br />
that continues to be assailed by new technological<br />
solutions, being able to ask the right questions and to<br />
proceed thoughtfully and critically is key.<br />
The authors<br />
Nick Robinson and Tim Gifford are co-founders of ELTjam. ELTjam is the Learner Experience Design company working<br />
with companies and organisations to create digital learning products that are both effective and a joy to use. You<br />
can explore the topic of digital pedagogy in more detail in their online course, An Introduction to Digital Pedagogy,<br />
available on the ELTJAM ACADEMY at www.eltjam.academy. Use the code NEWROUTES to get a 20% discount.<br />
For more information on what ELTjam is up to, visit them at www.eltjam.com or follow them on Twitter at @eltjam. If<br />
you’d like to get in touch to explore how ELTjam might work with your organisation, contact their Learner Experience<br />
Partner, Daphne Walder, who is based in São Paulo on daphne@eltjam.com.<br />
Shape your future in ELT<br />
Online courses to help you develop the skills you<br />
need to succeed in a changing industry.<br />
20% off any<br />
course with<br />
promo code<br />
NEWROUTES<br />
ENROL NOW<br />
tiny.cc/daphne<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 19
Slang<br />
by Jack Scholes<br />
PEJORATIVE<br />
TERMS FOR<br />
PEOPLE<br />
SLEAZEBAG<br />
PESSOA DESONESTA, IMORAL,<br />
INESCRUPULOSA; SAFADO, SACANA<br />
He’s a real sleazebag.<br />
Ele é muito safado.<br />
Sleazebag vem da palavra sleazy,<br />
que significa sujo, desonesto, imoral.<br />
Também se diz sleazeball ou sleaze.<br />
A PAIN IN THE ASS/BUTT (US)<br />
UM PÉ NO SACO<br />
She’s a pain in the ass!<br />
Ela é um pé no saco!<br />
A pain in the ass, ao pé da letra “uma<br />
dor na bunda”, designa qualquer coisa<br />
ou pessoa insuportável, irritante.<br />
Existe também a expressão eufemística<br />
e bem menos ofensiva A pain in the<br />
neck, “uma dor no pescoço”. No<br />
Reino Unido, diz-se a pain in the arse/<br />
backside.<br />
SLOB<br />
PESSOA PREGUIÇOSA, DESLEIXADA,<br />
RELAXADA; PORCALHÃO<br />
He’s a fat slob.<br />
Ele é um gordo porcalhão.<br />
Há também o verbo to slob around/<br />
about, que significa vagabundear,<br />
comportar-se de maneira preguiçosa e<br />
desleixada, fazendo muito pouco.<br />
WINDBAG<br />
PESSOA QUE NÃO PÁRA DE FALAR,<br />
NORMALMENTE SÓ SOBRE COISAS<br />
CHATAS; VITROLA QUEBRADA<br />
He’s just a boring old windbag.<br />
Ele é só um velho chato que não pára<br />
de falar.<br />
Windbag é, literalmente, “saco cheio<br />
de ar”.<br />
OLD FOGEY / FOGY<br />
PESSOA ANTIQUADA, MUITO<br />
CONSERVADORA, EM GERAL DE<br />
IDADE; CARETA<br />
Politicians are a bunch of old fogies.<br />
Os políticos são um bando de caretas.<br />
BAG<br />
MULHER FEIA, ESPECIALMENTE<br />
VELHA; BUCHO, BARANGA, BRUACA<br />
She’s a silly old bag!<br />
É uma baranga velha e idiota!<br />
CHEAPSKATE<br />
AVARENTO; MUQUIRANA,<br />
PÃO-DURO<br />
My brother is a real cheapskate.<br />
Meu irmão é muito muquirana.<br />
SCATTERBRAIN<br />
PESSOA DISTRAÍDA, AVOADA;<br />
DESMIOLADO, MIOLO-MOLE<br />
I’m such a scatterbrain. I can never<br />
remember where I leave my car keys.<br />
Eu sou tão desmiolado. Nunca consigo<br />
lembrar onde deixo as chaves do carro.<br />
Em gíria britânica, usa-se também o<br />
adjetivo scatty.<br />
The author<br />
WIMP<br />
ALGUÉM MEDROSO, FRACO,<br />
COVARDE, INSEGURO; COVARDÃO,<br />
BUNDA-MOLE<br />
He’s such a wimp!<br />
Ele é tão medroso!<br />
A palavra wimp indica uma pessoa<br />
fraca em corpo, mente ou caráter, e tem<br />
sua origem no personagem medroso -<br />
Wimpy - do desenho animado Popeye.<br />
Usa-se também o verbo to wimp out<br />
quando se decide não fazer algo<br />
porque fica com medo ou inseguro.<br />
SLAG (UK)<br />
MULHER DE APARÊNCIA OU<br />
COMPORTAMENTO CONSIDERADO<br />
IMORAL; PIRANHA, BISCATE<br />
Don’t go out with her. She’s a real slag.<br />
Não saia com ela. Ela é bem piranha.<br />
(AS) UGLY AS SIN<br />
EXTREMAMENTE FEIO; FEIO PARA<br />
DIABO<br />
Her new boyfriend is a really<br />
nice guy, but he’s as ugly as sin.<br />
Seu novo namorado é um cara muito<br />
legal, mas é feio para diabo.<br />
MUG<br />
OTÁRIO, BOBO<br />
He’s such a mug. He paid far too<br />
much for that old car.<br />
Ele é tão otário! Pagou demais por<br />
aquele carro velho.<br />
Jack Scholes is the author of many books, including Slang – Gírias Atuais do Inglês,<br />
Modern Slang and Slang Activity Book. He is also co-author with Jane Revell of Sucesso<br />
nos Exames. His most recent publications are Inglês Rápido, Quick Brazilian Portuguese<br />
and Why do we say that? Por que dizemos isso?. All published by Disal Editora.<br />
Email: jack@jackscholes.com<br />
C<br />
M<br />
Y<br />
CM<br />
MY<br />
CY<br />
CMY<br />
K<br />
20 | <strong>New</strong> <strong>Routes</strong>® Disal
y Jack Scholes<br />
Slang<br />
C<br />
M<br />
Y<br />
CM<br />
MY<br />
CY<br />
MY<br />
K<br />
No matter what your<br />
English teaching need is...<br />
#ASKOUP<br />
www.oup.com.br<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 21
How do you say ... in English?<br />
by José Roberto A. Igreja<br />
SACO DE PANCADA<br />
PUNCHING BAG<br />
Assim como em português, o termo punching bag (saco de<br />
pancada), equipamento usado para o treino de boxeadores,<br />
pode também ser usado no sentido figurado. Confira o<br />
exemplo:<br />
“I just got tired of being a punching bag. That’s why I quit my<br />
job”, explained Mick to his friends.<br />
“Cansei de ser um saco de pancada. Por isso que larguei<br />
meu emprego”, explicou Mick aos amigos.<br />
CRIME DO COLARINHO BRANCO<br />
WHITE-COLLAR CRIME<br />
Fraud, embezzlement and other<br />
nonviolent lawbreaking acts are<br />
examples of white-collar crime.<br />
Fraude, desfalque e outros atos não<br />
violentos que infringem a lei são<br />
exemplos de crime do colarinho<br />
branco.<br />
DETALHISTA; CHATO<br />
PICKY; FUSSY<br />
Grace is very picky about the food she<br />
eats. It’s not easy to please her.<br />
Grace é muito chata com o que come.<br />
Não é fácil agradá-la.<br />
Jim has always been fussy about the<br />
clothes he wears. They have to be<br />
perfectly ironed and clean.<br />
O Jim sempre foi chato com as<br />
roupas que veste. Elas tem que estar<br />
perfeitamente passadas e limpas.<br />
ESPELUNCA<br />
DIVE<br />
The bar we went to last night was a<br />
real dive.<br />
O bar onde fomos ontem à noite era<br />
uma verdadeira espelunca.<br />
CUMPRIR UM PRAZO<br />
MEET A DEADLINE<br />
“I’m afraid we won’t be able to meet the<br />
deadline. We need some more time for<br />
that project”, said Bill at the meeting.<br />
“Temo que não conseguiremos<br />
cumprir o prazo. Precisamos de mais<br />
algum tempo para finalizar o projeto”,<br />
disse Bill na reunião.<br />
“The way things are going we’ll have to<br />
work overtime to meet the deadline”,<br />
said Leo to a coworker.<br />
“Da forma como as coisas estão<br />
caminhando teremos que fazer hora<br />
extra para cumprir o prazo”, disse Leo<br />
a um colega de trabalho.<br />
FACA DE DOIS GUMES<br />
DOUBLE-EDGED SWORD; TWO-EDGED<br />
SWORD<br />
The expression “double-edged sword”<br />
is used to refer to something that can<br />
have both favorable or unfavorable<br />
consequences.<br />
A expressão “faca de dois gumes”<br />
é usada para se referir a algo<br />
que pode ter consequências<br />
favoráveis ou desfavoráveis.<br />
DESAJEITADO; DESASTRADO<br />
CLUMSY<br />
Tim is so clumsy! He keeps dropping<br />
things all over the place.<br />
O Tim é tão desastrado! Ele está<br />
sempre deixando coisas cair por todo<br />
o canto.<br />
Além do adjetivo clumsy, o termo<br />
coloquial klutz é bastante usual para<br />
se referir a uma pessoa desastrada ou<br />
desajeitada. Veja o exemplo abaixo:<br />
“Oops, sorry. I’m such a klutz!”, said<br />
Mike as he bumped into our table.<br />
“Opa, desculpa. Eu sou tão<br />
desastrado!”, disse Mike quando<br />
esbarrou em nossa mesa.<br />
O autor<br />
José Roberto A. Igreja has a BA in English and Literature from PUC/SP. He is the author of Inglês Fluente em 30<br />
Lições; Como se diz em inglês?; What to say when?; Guia Prático para a comunicação em inglês; How do you say ... in<br />
English?; Say it all in Brazilian Portuguese!; Fale Tudo em Inglês and Falsos Cognatos - Looks can be deceiving!. He´s<br />
also the co-author of Inglês de Rua - American Slang; Fluent Business English; English for Job interviews!; Fale Inglês<br />
como um Americano; Phrasal Verbs and American Idioms!, all published by Disal Editora. You can check out his blog at<br />
www.faletudoemingles.com.br<br />
22 | <strong>New</strong> <strong>Routes</strong>® Disal
Escola em Destaque<br />
CONHEÇA MAIS SOBRE O MELHOR<br />
CENTRO DE IDIOMAS DE POUSO<br />
ALEGRE E REGIÃO!<br />
Atuando desde 1988 o Spectrum Line começou<br />
suas atividades e vem aprimorando cada vez mais<br />
sua metodologia e multiplicando seus resultados,<br />
destacando-se como a principal instituição de ensino de<br />
idiomas em Pouso Alegre e região.<br />
Com forte espírito empreendedor e profissionalismo, e<br />
por não ser uma franquia, o Spectrum Line atua de forma<br />
independente, sempre com novos conceitos e de acordo<br />
com as necessidades dos alunos.<br />
Além disso, o Spectrum Line investe maciçamente em sua<br />
equipe, subsidiando, inclusive, cursos no exterior. Com<br />
isso, formou muitos profissionais para o ensino de idiomas<br />
e tem hoje uma equipe coesa e altamente qualificada.<br />
O resultado são trinta anos de atuação consistente, desde<br />
cursos para crianças a partir de 3 anos de idade, até cursos<br />
específicos, como cursos para negócios e área médica.<br />
Tudo através de uma abordagem holística, natural e<br />
fundamentada nas teorias mais recentes de aquisição de um<br />
idioma estrangeiro, com muita socialização e interatividade<br />
entre os alunos, bem como eventos sociais e culturais.<br />
Uma escola livre e sem fronteiras. Uma empresa que não<br />
para de crescer e com foco nos resultados. É o Spectrum<br />
Line fazendo a diferença no ensino de idiomas em Pouso<br />
Alegre e região.<br />
E para comemorar os 30 anos de trabalho, dedicação e<br />
solidez no mercado de idiomas, Spectrum Line inaugura<br />
para 2018 a modalidade Kid`s Bilingue, oferecendo a<br />
opção de um curso mais rápido, eficaz e lúdico para os<br />
pais que tenham interesse em que seus filhos tenham<br />
fluência no idioma inglês em um curto espaço de tempo e<br />
com vantagens adicionais como: melhorar as habilidades<br />
cognitivas, desenvolver a criatividade e adquirir<br />
conhecimento de culturas diferentes.<br />
DISAL BELO HORIZONTE INDICA:<br />
SPECTRUM LINE<br />
Rua João Basílio, 564 - Centro<br />
CEP: 37550-000 - Pouso Alegre - MG<br />
Telefax: 0 xx (35) 3423-4438<br />
Rua Comendador José Garcia Nº 946 - Centro<br />
CEP: 37550-000 - Pouso Alegre - MG<br />
Telefax: 0 xx (35) 3423-0303<br />
www.spectrumline.com.br<br />
24 | <strong>New</strong> <strong>Routes</strong>® Disal
Disal Indica<br />
PENNY UR’S100 TEACHING TPS<br />
Editora: Cambridge University Press<br />
Autora: Penny Ur<br />
130 Páginas<br />
ISBN: 9781316507285<br />
TEACHING EFL WRITING<br />
A PRACTICAL APPROACH FOR<br />
SKILLS-INTEGRATED CONTEXTS<br />
Editora: Cengage Learning<br />
Autora: Isabela de Freitas<br />
Villas Boas<br />
125 Páginas<br />
ISBN: 9788522127801<br />
FALE TUDO EM INGLÊS EM<br />
VIAGENS!<br />
Editora: Disal Editora<br />
Autor: José Roberto Igreja<br />
184 Páginas<br />
ISBN: 9788578440046<br />
LEARNING TEACHING -<br />
THE ESSENTIAL LANGUAGE<br />
TEACHING 3RD EDITION<br />
Editora: Macmillan Education<br />
Autor: Jim Scrivener<br />
416 Páginas<br />
ISBN: 9780230729841<br />
LANGUAGE TEACHING<br />
COMPETENCES<br />
Editora: Oxford University Press<br />
Autor: Richard Rossner<br />
192 Páginas<br />
ISBN: 9780194403269<br />
UNDERSTANDING AND USING<br />
ENGLISH GRAMMAR<br />
Editora: Pearson<br />
Autores: Betty S. Azar / Stacy<br />
A. Hagen<br />
492 páginas<br />
ISBN: 9780134275260<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 25
Book Review<br />
THINKING<br />
IN THE EFL<br />
CLASS<br />
Tessa Woodward,<br />
Helbling Languages,<br />
252 pages<br />
Has the fun has gone out of teaching? Do<br />
you feel you are giving your classes on<br />
auto-pilot? If so, this is a book for you.<br />
For experienced and inexperienced<br />
teachers alike, Thinking in the EFL Class<br />
(in the beautifully-produced Helbling<br />
The Resourceful Teacher Series) is a<br />
goldmine of ideas and activities. It sets<br />
out to suggest ways of getting both the<br />
teacher and the students involved in<br />
new ways of looking at things.<br />
Starting from an introduction on<br />
thinking in general, with a useful<br />
reminder of ‘lower order’ and ‘higher<br />
order’ taxonomies of thought, the<br />
book contains 7 sections. It progresses<br />
through Chapter 1 (Fundamentals)<br />
to Chapter 7 (Designing tasks and<br />
activities to encourage thinking), each<br />
with its own introduction, teaching tips<br />
and practical activities for use in class.<br />
Particular activities are also flagged<br />
with a symbol indicating there is a free<br />
downloadable worksheet in .pdf or<br />
.doc format on the Helbling Languages<br />
website.<br />
If you work with a syllabus tied to a<br />
particular set of course materials,<br />
you may feel you have too little<br />
time to introduce new ideas. This<br />
book, however, will help you liven<br />
up your thoughts on topics such<br />
as “Building concepts, looking for<br />
patterns and memorising” (Chapter<br />
2) and on “Keeping it practical: ways<br />
of structuring lessons for thinking”<br />
(Chapter 3) among others. Many of<br />
the practical activities suggested can<br />
be used with the textbook or course<br />
materials rather than instead of them.<br />
Varying the focus you give to your<br />
materials, getting your students to<br />
think more, to create more actively<br />
and to cooperate better will all have<br />
practical rewards. And the whole<br />
process begins with things as simple as<br />
allowing more time for student answers<br />
and looking for alternative responses<br />
to the same question. Things we often<br />
do, but reflection on what we do as<br />
teachers and why we do it will always<br />
be time well invested.<br />
Activity 3.4 involves “Inspiring people”<br />
and suggests working with “making a<br />
personal association with someone<br />
who has overcome difficulties or<br />
achieved great things”. One of my<br />
heroes in the teaching profession is<br />
Tessa Woodward. I have admired her<br />
work both in person and on paper<br />
since I first met her in the late 1980s. As<br />
a teacher, as the editor of the journal<br />
The Teacher Trainer, and as a writer of<br />
supplementary materials for teachers,<br />
she has a simplicity, an originality, an<br />
eye for detail and an elegance that<br />
few other trainers can match. All these<br />
qualities are reflected in Thinking in the<br />
EFL Class.<br />
The reviewer<br />
Sara Walker was born and educated in Britain, where she gained a BA in Modern Languages and an MA in Latin<br />
American Studies, but has worked virtually all her professional life in Brazil. She has been coordinator of the English<br />
programme for trainee diplomats at the Brazilian Foreign Ministry’s Instituto Rio Branco for many years and is a<br />
former president of BRAZ-TESOL. She was recently made an Honorary Citizen of Brasilia to celebrate her 50 years of<br />
teaching in Brazil.<br />
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TAM<br />
Variedades<br />
BONNIE SCOTLAND<br />
SCOTCH, SCOTS, SCOTTISH<br />
Escocês<br />
Her husband is Scots and drinks Scotch<br />
whisky in a Scottish pub.<br />
O marido dela é escocês e toma uísque<br />
escocês em um bar escocês.<br />
Do inglês arcaico Scottas, as três<br />
palavras Scotch, Scots e Scottish<br />
significam “escocês”, mas o uso de<br />
cada adjetivo varia.<br />
Scotch: refere-se a uísque escocês e a<br />
algumas comidas. Por exemplo: scotch<br />
broth — caldo de carne com legumes<br />
e cevada; scotch egg — ovo cozido<br />
coberto de carne moída de linguiça,<br />
depois passado na farinha de rosca<br />
e frito.<br />
Scots: refere-se à língua inglesa falada<br />
na Escócia e aos seus habitantes, que<br />
podem ser chamados também de<br />
Scotsman e Scotswoman.<br />
Scottish: é o adjetivo mais usado para<br />
se referir ao país Escócia, bem como a<br />
seu povo e sua cultura. Por exemplo:<br />
Scottish football, the Scottish mountains.<br />
KILT<br />
Tipo de saiote escocês<br />
Kilts are traditionally worn by men in<br />
Scotland.<br />
Kilts são usados tradicionalmente por<br />
homens na Escócia.<br />
O termo kilt tem sua origem numa<br />
palavra escandinava, kilte, que<br />
significava “enrolarse”. Antigamente,<br />
os escoceses usavam um tecido<br />
comprido para enrolar na cintura<br />
e jogar por cima de um ombro.<br />
Mais tarde, virou um tipo de saiote<br />
plissado, com desenho em xadrez,<br />
chamado tartan. Kilt é uma peça de<br />
roupa tradicionalmente usada pelos<br />
homens na Escócia, e, diante do<br />
saiote, costumase pendurar uma bolsa<br />
de couro, geralmente coberta de pelo,<br />
chamada sporran.<br />
HAGGIS<br />
Haggis<br />
Haggis is a traditional Scottish dish.<br />
Haggis é um prato escocês tradicional.<br />
Haggis é um prato escocês feito de<br />
coração, pulmão, fígado e miúdos<br />
de carneiro ou bezerro, picados e<br />
misturados com a gordura dos rins<br />
do animal, farinha de aveia, cebola,<br />
condimentos e temperos. Tudo isso é<br />
colocado dentro de um tipo de bolsa<br />
feita com o estômago, parecendo uma<br />
linguiça grande e, depois, é cozido<br />
na água. É muito popular na festa<br />
escocesa tradicional Burns Night,<br />
na noite de 25 de janeiro, quando é<br />
comemorado o aniversário do poeta<br />
escocês Robert Burns (1759-1796).<br />
O nome haggis vem da palavra hack,<br />
que significa “cortar”, “picar”,<br />
referindose aos miúdos picados do<br />
prato.<br />
A propósito, essa mesma palavra,<br />
hack, deu origem à palavra hacker,<br />
de computadores, significando uma<br />
pessoa que tenta “cortar” a conexão<br />
para ganhar acesso a sistemas<br />
privados.<br />
AULD LANG SYNE<br />
O nome de uma canção tradicional;<br />
“há muito tempo”<br />
Auld Lang Syne is always sung at<br />
midnight on <strong>New</strong> Year’s Eve.<br />
Auld Lang Syne é sempre cantada à<br />
meia-noite na véspera do Ano-Novo.<br />
Do dialeto escocês, auld lang syne ao<br />
pé da letra é old long since, ou seja,<br />
“há muito tempo”. (A pronúncia da<br />
palavra syne seria algo como “záin”.)<br />
É o nome da canção tradicional<br />
e popular executada no final de<br />
danças e festanças, principalmente<br />
no Natal e no Ano-Novo, em todos os<br />
países de língua inglesa e em vários<br />
outros países. Enquanto cantam, os<br />
participantes formam um círculo,<br />
com os braços cruzados e as mãos<br />
segurando a pessoa de cada lado.<br />
Todos unidos. Dizem que foi Robert<br />
Burns (1759-1796), famoso poeta<br />
nacional da Escócia, que inventou a<br />
letra, mas na realidade é uma nova<br />
versão de uma canção bem mais<br />
antiga. O próprio Burns admitiu que<br />
ouviu um velho cantando essa música<br />
e resolveu escrevê-la. Sua adaptação<br />
ficou assim:<br />
Should auld acquaintance be forgot,<br />
And never brought to min’?<br />
Should auld acquaintance be forgot,<br />
And auld lang syne?<br />
AULD LANG SYNE, Robert Burns (1796)<br />
5MM DE SANGRIA P/ CADA LADO DO TAMNHO REAL<br />
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165<br />
1/14/14 1:47 PM<br />
TAMANHO REAL DO ANÚNCIO 20,6 X 27,5 CM<br />
5MM DE SANGRIA P/ CADA LADO DO TAMNHO REAL<br />
É BOM TER 5MM P/ DENTRO DO<br />
TAMANHO REAL, P/ EVITAR QUE CORTE<br />
ALGUM TEXTO NO REFILE.<br />
Master the Next Generation Science Standards<br />
Exploring Science helps you teach the Next Generation<br />
your students master 21st century science skills.<br />
Combine instruction in Science and Engineering<br />
Practices, Disciplinary Core Ideas, and Crosscutting<br />
Concepts to meet the rigor of the Performance<br />
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scientists, and photographers<br />
• Connect NGSS content with investigations,<br />
engineering practices, and case studies for<br />
complete NGSS emersion<br />
Living Things<br />
Are Everywhere<br />
Many kinds of living things live all over<br />
planet Earth. They live on land and in water.<br />
Forests, deserts, oceans, and ponds are full<br />
of living things. Di erent kinds of plants and<br />
animals live in di erent places.<br />
62<br />
The sh in this kelp<br />
forest live in water all<br />
of the time.<br />
NEXT GENERATION SCIENCE STANDARD S | DISCIPLINARY CORE IDEA S<br />
LS4. D: Biodiversity and Humans<br />
There are many di erent kinds of living things in any area, and they exist in<br />
di erent places on land and in water. (2-LS4-1)<br />
Think Like a Scientist<br />
Limestone, sandstone, and shale are all sedimentary<br />
rocks. Look at the patterns in the rock formations<br />
for evidence of how the landscape in this region<br />
has changed over time. Then cite evidence from the<br />
diagram to answer the questions.<br />
SANDSTONE This layer formed when<br />
a desert with sand dunes covered the<br />
land. The tracks of spiders and scorpions<br />
were preserved in the sandstone.<br />
The hippopotamus spends time on<br />
the land and in the water.<br />
The chameleon lives on land all of<br />
the time.<br />
Wrap It Up!<br />
1. Where on Earth do plants and animals live?<br />
2. Describe how the animals and habitats<br />
shown ar erent.<br />
LIMESTONE This layer formed when the<br />
region was covered with a warm, shallow<br />
sea. Sponges, snails, corals, sharks, and<br />
sh lived in the clear water. This fossil<br />
shell was found in the limestone.<br />
062_SE46347_2L_L4 62 1/23/14 063_SE46347_2L_L4 8:52 AM 63 1/23/14 8:53 AM<br />
63<br />
Next Generation Science<br />
Combine Exploring Science with National Geographic<br />
Science for the most complete NGSS science solution.<br />
Combine broad science background with focused,<br />
in-depth NGSS coverage<br />
Complete teacher support to successfully implement<br />
the NGSS<br />
National Geographic Explorers and scientists guide<br />
students to meet the NGSS<br />
fossil gastropod<br />
REDWALL LIMESTONE These rocks<br />
formed in a wide, shallow sea. Sea<br />
animals such as corals and crinoids<br />
lived in the calm waters.<br />
SHALE This layer formed when<br />
the land was covered by a warm,<br />
muddy sea. Animals such as trilobites,<br />
brachiopods, and crinoids lived here.<br />
Wrap It Up!<br />
fossil trilobite<br />
SANDSTONE This layer formed in<br />
an ancient sea where trilobites and<br />
brachiopods lived. There are traces of<br />
waves in the sands!<br />
164<br />
SCHIST This layer was once made of<br />
sedimentary rock. Forces inside Earth<br />
squeezed the rock until it changed<br />
into a ne-grained metamorphic rock<br />
called schist.<br />
. Interpreting Diagrams What kind of rocks make up the newest<br />
layer shown in the diagram? Which rocks make up the oldest layer?<br />
. Sequence Use evidence from the diagram and what you know<br />
about sedimentary rocks to place these steps in order from rst to last:<br />
a. Sand dunes cover the land.<br />
b. The Colorado River cuts through the layers of the land, forming a<br />
deep canyon.<br />
c. Sedimentary rocks are squeezed together, forming schist.<br />
d. A warm muddy sea covers the land.<br />
. Infer Use evidence from the diagram to explain how the landscape<br />
has changed over time.<br />
165<br />
Print books and eBooks<br />
available in English.<br />
A PART OF CENGAGE
Dicas<br />
BEST CASE SCENARIO / WORST CASE SCENARIO<br />
Focus<br />
Level<br />
Time<br />
Preparation<br />
To share expectations about the course.<br />
Any<br />
10 - 20 minutes<br />
None<br />
In class<br />
1) Tell the students to draw two columns on a piece of paper.<br />
2) The left column will be called: Best Case Scenario, the right column will be the Worst Case Scenario.<br />
3) Now ask them to think what would be the best possible outcome for the course that’s just started<br />
and to write it down in the best case scenario column (e.g. students may write about being very fluent<br />
users of the language by the end of the course.).<br />
4) Similarly, encourage them to think of a negative outcome and write it down in the worst case<br />
scenario column.<br />
5) Allow some time for this.<br />
6) When the students have finished, ask them to work in pairs and exchange their lists.<br />
7) Next ask them to reflect on their role towards making the best case scenario happen. What would<br />
they have to do? What would the teacher have to do? What would the group have to do?<br />
8) Now ask them to reflect on ways to prevent the catastrophic scenario from happening, and make<br />
a list.<br />
9) Again, invite the students to discuss in pairs.<br />
10) Round off the activity.<br />
Comment<br />
I’ve found it useful to go around and eavesdrop discreetly on<br />
what the students say. This activity works best when done during<br />
the first or second session of a new course.<br />
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Article<br />
by Henrique Moura<br />
THE PRAXIS OF PRACTICE<br />
Routinely speaking, practice refers to “specific activities<br />
in the second language, used systematically, (…) with the<br />
goal of developing knowledge of and skills in the second<br />
language” (DeKeyser, 2013:1). Practice is assumed to be<br />
an essential part of language learning by many, and it is<br />
given prominence in an array of methods, approaches and<br />
teaching frameworks. However, the concept of practice<br />
remains extensively unexplored in the ELT literature, and<br />
it is an aspect of the teaching praxis that often leaves<br />
teachers at sixes and sevens.<br />
The aim of this article is to (1) understand what practice<br />
is and what it is not; (2) understand what the concept of<br />
practice entails; (3) analyse what the different kinds of<br />
practice and their denominations are; (4) establish the<br />
difference(s) between practice and task.<br />
What is practice and what is not?<br />
Ellis (1993:109) explains that “practice… involves an<br />
attempt to supply the learner with plentiful opportunities<br />
for producing targeted structures”, which means to<br />
say that practice equals using the language in a given<br />
context. Using the language is inherently contrary to<br />
recognizing the language being used. One example of the<br />
difference between recognition and practice is an activity<br />
that requires students to read the definitions of words<br />
and match the corresponding words to their definitions.<br />
What students are doing in this case is recognizing the<br />
meaning of the words, or perhaps checking understanding<br />
of those, but there is no practice of this language<br />
whatsoever. In other words, they are not manipulating or<br />
creating (using) language.<br />
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Article<br />
Another criterion that helps define what practice is<br />
and what it is not is how well students can perform it.<br />
For <strong>New</strong>ell and Rosenbloom (1981:229) “practice is the<br />
sub-class of learning that deals only with improving<br />
performance on a task that can already be successfully<br />
performed”. This contrasts with activities in which,<br />
for instance, the teacher tests or diagnoses how much<br />
students know, in which students discover features of<br />
language, notice patterns, etc. Practice is only practice<br />
once the students are already familiar with the target<br />
language because it has been clarified, and if can be dealt<br />
with successfully.<br />
There is a third criterion which is important to take<br />
into account when establishing the concept of practice,<br />
which is proceduralization. Proceduralization refers<br />
to the amount of times students apply a certain rule<br />
in a (practice) activity. Carlson (1997:56) explains that<br />
practice implies “repeated performance of the same (or<br />
closely similar) routines”, and DeKeyser (1997) says<br />
that various studies show that in order for learners to<br />
assimilate a structure and use it autonomously, a dozen<br />
or so relevant items in an activity are necessary. It means<br />
that for practice to be considered real and effective, the<br />
activity needs to contain a minimum number of items<br />
so students have enough opportunities to be in contact<br />
with a certain structure.<br />
In a nutshell, the conditions for a practice<br />
activity to be considered bona fine practice are:<br />
1) providing students with opportunities to use<br />
(manipulate and create) the language, and not just to<br />
recognize it;<br />
knowledge of the language into procedural knowledge,<br />
i.e. knowing about language versus using the language<br />
successfully. It investigates how practice helps the<br />
automatization of the language, which refers to going<br />
“from initial presentation of rule in declarative format to<br />
the final stage of fully spontaneous, effortless, fast and<br />
errorless use of that rule, often without being aware of it<br />
anymore.” (DeKeyser, 2013:3).<br />
Education psychology seeks to understand how practice<br />
helps reduce or promote transfer. Transfer is “the<br />
interaction of previously acquired linguistic and/or<br />
conceptual knowledge with the present learning event<br />
to facilitate a new language learning task” (Brown,<br />
1993:117). This means that practice can act as a language<br />
facilitator for students, as long as they have an adequate<br />
declarative knowledge before they start practicing the<br />
target language.<br />
Applied linguistics, conversely, focusses on how practice<br />
interferes with the interlanguage of the learner, and does<br />
not see it as a way to transform declarative knowledge<br />
into productive knowledge, but as a means to acquire<br />
and develop both kinds of knowledge at the same time.<br />
As Diane Larsen-Freeman (2003:114) explains, “doing and<br />
learning are synchronous”.<br />
To sum up, the different approaches to practice aim to<br />
investigate if/how:<br />
1) practice activities help students to transform<br />
declarative knowledge into procedural knowledge,<br />
through automatization;<br />
2) focusing on an aspect students have already been<br />
presented with;<br />
3) containing enough items for students to apply what is<br />
being practiced (around 12 items).<br />
What does the study of practice involve?<br />
The notion of practice in ELT can be situated in three<br />
different realms: cognitive psychology, educational<br />
psychology, and applied linguistics.<br />
Cognitive psychology studies how our brain processes<br />
practice activities and how they impact on our language<br />
learning process. In other words, it tries to explain<br />
how practice can help us transform our declarative<br />
2) practice facilitates the process of language learning;<br />
3) practice allows students to learn and use the language<br />
at the same time.<br />
Different kinds of practice and their denominations<br />
Traditionally, practice activities can be more or less<br />
controlled, and denominations to refer to these abound.<br />
Some authors refer to controlled, less controlled and<br />
freer practice, whereas others prefer the terms restricted,<br />
semi-restricted and communicative practice. However,<br />
the great challenge lies in pinpointing what exactly is<br />
more or less controlled in practice activities, and many<br />
teachers sometimes use the terms interchangeably.<br />
Therefore, the question that remains unanswered is what<br />
controlled, less controlled and freer practice are.<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 33
Article<br />
by Henrique Moura<br />
The first item to consider when trying to answer the<br />
question is the number of instructions or commands<br />
that students need to follow at once when performing<br />
a practice activity. Mitchell, Myles and Marsden (2013)<br />
explain that students can only transform declarative<br />
knowledge into procedural knowledge if the effort<br />
employed is controlled, and if the task can be monitored.<br />
The more actions students perform at the same time, the<br />
less controlled by the teacher they are, and fewer are<br />
the details which can be monitored. This means that if<br />
students need to follow different commands at the same<br />
time, the teacher will not be able to control the activity<br />
as if they would if students were following a single<br />
command.<br />
The second aspect to consider is the amount of possible<br />
answers to a single practice activity. The more possible<br />
answers there are, the less the teacher can control what<br />
students will generate. To that effect, we can consider<br />
how much of an information gap the practice activity<br />
provides, the level of personalization and spontaneity<br />
that the answers can contain, and where in the pendulum<br />
manipulating language versus creating language the<br />
activity is placed, and we will know if the activity is more<br />
or less controlled. Hubbard et al. (1983:194) say that<br />
controlled practice means that “there is only one choice:<br />
the ‘correct’ response. Freer work offers the student<br />
more than one choice, or a variety of responses”, which<br />
are often personalized.<br />
The last aspect I consider important when determining<br />
what kind of practice a certain activity provides is how<br />
much language students have to deal with at once. The<br />
longer the stretch of language they have to handle in a<br />
practice activity, the less control there is. When moving<br />
from controlled to freer practice, students move from<br />
simple, artificial, and oftentimes memorized sentences<br />
to longer personalized and genuine stretches of language<br />
that resemble real-life communication.<br />
In other words, what will determine the level of control in<br />
a practice activity is:<br />
1) the number of instructions / commands students have<br />
to follow at once;<br />
2) the predictability and level of personalization of<br />
answers;<br />
4) the amount of language students handle at once;<br />
5) if the language in the activity is just manipulated or<br />
created by students.<br />
How many<br />
instructions<br />
or<br />
commands<br />
do students<br />
follow at<br />
once?<br />
How many<br />
possible<br />
answers are<br />
there for<br />
each item?<br />
How<br />
predictable<br />
are the<br />
answers for<br />
each item?<br />
How much<br />
language<br />
do students<br />
handle at<br />
once?<br />
Do students<br />
manipulate<br />
or create<br />
language?<br />
Controlled<br />
or Restricted<br />
Practice<br />
One<br />
One<br />
Totally<br />
predictable<br />
Words / Phrases<br />
/ Sentences<br />
Less controlled or<br />
Semi Restricted<br />
Practice<br />
≥ One<br />
(few)<br />
A limited number<br />
Predictable within<br />
a context<br />
Words / Phrases /<br />
Sentences<br />
Freer Practice<br />
≥ One<br />
An unlimited<br />
number<br />
Unpredictable<br />
≥ Sentences<br />
Manipulate Manipulate Create<br />
What is the difference between a practice activity and a<br />
task?<br />
According to the definition of practice proposed by <strong>New</strong>ell<br />
and Rosenbloom (1981), practice activities is what helps<br />
students perform tasks better. However, one of the most<br />
disputed definitions in ELT is that of task. Lee (2000:32)<br />
defines a task as “a classroom activity or exercise that<br />
has (a) an objective attainable only by the interaction<br />
among participants, (b) a mechanism for structuring<br />
and sequencing interaction, and (c) a focus on meaning<br />
exchange; (2) a language learning endeavor that requires<br />
learners to comprehend, manipulate, and/or produce<br />
the target language as they perform…” Considering this<br />
definition, one possible distinction to draw between<br />
practice activity and task is that in the latter, there needs<br />
to be interaction, and the focus is on primarily on meaning.<br />
This means that whereas the emphasis in practice<br />
activities is predominantly laid on form/structure, in tasks<br />
it is focused on meaning. All things considered, practice<br />
activities are the building blocks which lead up to the<br />
transformation of descriptive knowledge into procedural<br />
knowledge, and the procedural knowledge can be verified<br />
and assessed through and in tasks.<br />
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Article<br />
Conclusion<br />
Practice is omnipresent in ELT. Nonetheless, it does get an<br />
unfair treatment in the dedicated literature. This leads to<br />
many teachers confusing recognition activities with practice<br />
ones, which sometimes does not help students to become<br />
better speakers of the language. Practice activities lubricate<br />
the language acquisition mechanisms and facilitate the<br />
process of translating the knowledge about language into<br />
the knowledge of using language in real life. What teachers<br />
need to be aware of is that different practice activities have<br />
different characteristics, and that the challenge they pose<br />
needs to be measured and gradually increased so students<br />
depart from a position in which the teacher tightly controls<br />
the language they use, to a position where they can freely<br />
experiment with it.<br />
References<br />
• Brown, H. D. (1993). Principles of Language Learning and<br />
Teaching. Prentice Hall Regents.<br />
• Carlson, R. A. (1997). Experienced cognition. Mahwah, NJ:<br />
Lawrence Erlbaum.<br />
• DeKeyser, R. (1997). Beyond explicit rule learning:<br />
Automatizing second language morphosynthax. Studies in<br />
Second Language Acquisition, 19(2), 195-221.<br />
• DeKeyser, R. (2013). Practice in a second language. <strong>New</strong><br />
York: Cambridge University Press.<br />
• Ellis, R. (1993). The structural syllabus and second<br />
language acquisition. TESOL Quarterly, 27 (1), 91-113.<br />
• Hubbard, P., Jones, H., Thornton, B., & Wheeler, R. (1983).<br />
A training course for TEFL. Oxford: Oxford University Press.<br />
• Mitchell, R., Myles, F., & Marsden, E. (2013). Second<br />
language learning theories. Oxon: Routledge.<br />
• <strong>New</strong>ell, A., & Rosenbloom, P.S. (1981). Mechanisms of skill<br />
acquisition and the law of practice. In J. R. Anderson (Ed.),<br />
Cognitive Skills and their acquisition (pp. 1-55). Hillsdale, NJ:<br />
Lawrence Erlbaum.<br />
• Larsen-Freeman, D. (2003). Teaching language: From<br />
grammar to grammaring. Boston, MA: Heinle.<br />
• Lee. J. (2000). Tasks and Communicating in Language<br />
Classrooms. Boston, USA: McGraw-Hill.<br />
The author<br />
Henrique Moura is a CELTA, ICELT and Delta tutor, and a CELTA and Delta external assessor. He has worked with ELT<br />
since 2002, teaching English to all levels of proficiency, and special courses of phonetics and phonology, translation<br />
and subtitling, and post-proficiency maintenance for teachers. Henrique has also worked as a course designer, and is<br />
currently the coordinator for the teacher development courses at SEVEN Idiomas. He is currently pursuing an M.A. in<br />
Teacher Development at the University of Chichester.<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 35
Artigo<br />
por Alan Couto<br />
GESTÃO<br />
EDUCACIONAL:<br />
COMO FORMAR UM<br />
TIME NOTA 10?<br />
“Escola!”. Quando se fala em escola<br />
o pensamento mais provável de<br />
grande parte das pessoas é: giz,<br />
lousa, cadernos, professores, alunos,<br />
etc. Todavia, existe um extenso e<br />
árduo trabalho nos seus bastidores<br />
para garantir que: as aulas sejam<br />
de qualidade, os alunos estejam<br />
satisfeitos, que a secretaria esteja<br />
pronta e consiga ajudar na solução de<br />
problemas, entre outros. Para que, desse modo, o propósito de mudança na vida<br />
das pessoas, principalmente dos seus alunos, aconteça de forma significativa.<br />
Sendo assim, cada vez mais, as instituições de ensino tem se tornado e<br />
comportado como empresas, que deixam de receber alunos e passam a receber<br />
consumidores, ou seja, nesse cenário passou a ser fundamental investigar<br />
problemas de captação e evasão de alunos, e a insatisfação acerca dos serviços<br />
oferecidos, levando em conta o comportamento e as tendências desses<br />
consumidores, de modo que, sua experiência seja melhorada dia após dia, e<br />
garantindo que um amplo impacto positivo seja predominante.<br />
36 | <strong>New</strong> <strong>Routes</strong>® Disal
por Alan Couto<br />
Artigo<br />
Por isso, dadas as mudanças apresentadas, os avanços<br />
tecnológicos e os desafios diários, as instituições de<br />
ensino passam a se adequar a esses movimentos para<br />
que haja sustentabilidade e garantia de sobrevivência dos<br />
seus serviços. Então, os professores que no passado eram<br />
vistos como fonte de conhecimento, passam a assumir<br />
o papel de facilitadores, por exemplo, e habilidades de<br />
relacionamento com pessoas, como: estabelecimento<br />
de confiança, interesse genuíno, empatia, e agilidade na<br />
solução de problemas e/ou satisfação de necessidades,<br />
também apresentam-se como uma nova postura a ser<br />
assumida por nossos profissionais de ensino, frente às<br />
demandas do nosso novo perfil de aluno, ou como tem<br />
sido chamado, o novo consumidor educacional.<br />
Então compartilho abaixo três grandes segredos para<br />
gestão eficaz de pessoas, e que uma vez colocados em<br />
prática, certamente vão te ajudar a ter um time nota 10!<br />
1) TREINAMENTO<br />
Certa vez, ouvi que treinamento é igual água, ou seja,<br />
precisamos todos os dias. E essa é a mais pura verdade,<br />
afinal, pense na seguinte situação: um jogador de tênis, vai<br />
ficando cada vez melhor a medida que pratica, dominando<br />
cada vez mais recursos, modelos, etc. Com os nossos<br />
professores não é diferente, e se você quer realmente<br />
garantir que as aulas oferecidas aumentem cada vez<br />
mais a satisfação dos seus alunos, é fundamental que a<br />
capacitação dos professores aconteça periodicamente.<br />
2) FEEDBACK<br />
O feedback do dia a dia contribui para elevação na linha,<br />
ou seja, ajuda o gestor a acompanhar a evolução do seu<br />
time e provocar mudança, por isso tem sido considerado<br />
como algo básico e que deve ser feito inclusive como<br />
forma de respeito a cada funcionário, seja membro do staff<br />
administrativo ou corpo docente, afinal, você, gestor, se<br />
não recebesse nenhum feedback do seu trabalho durante<br />
uma semana ou até mesmo mais tempo, qual seria o<br />
seu nível de satisfação e vontade ao desempenhar suas<br />
funções? Você se sentiria motivado? Tomaria iniciativa no<br />
seu trabalho?<br />
Então, momentos de feedback tem um único objetivo que é de<br />
reflexão e aprendizado, e para ajudar nessa compreensão,<br />
apresento abaixo uma figura que ilustra quatro tipos de<br />
feedback: positivo, que reforça um comportamento que<br />
desejamos que se repita; corretivo, com o objetivo de<br />
modificar um comportamento; insignificante, trata-se<br />
de um feedback tão vago ou genérico que a pessoa que<br />
recebe não tem certeza de seu propósito; e ofensivo,<br />
que apenas gera desprezo e afasta pessoas. Bem como,<br />
um passo a passo de como promover feedback que gere<br />
mudança de comportamento, sempre que preciso for.<br />
Entretanto, muitos gestores ainda decidem não investir<br />
nessa área por considerar que o custo seja alto, ou até<br />
mesmo desnecessário, porém iniciativas como: cursos<br />
produzidos in-house, grupos de discussão, workshops sobre<br />
como lidar com questões locais, compartilhamento de<br />
artigos relacionados à área de ensino/ assunto específico,<br />
observação de aula de algum colega mais experiente e<br />
até mesmo conversas para trocas de boas práticas, são<br />
apenas algumas das ferramentas com baixo, ou em alguns<br />
casos nenhum, custo, e que podem funcionar como ponto<br />
inicial para extrair o que há de melhor nas pessoas, além<br />
de garantir um ambiente de constante aprendizado.<br />
Ainda, quando os profissionais da sua instituição de<br />
ensino sentir que estão devidamente capacitados, alguns<br />
dos riscos, como: medo/ insegurança e expectativa de<br />
“único tiro de sucesso”, sairão de cena, e então você<br />
começa a alcançar resultados extraordinários, pois<br />
você conseguirá compreender que o desenvolvimento<br />
de qualquer organização é um processo educacional de<br />
acumulação de conhecimento.<br />
Figura 1 - Balde de feedback<br />
Fonte: Google images<br />
<strong>New</strong> <strong>Routes</strong>® Disal | 37
Artigo<br />
PASSOS PARA UM MOMENTO DE FEEDBACK EFICAZ<br />
• Descreva um comportamento específico<br />
(exemplo: professor constantemente atrasado para aulas)<br />
• Descreva as consequências do comportamento<br />
(exemplo: alunos se sentem desrespeitados; conteúdo<br />
não é apresentado no tempo correto)<br />
• Descreva como você se sente em relação ao<br />
comportamento<br />
(exemplo: preocupação de que o aprendizado e a relação<br />
do professor com os alunos seja impactada negativamente)<br />
• Encoraje mudança<br />
(exemplo: O que posso fazer para te ajudar a melhorar<br />
essa situação?)<br />
Enfim, basicamente o tipo de feedback que escolhemos e a<br />
forma que é conduzido, determinam a resposta que teremos.<br />
3) COACHING<br />
Todo dia encontramos muitas pessoas que se apresentam<br />
como coach e oferecem soluções surpreendentes, seja<br />
por moda ou por ser um mercado atraente, entretanto,<br />
precisa ficar claro que coach é uma técnica para ajudar<br />
a resolver uma questão, ou seja, o papel do coach é o de<br />
ajudar um profissional a aprofundar-se em uma questão<br />
ou até mesmo resolver problemas, para isso pega-se um<br />
tema, explora possibilidades e desdobramentos, e depois<br />
de algumas sessões é possível traçar um plano de ação.<br />
Dessa forma, trabalha-se o futuro e o desenvolvimento<br />
de habilidades, aumentando assim o nível de resultados<br />
positivos.<br />
Então, por mais que você não tenha formação especifica<br />
para ser coach, os profissionais a serem desenvolvidos,<br />
dentro do seu contexto educacional, certamente estão<br />
muito mais ao seu alcance - na responsabilidade de gestão<br />
de pessoas, de garantir eficácia (fazer as coisas certas, de<br />
por Alan Couto<br />
maneira certa), principalmente usando sua experiência<br />
do segmento de ensino e conhecimento de cada um, para<br />
gerar tais mudanças e aumento de resultados.<br />
Para isso, inicie o processo escolhendo um ou dois<br />
profissionais que deseja fazer esse investimento, consulteo(s)<br />
sobre a ideia, determine uma área a ser trabalhada<br />
(exemplo: reclamações de alunos; evasão de alunos), e<br />
estabeleça um número de encontros para trabalhar na<br />
área proposta e desenvolver e implementar plano de ação,<br />
seguido de medição de resultados atingidos. Por fim,<br />
certifique-se de que durante todo o processo haja: foco,<br />
disciplina, e organização, onde:<br />
• foco: sabe-se o que deve ser feito/ ordem que deve ser<br />
feito;<br />
• disciplina: fazer o que se comprometeu a fazer;<br />
• organização: ação organizada, ou seja, fazer na ordem<br />
certa, garantindo eficácia pessoal.<br />
Em resumo, vivemos rodeados de estímulos, e chama<br />
a nossa atenção o que sai do padrão, portanto, se você<br />
quer garantir que o seu time educacional esteja trilhando<br />
um caminho de sucesso, lembre-se sempre de cuidar das<br />
pessoas para que elas deem o melhor de si, e compreenda<br />
que todas as ideias apresentadas nesse texto são um<br />
processo, demandam tempo, e não devem ser encaradas<br />
como estratégias emergenciais, afinal, seriam muito mais<br />
difíceis de implementar, uma vez que você teria que<br />
encaixá-las em sua estratégia original. Pense nisso!<br />
Referências<br />
WILLIAMS, Richard (2005) Preciso saber se estou indo<br />
bem. Sextante<br />
PINE, Joseph B. & GILMORE, James H. (1998) Welcome to<br />
the Experience Economy. Harvard Business Review<br />
FALCONI, Vicente (2009) O verdadeiro poder. Editora<br />
Falconi<br />
W<br />
E<br />
w<br />
A<br />
O Autor<br />
Alan Couto é administrador de empresas com MBA Executivo pelo Insper. Trabalha com serviços educacionais, no<br />
segmento de idiomas, há mais de dez anos e atualmente é gerente na Cultura Inglesa – SP.<br />
H<br />
S<br />
a<br />
p<br />
38 | <strong>New</strong> <strong>Routes</strong>® Disal
WEBINAR DISAL<br />
English for Teachers<br />
with Higor Cavalcante<br />
Teachers need to study English – that’s a fact!<br />
In this webinar, we will discuss some common diffculties Brazilian<br />
teachers of English have with the language they teach, as well as<br />
some tips on how to keep on improving your knowledge of English.<br />
Access our YouTube channel and watch it right now!<br />
/disalchannel<br />
Higor Cavalcante is a teacher and teacher educator based in<br />
São Paulo. He’s the vice president of BRAZ-TESOL and<br />
author of ”Inglês para professor“(2015) and ”Inglês para<br />
professor 2“ (coming soon), both published by Disal Editora.<br />
INGLÊS PARA<br />
PROFESSOR<br />
ISBN: 9788578441869<br />
Disal Editora<br />
208 páginas
Nuevas Rutas<br />
por Óscar Rodríguez García<br />
CÓMO TRABAJAR LA INTERACCIÓN<br />
ORAL EN EL AULA DE ELE<br />
El Consejo de Europa (2001) define en su MCER (Marco<br />
común europeo de referencia para las lenguas) la interacción<br />
como:<br />
“una participación de al menos dos<br />
individuos en un intercambio oral<br />
o escrito en el que la expresión y la<br />
comprensión se alternan y pueden, de<br />
hecho, solaparse en la comunicación.<br />
No solo pueden estar hablando y<br />
escuchándose entre sí dos interlocutores<br />
simultáneamente; incluso cuando<br />
se respeta estrictamente el turno de<br />
palabra, el oyente por lo general está<br />
pronosticando el resto del mensaje del<br />
hablante y preparando una respuesta.<br />
Aprender a interactuar, por lo tanto,<br />
supone más que aprender a comprender<br />
y a producir expresiones habladas.<br />
Generalmente se atribuye una gran<br />
importancia a la interacción en el<br />
uso y el aprendizaje de la lengua,<br />
dado su papel preponderante en la<br />
comunicación”.<br />
Incluyó también la consideración de la interacción como<br />
una actividad comunicativa de la lengua con entidad propia.<br />
Hasta entonces, las destrezas que se tenían en cuenta a la<br />
hora de preparar programas académicos para la enseñanza<br />
de lenguas eran las dos comprensiones (lectora y auditiva)<br />
y las dos expresiones (escrita y oral). A partir de entonces,<br />
se empieza a hablar de la interacción y de la mediación,<br />
de su peso específico en la enseñanza de idiomas y de las<br />
estrategias para introducirlas en el aula.<br />
De las seis actividades comunicativas, la interacción es<br />
la única que está basada en el principio de cooperación<br />
(Grice, 1975). Es un principio pragmático por el cual los<br />
dos interlocutores de una interacción se comprometen<br />
de manera tácita a participar en la misma atendiendo a<br />
conocimientos previamente adquiridos, y es el conocimiento<br />
de esos contenidos extralingüísticos o pragmática, lo que<br />
marca el nivel de dominio de la L2.<br />
Descifrar los turnos de palabra, la gestión de los silencios<br />
o la entonación en una conversación supone cubrir una<br />
necesidad básica para el buen entendimiento del mensaje<br />
que se quiere transmitir. La pragmática es, por tanto,<br />
una disciplina que toma en consideración los factores<br />
extralingüísticos que determinan el uso del lenguaje,<br />
40 | Nuevas Rutas® Disal
por Óscar Rodríguez García<br />
Nuevas Rutas<br />
precisamente todos aquellos factores a los que no puede<br />
hacer referencia un estudio puramente gramatical: nociones<br />
como las de emisor, destinatario, intención comunicativa,<br />
contexto verbal, situación o conocimiento del mundo van a<br />
resultar de capital importancia. (Escandell, 1993).<br />
oportunidades para que produzca y demuestre que<br />
realmente está adquiriendo la lengua.<br />
Se desprende de la definición del MCER que la interacción<br />
oral depende directamente del uso simultáneo de<br />
dos actividades comunicativas de la lengua (una de<br />
comprensión y otra de expresión), por lo que se pondrían<br />
en juego estrategias de codificación y de decodificación de<br />
manera constante. Más aún si tenemos en cuenta que el<br />
público al que nos estamos dirigiendo son estudiantes de<br />
lenguas extranjeras.<br />
Otra característica que cabe destacar de la interacción<br />
oral es que es una comunicación inmediata e improvisada,<br />
frente a la comunicación diferida y con más andamiaje de la<br />
interacción escrita. El hecho de que nosotros, los profesores<br />
de L2, dirijamos más o menos claramente las interacciones<br />
de nuestros estudiantes hacia los objetivos que queremos<br />
conseguir no hace que sea menos improvisada, puesto que<br />
los conocimientos inherentes a cada individuo afectan de<br />
manera clave a la producción.<br />
La imbricación de actividades de interacción oral en el<br />
aula es uno de los pilares de la enseñanza de lenguas en<br />
la actualidad. Los docentes de ELE intentan motivar a sus<br />
estudiantes a que utilicen la lengua en contextos alejados<br />
del aula, y la mejor preparación para esa “vida real”<br />
es, sin duda, desarrollar un uso funcional de la lengua<br />
“intramuros”, mediante la exposición de los estudiantes a<br />
contextos de comunicación real. Las actividades basadas<br />
en trabajo específico de la interacción oral están orientadas<br />
a un uso práctico de la lengua, son la base para la puesta en<br />
juego de los contenidos funcionales de cada nivel.<br />
Este trabajo de la interacción oral en los diferentes contextos<br />
educativos existentes puede provocar la aparición de<br />
ciertas dificultas originadas en la propia idiosincrasia del<br />
contexto o del grupo al que están dirigidas, o provenientes<br />
de la pragmática de la L1 o de la lengua de comunicación<br />
del grupo, del componente afectivo en el aula, de las<br />
condiciones físicas de la clase, etc.<br />
Figura 1. Vente 1. Unidad 1. Página 9. Fomento de la interacción oral desde los<br />
primeros pasos en el español.<br />
Dificultad:<br />
- Las explotaciones didácticas que proponen los docentes<br />
o los materiales que usamos en clase no permiten explotar<br />
todos los contenidos que realmente se pretenden explotar.<br />
Las estrategias de los estudiantes les permiten eludir<br />
la utilización de los recursos que realmente se quieren<br />
trabajar.<br />
Acciones que hay que desarrollar:<br />
Es importante introducir en nuestra clase actividades<br />
rentables y variadas para que el estudiante disponga de<br />
un mayor repertorio lingüístico y funcional y sea capaz de<br />
responder a las tareas que les proponemos en las clases.<br />
Rentables en cuanto a que puedan, realmente, poner en<br />
práctica las actividades realizadas en la clase; variadas<br />
en cuanto a que preparemos a nuestros estudiantes para<br />
los diversos contextos a los que se puede enfrentar en su<br />
producción de L2.<br />
El MCER destaca en este sentido diferentes tipos de<br />
actividades que recomienda trabajar para fomentar<br />
la adaptación del estudiante a diferentes ámbitos:<br />
transacciones, conversaciones casuales, discusión informal<br />
– formal, debates, entrevistas, negociación, planificación<br />
conjunta, cooperación para alcanzar un objetivo, etc.<br />
A continuación mencionaremos algunas de las dificultadas<br />
más problemáticas con las que se enfrenta el profesor<br />
cuando intenta integrar las actividades de interacción<br />
oral en el aula, y posibles acciones que podrían ayudar a<br />
solucionarlas.<br />
Dificultad:<br />
- En los grupos en los que la trayectoria educativa del<br />
país no fomenta la interacción oral, los profesores se<br />
encuentran con la dificultad de la “no necesidad” de hablar.<br />
Los alumnos no necesitan comunicarse para aprender la<br />
lengua porque así lo han hecho con las otras lenguas de su<br />
perfil lingüístico.<br />
Acciones que hay que desarrollar:<br />
Para eliminar ese miedo a hablar, se tienen que fomentar<br />
las actividades de interacción desde niveles iniciales, desde<br />
el primer día de clase. Hay que proporcionar al estudiante<br />
Figura 2. Vente 1. Unidad 1. Página 11. Variedad de tipología de actividades.<br />
Nuevas Rutas® Disal | 41
Nuevas Rutas<br />
por Óscar Rodríguez García<br />
Dificultad:<br />
- Los estudiantes tienen claros los contenidos gramaticales,<br />
pero a la hora de ponerlos en práctica cometen muchos<br />
errores.<br />
Acciones que hay que desarrollar:<br />
Cuando centramos la atención en los contenidos<br />
gramaticales y descuidamos los demás contenidos,<br />
podemos provocar en el estudiante un rechazo a producir<br />
por miedo a cometer errores. Es importante que los<br />
profesores trabajemos de manera secuenciada todos los<br />
componentes de la competencia comunicativa para no<br />
generar estudiantes que tengan muy buenos resultados en<br />
una competencia, y que sin embargo sean incompetentes<br />
en las demás.<br />
el profesor proponga en clase y a las situaciones que se<br />
den en contextos más allá de las aulas. Un buen ejemplo de<br />
este tipo de muestras son los vídeos, donde los estudiantes<br />
pueden observar el contenido gramatical, funcional y<br />
pragmático.<br />
Figura 4. Manual de uso Vente A1 – Libro digital del profesor con vídeos.<br />
Figura 3. Vente 1. Unidad 1. Página 17. Trabajo integrado de todas las competencias.<br />
Dificultad:<br />
- Otra de las dificultades principales a las que se enfrentan<br />
los docentes cuando proponen actividades de interacción<br />
en el aula es el uso de la L1 por parte de los estudiantes.<br />
En muchas ocasiones los estudiantes de L2 que comparten<br />
una lengua de comunicación hacen un uso desequilibrado<br />
entre la L1 y la L2.<br />
Acciones que hay que desarrollar:<br />
Si dotamos a los estudiantes de modelos reales de lengua<br />
que ellos puedan replicar en la lengua meta que están<br />
aprendiendo, les facilitaremos la puesta en juego de los<br />
conocimientos adquiridos en clase. Estas muestras reales les<br />
servirán de objetivo comunicativo, y de muestra de cultura<br />
y pragmática que ellos podrán aplicar a las situaciones que<br />
En resumen, las actividades comunicativas dirigidas a<br />
fomentar la interacción oral en el aula de L2 deben ser<br />
rentables, variadas y basadas en usos funcionales que los<br />
estudiantes puedan replicar. Los aprendientes tienen que<br />
enfrentarse a modelos de lengua reales desde el primer día<br />
y las actividades de interacción oral deben permitir que<br />
el estudiante produzca y se motive en L2. Es importante<br />
trabajar todos los componentes de la competencia<br />
comunicativa para que haya un desarrollo equilibrado de<br />
destrezas, y los estudiantes sean competentes en todos los<br />
aspectos de la L2 que están estudiando.<br />
Bibliografía:<br />
• Consejo de Europa, (2001): Marco común europeo<br />
de referencia para las lenguas: aprendizaje, enseñanza,<br />
evaluación. Madrid, Instituto Cervantes-Ministerio de<br />
Educación, Cultura y Deporte - Editorial Anaya. 2003.<br />
https://cvc.cervantes.es/ensenanza/biblioteca_ele/<br />
marco/cvc_mer.pdf<br />
• Grice, H. P. (1975). «Logic and conversation». En P. Cole<br />
y J. L. Morgan (eds.). Syntax and Semantic. Speech Acts.<br />
Nueva York: Academic Press, pp. 41-58.<br />
• Escandell Vidal, M.ª V. Introducción a la pragmática.<br />
Madrid: Anthropos, 1993, Capítulo I, págs. 15-29.<br />
El autor del artículo:<br />
Óscar Rodríguez García<br />
Nacido en Salamanca es licenciado en Filología Árabe y máster oficial en Lingüística Aplicada a la Enseñanza de ELE<br />
en la Universidad Antonio de Nebrija.<br />
Ha sido profesor en los Institutos Cervantes de Rabat, de Bruselas y de Orán durante más de siete años. También ha<br />
sido director académico de un centro de enseñanza de ELE en San Petersburgo donde ejerció como responsable del<br />
centro de formación de profesores y coordinador del centro de exámenes DELE.<br />
Cuenta con amplia experiencia en la formación de profesores en varios campos, sobre todo en los relacionados con las<br />
nuevas tecnologías en la enseñanza de L2 y es autor y coautor de diversos manuales y materiales para la enseñanza<br />
de ELE, entre ellos ¿Español? ¡Por supuesto! Niveles A2+ y B1, de la editorial EDELSA.<br />
Actualmente es Asesor Didáctico de la Editorial EDELSA (Departamento de Investigación Didáctica y comunicación.<br />
42 | Nuevas Rutas® Disal
Libro del alumno y Libro de ejercicios<br />
PUNTOS FUERTES<br />
• Calidad de la secuencia didáctica para conseguir<br />
un aprendizaje real siguiendo “las tres P”:<br />
Presentación, Práctica, Producción.<br />
• Facilidad de utilización y claridad en la<br />
organización de los contenidos.<br />
• Trabajo equilibrado de las competencias<br />
comunicativas.<br />
• Muestras de lengua reales, variadas y asequibles.<br />
• Progresión realista, contrastada en el aula.<br />
• Equilibrio entre contenido y práctica.<br />
• Consignas claras y sencillas.<br />
• Trabajo sistemático de la gramática.<br />
• Práctica del vocabulario.<br />
• Tratamiento específico de la interacción oral y<br />
escrita.<br />
• Incorporación de materiales audiovisuales en la<br />
secuencia didáctica.<br />
VENTE pretende ser una herramienta cómoda y eficaz<br />
para enseñar, aprender y disfrutar del español en el<br />
aula y on-line.<br />
Para más información entre en contacto con:<br />
Sara Ganimian Tcharkhetian | Apoio Pedagógico Espanhol<br />
apoioped.espanhol@disal.com.br | Fone: 11 3226-3102
Eu Recomendo<br />
TEACHING<br />
EFL WRITING<br />
A PRACTICAL APPROACH FOR<br />
SKILLS-INTEGRATED CONTEXTS<br />
ISABELA DE FREITAS VILLAS BOAS<br />
Teaching EFL Writing - A Practical Approach<br />
for Skills-Integrated Contexts, published by<br />
Cengage, is an excellent reference book<br />
for English teachers working in the EFL<br />
segment. Although the book is directed<br />
mainly at teachers-in-training and teachers<br />
who have had little training in teaching<br />
writing as a skill, I recommend the book to<br />
EFL teachers in general as well, including<br />
those who are experienced, for I find<br />
the book brings a number of useful and<br />
practical ideas to learn from or revisit.<br />
The teaching of writing is one of Isabela de<br />
Freitas Villas Boas’ main interest areas. A<br />
very knowledgeable teacher and teacher<br />
trainer, Isabela has drawn on her own<br />
experience as a learner and teacher of<br />
writing, as well as on her research in the<br />
field to write this book.<br />
Aiming at offering teachers useful and<br />
practical resources to help them feel better<br />
prepared to teach writing in the skills<br />
integrated context, the book is organized in<br />
eight short chapters bringing both a brief<br />
overview of how the teaching of writing as<br />
a skill has been seen and approached over<br />
the past few decades, an introduction to the<br />
process-genre framework advocated in the<br />
book, as well as very objective information<br />
and practical ideas and suggestions<br />
teachers can use when planning their<br />
writing lessons and teaching them.<br />
One of the highlights are the ‘before<br />
you read’ and ‘after you read’ boxes in<br />
chapters 1 through 7, which bring two<br />
or three questions about the topic the<br />
chapter focuses on. The questions at the<br />
beginning of each chapter are meant to<br />
raise awareness about the topic, and thus<br />
help the reader prepare for the content he/<br />
she is about to read, while the questions at<br />
the end invite the reader to focus on his/<br />
her own teaching practice, helping him/her<br />
think about how to transfer information to<br />
his/her own teaching setting.<br />
Another feature worth pointing out are<br />
the varied sample activities the author<br />
shares with readers which can be used in<br />
their teaching to introduce genres, help<br />
students plan before writing, and work with<br />
peer and teacher feedback. Besides this, a<br />
variety of very useful sample charts, sets of<br />
scoring rubrics and checklists for different<br />
proficiency levels are also available in<br />
chapter 7 for easy reference. The author<br />
also offers helpful step by step suggestions<br />
for teachers or course developers to refer to<br />
when adapting existing materials to fit the<br />
process-genre framework in their teaching<br />
context. Finally, the book brings two<br />
Appendixes with a complete set of writing<br />
activities including sample assessment<br />
scoring rubrics, designed for intermediate<br />
and advanced level students.<br />
An insightful and very useful reference<br />
book for teachers interested in learning<br />
more about teaching writing, this title is a<br />
must read and I highly recommend it, as<br />
I’m positive that after reading it, teachers<br />
will feel more secure and motivated to help<br />
their students develop into more proficient<br />
writers of English.<br />
Silvia Corrêa, formada em Letras pela UFPa e Mestre em Linguística pela University of Colorado at Boulder. Silvia é<br />
Diretora Acadêmica da Associação Alumni, São Paulo.<br />
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Activité<br />
Activities<br />
VOCABULARY BOOSTER<br />
1. WITTY (adj.)<br />
2. OUST/ED/ED (v.)<br />
3. DEBRIS (n.)<br />
4. LURE/D/D (v.)<br />
5. UPSCALE (adj.)<br />
6. RELISH/ED/ED (v.)<br />
7. GREGARIOUS (adj.)<br />
8. PLIGHT (n.)<br />
9. MAYHEM (n.)<br />
10. LAVISH (adj.)<br />
VOCABULARY BOOSTER 3: EXERCISES<br />
I. Fill in the gaps in the sentences below with a word presented in VOCABULARY BOOSTER.<br />
1. “I wish I could afford to go to__________________<br />
restaurants. I hear the food there is awesome.”, said Jerry<br />
to a friend.<br />
2. “I hate movies filled with cold-blooded murderers and<br />
__________________.I just can’t stand them.”, said Jill to a<br />
friend.<br />
3. “It’s no wonder Jake has a__________________ lifestyle.<br />
He comes from a well-off family.”, said Mick to a friend.<br />
4. Everyone looked forward to attending professor Hoover’s<br />
__________________and informative speech.<br />
5. Anyone who violates the rules will be __________________<br />
from the group.<br />
6. Rescuers worked twenty-four seven digging through the<br />
__________________in search of survivors.<br />
7. “We need to figure out a way to__________________ more<br />
customers into our store.”. said Dan to his partner.<br />
8. “You know I__________________ our time together. I’m<br />
sure I will miss you when you leave.”, Gary told Rita.<br />
9. Ray is an outgoing and__________________ guy. He’s<br />
always surrounded by friends.<br />
10. Benjamin does volunteer work for an NGO that tries to<br />
relieve the __________________of the homeless.<br />
II. Choose the synonym.<br />
1. Gregarious<br />
a. rowdy c. touchy<br />
b. violent d. sociable<br />
2. Mayhem<br />
a. harbor c. stallion<br />
b. chaos d. bliss<br />
3. Upscale<br />
a. ravishing c. high-class<br />
b. altered d. applicable<br />
4. Debris<br />
a. leftover c. commotion<br />
b. insole d. wreckage<br />
5. Lavish<br />
a. forsaken c. luxurious<br />
b. polished d. untamed<br />
Answers<br />
I.<br />
1. upscale 6. debris<br />
2. mayhem 7. lure<br />
3. lavish 8. relish<br />
4. witty 9. gregarious<br />
5. ousted 10. plight<br />
II.<br />
1. d 2. b 3. c 4. d 5. c<br />
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anuncio_vocabulaŕio_nov2017_final.indd 1 17/11/17 16:06