David Tepper (Ricette di grandi trader Vol. 2) (Italian Edition)

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Overall, the focus of the pre-task phase is to engage the learners in manipulating copious information on the task topic, and to introduce and reactivate relevant vocabulary. In each of these activities, the learners first receive some sort of ex- tended input and are then asked to create some sort of output. These are the two min- imal abilities involved in SLA: One key aspect of the pre-task phase that is not apparent on the out- line above is its time-pressure component. Each activity is given a precise time limit, e. This metaphor, originally proposed by Vygotsky , addresses one of the key ingredients in language learning—mediation: It is knowledge-building dialogue.

It is what allows performance to outstrip competence. It is where language use and language learning can co-occur. It is language use mediating language learning. It is cognitive activity and it is social activity. The final pre-task variable we will discuss is planning: In essence, the teacher-guided, silent planning phase gives learners the op- portunity to take seriously the impending task, and to marshal all their resources. During-task phase One notes on the TBLT outline above that the during-task phase is the slimmest of the three stages; it is also the richest.

A prerequisite for allowing this important learner-language to emerge is the decentralization of the teacher—a cornerstone of TBLT. At this pivotal during-task phase, the teacher must withdraw and allow natural, sponta- neous language acquisitional processes to operate. Central to the role of the teacher in [TBLT] must be ways of working with tasks to guide learners. Norris comments on this car- dinal pedagogical point: The place- ment of grammar analysis at the end of the cycle speaks to the central belief of TBLT—that form should follow meaning.

At this point the students should be ready to focus on form; they have already successfully performed their task with a focus on meaning—the assumption is that there should now be a greater occurrence of noticing of detail. These activities are assumed to help change the way in which learners direct their attention, reminding them that fluency is not the only goal during task completion—i.

Swain posits that such merits of output push learners to process language on a deeper level, and with more men- tal effort, than processing input would do alone. Conclusions If a task cycle is sequenced backwardly very clearly--and due re- spect is paid to the environment, i. Most hopefully, their upward spiral of language use has been touched off, or sustained Fredrickson This has the potential to lead to self-learning. Anecdotally, after 20 years in the classroom, this is now the only way I teach languages.

My students learn by doing, they learn through real talk and interpersonal experience maybe even personal creativity. As a lan- guage educator, I do the only truly responsible thing I have to do, I put gas in their tanks—hours and hours of level-appropriate, engaging in- put— VanPatten , and I give them a clear destination to drive to. The rest is out of my hands, I can only hope that they enjoy the drive and want to get back in the saddle again.

This should be our goal as Italian foreign language educators: An Inves- tigation into the Spanish Past Tense. The Psychology of Second Language Acquisition. Oxford Uni- versity Press; Doughty, C. Task-Based Language Learning and Teaching. Principles and Practice in Second Language Acquisition. Pergamon Press; Lantolf, J. Sociocultural Theory and Second Language Learning. Oxford University Press; Lee, J. Heinle and Heinle; Lee, J and B. Making Communicative Language Teaching Happen. McGraw Hill; Long, M. Multiple Perspectives, edited by Beebe, L. Essays in Honor of A. Ronald Walton, edited by Lambert, R.

John Wiley; Means, T. A research- supported model. Case Studies from an International Perspective. Findings on Accuracy and Fluency. Approaches and Methods in Language Teach- ing. Cambridge University Press; Samuda, Virginia. The Role of the Teacher. Tasks in Second Language Learning. Palgrave Macmillan; Selinker, L. International Review of Applied Linguistics A Cognitive Approach to Language Learning.

Oxford University Press; Swain, M. Principle and Practice in Applied Linguistics. Mediating Acquisition Through Collaborative Dialogue. Lawrence Erlbaum Associates; Terrell, T. Janus Press; Van den Branden, K. John Benjamins; VanPatten B. From Input to Output: Harvard University Press; Willis, J. A Framework for Task-Based Learning.

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Challenge and Change in Language Teaching. I will briefly introduce the work that has been done on the topic and suggest some resources and refer- ences that can guide readers who are interested in exploring this growing field of research and practice. I will then offer some reflections on the di- verse ways in which the performing arts can be successfully integrated into different contexts depending on the diverse configurations and pos- sibilities at our disposal. I do not intend to evoke here J.

I be- lieve her call should be heeded, and most especially by foreign language and culture programs. The abilities to create, to shape meaning verbally and non verbally, to come up with creative solu- tions to problems, to think outside the box when faced with a task, are crucial to the development of our students as critical thinkers and respon- sible cultural agents. The development of these abilities can be fostered through a structural integration of the performing arts into our language and culture curricula.

Models for successful interdisciplinary collaboration between theater and performance and foreign language education already exist and are rapidly evolving. The Scenario project, housed at University Col- lege Cork, is one of the hubs for these conversations: The Scenario jour- nal is edited by Manfred Schewe University College Cork and Susanne Even Indiana University Bloomington , and it provides a great resource for up-to-date information on this evolving field.

The current practice and research landscape is indeed quite active in Australia and Europe, where the tradition of Process Drama, Drama in Education and Theatre in Education movements born in the UK has grown over the years and has, in some circumstances, blossomed into productive encounters with language pedagogy. The first one is Dramatic In- teractions: For a more extensive and comprehensive bibliog- raphy, see my forthcoming doctoral dissertation. The second one is Set the Stage!: Teaching Italian through Theater, which was published in and focuses specifically on North-America-based Italian pedagogy.

One of the recurring themes of our conference at Georgetown University has been interdisciplinarity, both in terms of recognizing it as a necessity in order to innovate our programs, and in relation to the rich opportunities that it offers. I would like to suggest that this crucial rich- ness should not manifest itself only in terms of content, but also in terms of teaching methods.

We attract and retain more students not only by of- fering courses that explore inter- or cross-disciplinary topics, but also by strengthening our communities through integrated pedagogies that bor- row teaching strategies and methods from other fields, and through joint appointments of faculty with diverse competencies in different fields, which is also in line with the changes advocated by the MLA reports. There are numerous reasons why the theater arts in particular can constitute a significantly productive interdisciplinary ally.

As I have al- ready mentioned, there are many intersecting trends and practices of Ap- plied Theatre and Drama in Education, where a specific focus on lan- guage teaching can be seen as a sub-field. To briefly summarize the ex- tensive, though not always systematic and consistent in methodology and scope, work that has been done on the topic, practitioners and researchers that advocate for educational theater stress how: All of these crucial points are closely related to the topics of the other very interesting contributions that were part of the panel in which I had the pleasure of participating at our ILCC conference.

This bears significant connections to the importance of playfulness in the classroom and with the fundamental role played by emotions in learning process- es—a topic that has always fascinated educators. The seminal work of developmental psychologist Lev Vygotsky, to offer just one significant example, is particularly interesting as it explored both language and drama and highlighted the connections between emotion and cognition through a fundamentally social theory of learning.

Body and mind constitute an insepa- rable and extremely fascinating union, which is again something that the- ater scholars and practitioners constantly engage with and reflect upon, in the last decade sometimes even putting their work in close conversa- tion with neuroscience and cognitive studies. This is yet another reason why integrating performative teaching and learning can help strengthen our curricula, as flexibility is a signature component of theater pedagogy.

How can we best provide space for things to emerge while also making sure we achieve our course and curricular learning objectives? As the various institutions and programs that include some form of it can attest, performative teaching and learning of a foreign language and culture takes a variety of different shapes within the diverse contexts in which it occurs.

For the benefit of colleagues interested in experimenting with these methodologies, the remainder of this paper will briefly and very generally summarize these possibilities in a way that will hopefully speak to the various and different contexts in which we teach, so that in- formed decisions can be made when considering whether and how to implement some degree of performance in our Italian programs. For the beginner classroom, theatrical warm-ups and improvisation games constitute a powerful tool in the arsenal of Communicative Lan- guage Teaching: For the intermediate classroom, rehearsing theatrical excerpts and en- gaging in more complex improvisation activities constitute dramatic in- teractions that are perfectly equipped to help students develop their con- versation skills and start paying more attention to the nuances of intona- tion that contribute to the locutionary and illocutionary subtleties of ver- bal communication.

At the same time, the dialogic structure of dramatic texts provides a conveniently accessible introduction to literary content, which can in turn lead the way to an easier transition to more complex literary explorations in the advanced classroom. For the advanced classroom, Process Drama workshops can help us guide students in exploring complex and delicate cultural issues, while undertaking the project of staging a full-fledged theatrical production constitutes an extraordinary collaborative task and community building endeavor.

The theatrical creation process fosters the de- velopment of higher-level critical thinking skills, as students experiment first-hand and become practically aware of what it means to interpret a text: The first issue I wish to consider relates to engaging students in performative experiences as extra-curricular or co-curricular activities. On the other hand, I have been exposed to contexts in which extra- curricular foreign language theatrical workshops function really well.

Students that choose to take part in these programs are usually motivated by personal interests and inclinations, and are likely to contribute with genuine and positive commitment for these reasons. Extra-curricular ac- tivities can constitute a very practical and viable option when curriculum integration is not a possibility, although there will of course be plenty of students who do not actively pursue extra-curricular opportunities and who will inevitably deselect themselves from something that I firmly be- lieve can be very formative for them on a variety of levels.

Among curricular performative courses, we can further distinguish between those that are completely elective and those that students might have to take in order to complete, for example, a language requirement. Elective courses are certainly an easier task for instructors, in the sense that they are naturally constituted of performance-inclined students that are already interested, at least at some level, in theatrical work and there- fore ready for and receptive to the proposed activities. However, the- se are often the very same students who, when carefully guided so that they can become more confident and comfortable, can benefit from the theatrical experience the most, especially in terms of personal develop- ment, precisely because they might otherwise never have another chance to actively engage in a creative performance project.

This is something that I have personally experienced as an instructor, and it presents a co- nundrum with which I have struggled. As it is the case for many of the ethical dilemmas that constantly face educators, there are no definite an- swers or solutions; rather, it is something of which to be mindful and acutely aware. The final point I wish to address relates to interdisciplinarity.

I believe a serious commitment to interdisciplinary collaboration is of paramount importance for any successful FL or L2 theatrical or dramatic endeavor on a variety of levels. Firstly, I am convinced that just as collaboration is fundamental in learning, it can greatly benefit any teaching effort; in the specific context of conducting drama activities in a foreign language, col- laboration can significantly help build the necessary skill set when and where a single instructor is not sufficient.

Furthermore, collaboration among languages and arts departments is not only helpful in order for practical and logistical components to work smoothly, but also extremely desirable in order to build opportunities for long-lasting projects in which both parties can benefit and learn from each other. I believe that truly interdisciplinary collaborations still hap- pen too rarely, and that we all should do our best to foster them within our institutions. Finally, and coming back to what I previously said on the importance of flexibility, interacting with different departments and learning about different traditions of pedagogy, particularly about the 9 Much has been written on the diverse set of skills that instructors need in order to prac- tice this type of work; see for example Dunn and Stinson.

To summarize, I firmly believe that a sound and thorough integration of the performing arts can help us craft innovative and effective Italian curricula. A Taxonomy for Learning, Teaching, and Assessing: Pear- son, ; Austin, J. How to Do Things with Words.

Theatre, Performance and Cognition: Languages, Bodies and Ecologies. London; New York, NY: Intercultural Learning through Drama. Penguin Books, [] ; Davis, Susan, ed. Dramatic Interactions in Education: Drama Education and Second Language Learning Also in Research in Drama Education Theatre and Cognitive Neuroscience. Bloomsbury Methuen Drama, ; Habla. The Centre for Language and Culture. Learning a Second Language through Process Drama. Ablex, ; Kindelan, Nancy Anne. Theatre Studies and a Contemporary Liberal Education. Teaching Ital- ian through Theater.

New Haven and London: Yale University Press, ; Marowitz, Charles. Theatre Studies and the Cognitive Turn. Routledge, ; Ryan, Colleen and Lisa Parkes, eds. Cambridge Scholars, ; Savoia, Francesca. The Psychology of Art. The MIT Press, [] ;. Ci devo passare almeno due volte al giorno. I have to cross it at least twice a day.

Cited materials will underscore the incorporation of the ACTFL 5Cs, focus on the 3 modes of Communication, and shine a spotlight on how Creativity motivates stu- dents to become, and remain, engaged with Italian Language and Cul- ture, both inside and outside the classroom, via the careful use of tech- nology as well as extra-curricular events. These innovative approaches to teaching foster a strong and welcoming learning community, contributing to positive, standards-based learning outcomes, as well as to the type of word-of-mouth buzz among students that leads to the retention and growth of our programs at all levels of instruction.

The ongoing aim of Intermediate Italian I and II has been to focus on examples of biography and autobiography centered around cinematic, literary, and musical works that investigate and challenge the very notion of keeping a diary, or scrapbook. Over the course of several years, the curriculum has moved away from traditional pedagogical materials and more closely concentrated on tasks and activities that facilitate meaningful communication, research and application of cultural content, and creativity.

The materials have been developed around authentic realia as well as open sources. The aim is to continue to refine original materials, offer them in a format that will contribute to Italian Studies at large—while complementing and strengthening a dynamic, interdisciplinary, inclusive vision—and to open sharing environments. It also incorporates well-developed, open-source materials that already exist, to help to promote and strengthen those, and to become more stable partners to and resources for fellow educators and students—as we all work to nurture and grow our field.

While this article will focus on Inter- mediate Italian I, the foundational approaches and pedagogical methodo- logies outlined herein serve as the blueprint for the entire sequence, and very much inform all language courses in our section. The goal of Intermediate Italian is to provide students with courses that are inspiring as well as academically rigorous.

These courses allow students to prepare for the cultural and linguistic challenges they will face once they arrive in Italy, continue on to Advanced study, and—more importantly—weave their studies of Italian language and culture into their academic, personal, and professional lives. In the future, more open- source formatting will afford a larger community of students and teach- ers the chance to take advantage of the materials we develop. At the University of Pennsylvania, we are reinvigorating Italian Stud- ies.

This is an exciting opportunity to take part in the advancement of language learning technologies and open source learning. In conceptualizing course goals, students of previous Beginning, Intermedi- ate, Advanced, and Study Abroad have been kept in mind as very specific audiences, though these courses are also open to all learners with similar, complementary goals. The pedagogical foundations of these Intermediate courses are rooted in Differentiated Instruction.

By tailoring content to their experience, in- terests, goals, and preferred or most-effective learning styles, educators can more efficiently meet individual student needs. The process through which students are led to learning objectives varies in both synchronous and asynchronous work. They are carefully guided toward meaningful engagement with the materials and ultimately to creating their own, original works that show their comprehension. The products students create reflect the development of their cultural and linguistic knowledge of the target con- tent. The learning environments differ as much as possible in order to re- flect the flexibility we are working to bring to our lessons, modules, se- mesters, academic years, and degree-granting curricula.

In the case-studies referenced here, students met four days per week, each lesson lasting 50 minutes. Simulta- neously, there were evening sections that met twice per week, each lesson lasting one hour and fifty minutes. The particular content that will be discussed later is being reframed to also reflect the possibility of fully online Intermedi- ate courses.

Assignments completed at home serve as a springboard for in-class pair-work and group-work. Warm-up activities, for example, may stem from research conducted at home. These activities range from whole-class debates, to students dis- cussing in pairs and then reporting their findings to the class, to informal mingling, to using the chalkboard, working with handouts, etc. The five Cs Cul- tures, Connections, Comparisons, Communities, Communication guide both the instructor input as well as the student output. These categories are carefully considered in terms of their particular enriching qualities.

The knowledge and understanding of Italian Culture, in its very rich and varied contexts, are shared via a meticulously chosen variety of examples of the three Ps Practices, Products, Perspectives: The tangible and intan- gible Products of Italian Culture; the observed and executed Practices of what members of Italian and Italian-speaking Communities are doing, when, and where; and the Perspectives of target language and culture community members are considered in terms of their meanings, attitudes, and values.

Of fundamental importance as we work to rebuild, reframe, and showcase our true relevance as Italian Studies is attention to the Connec- tions we can make with and for our students to the other disciplines and fields that interest and drive them academically, professionally, and per- sonally. Students communicate regularly in each of the three modes. These spontaneous discussions take place daily at the beginning of each lesson, and throughout each meeting as is appropriate to the learning objectives. Though backward design is critical, flexibility is also built in to the course plan—so that we can truly take advantage of learning moments as they arise organically during our time with our students.

The course site offers a dynamic space within which students communicate interpersonally via discussions, recordings, and collaborative content pages. They also engage in these types of interper- sonal exchanges via voice and video recordings. These asynchronous ac- tivities stem from and contribute to synchronous engagement and are crucial to optimizing community building among students and instruc- tors. Authentic materials are carefully chosen for the Intermediate level and students actively work on building their written, oral, and visual comprehension throughout their studies.

Though there is no negotiation of meaning in the moment, students are offered ample opportunity before and after these interpretive-mode targeted activities to build not only their understanding of the materials, but also their interest and confidence in interacting with it and each other. Assessments in Intermediate Italian include written tests, quizzes, compositions, oral interviews and daily assignments that focus on the presentational mode of Communication.

Students prepare, based on guidelines, for both written and oral presentations of their understanding of and ability to apply course content. Many of these tasks are prepared and rehearsed in some way. In our benchmark assessments at the University of Penn- sylvania, this has proven to have much more concrete and lasting learn- ing outcomes than generic, broadly focused testing of specific vocabulary, grammatical structures, etc.

Though ad- mittedly, personalized assessments are more challenging to grade accord- ing to standards, they are proving to be worth the investment for instruc- tors as well as for learners. ACTFL has developed a prototype for assessing the progress language students are making in building their proficiency through the World- Readiness Standards. The Integrated Performance Assessment IPA is a cluster assessment featuring three tasks, each of which reflects one of the three modes of communication--Interpretive, Interpersonal and Presen- tational.

The three tasks are aligned within a single theme or content ar- ea, reflecting the manner in which students naturally acquire and use the language in the real world or the classroom. Each task provides the in- formation and elicits the linguistic interaction that is necessary for stu- dents to complete the subsequent task. IPAs are designed for students at the novice, intermediate, and advanced levels of proficiency. They are standards-based, performance-based, developmental in nature, integra- tive.

IPAs are designed to be used with scoring rubrics that rate perfor- mance in terms of whether the performance meets expectations, exceeds expectations, or does not meet expectations for the task. It holds much promise for the future as our profession con- tinues to advance in standards-based instruction and assessment. It embodies a transparency, and therefore fairness, that encourages students to learn and instructors to teach.

At the University of Pennsylvania, Intermediate Italian is ideally con- ceived of as a bridge to Advanced coursework, and perhaps even certifi- cates, minors, or majors. However, it is of utmost importance to our Sec- tion that, regardless of how many or few courses our students take in Ital- ian Studies, those experiences be meaningful, enriching, inspirational, and fundamentally positive. Therefore, the particular course content fol- lows a linguistic progression that leads students along a bridge of authen- tic, complex, rich materials.

These materials have changed and will con- tinue to do so. The choice of specific content is secondary to the learning objectives and foundational approaches outlined above. The remainder of this article will focus on the particular materials currently used in Inter- mediate Italian at UPenn, but the reader is asked to keep in mind that these—though successfully implemented—can and should be easily freed from the underlying structure that renders the bridge traversable and, more importantly, sustainable—regardless of institution or level. Intermediate Italian I is the first half of a two-semester intermediate sequence designed to help learners attain a level of proficiency that will allow them to function comfortably in an Italian-speaking environment.

Course materials allow learners to explore culturally relevant topics and to develop cross-cultural skills through the exploration of similarities and 2 http: In Intermediate Italian I, students begin the semester revisiting and refining their ability to describe themselves and others. They are always invited to be as imaginative as they wish, thereby avoiding the possibility of learners feeling pressured to share information they would prefer to keep to themselves.

Suggestions include taking on invented personas, talking about famous people, discussing fictional characters, etc. Clearly and purposefully reminding students of these options has helped to cre- ate comfortable learning environments in which, then, many feel at home sharing their stories and all feel welcome and engaged regardless of the sources of the stories they compose throughout the semester.

We move beyond simple de- scriptions and delve into individual character and personality traits. Again, students are regularly invited to talk about anyone they like, themselves or others. Right from the onset of Intermediate Italian, we re- spectfully recognize that the Italian language itself is binary in nature, and that therefore we will be actively making gendered statements and assumptions. They choose from the widest array of people pos- sible: They describe the images they chose and explain why those were chosen.

In a subsequent step, students choose any relationship between two people, then describe the two and their relationship in as much detail as possible. For all assignments related to this text, and to all authentic materials, students use new vocabulary as much as possible and apply it to the ideas they are formulating and sharing in the target language. As a pre- listening activity, students read through quotes from the song text.

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This is, of course, based on stereotypes and as- sumptions. Every effort is made to ensure respectful yet playful negotia- tion of the content of these quotes and of opinions shared. For the first listening activity, the class only has access to the audio of the first half of the song and the aforementioned table, listen- ing for the listed quotes and checking off whether they had assumed cor- rectly or not. We then discuss the correct answers and whether or not the students are surprised by who sang which lines. Students then listen to the entire song several times, completing the text with missing words.

Keeping in mind their own descriptions, students then create dialogues as the Mina and Alberto they have gotten to know and imag- ined, that is meant to take place the evening after the words they ex- changed in their duet. This opens the floor to interesting and engaging ideas on gender roles, how they have changed, how they are changing, and what we might expect in the future. From here, students begin to brainstorm for a composition in which they are asked to now begin to describe how they, and others, were vs. As they watch and listen, students are asked to keep their antennae up for specific English to Italian translations and to recognize in them specific linguistic structures.

This is a difficult task, and often only one or two students can hear the showcased use of the relative pronoun in the lines: They fuse vocabulary they have been using to describe relationships to the context of this song, all while meaningfully applying a new and of- ten challenging grammatical structure to their own, original work.

Students are provided with blank tables and empty timelines and asked to populate them with the people, places, things, and events that have been most meaningful to them so far on their journey see Appendix 2. After in-class brainstorming, students work on a composition in which they recount, using the central structure, relative pronouns, important moments in their lives whether they be autobiographical, imagined, or some combination of the two.

How can I spy on my wifes cell phone and how you could be doing it today!

From here, we find the beginning of the Caro diario theme: They read an abridged account of the most well-known parts of his life, and research his work in cinema. The IPA approaches mentioned above are particularly effective within the context of an artist as complex as Moretti and a film as multi-faceted as Caro diario. Once learners have a solid understanding of Nanni Moretti, work begins on the content of the movie itself. Students are invited to venture guesses based on what they know about him, the images on the DVD, and the title of the film.

In the case of this film, I will offer specific samples that show what, exactly, this means see Appendix 3. For example, before viewing, students are asked what they know about Italy in the summertime and where they would expect to go on a tour of the city of Rome. They are thus asked to consider different times and seasons in their own hometowns and to recall how Philadelphia changes or remains the same throughout the year. As for the second, students expect they will visit the most reknowned and well-known parts of Rome. Once we watch the film, see these same handwritten words, and hear Moretti speak them, students are more than ready to find out what makes this character tick.

They are amazed to learn what Nanni likes to do. It is not what they expected. Nothing about him or this film is what any of them anticipated or can predict. He keeps them guessing, and this engages their imaginations. Just as before, students complete the thought on their own and talk about their dreams with their peers and instructor. As the film progresses, and students become more accustomed to feeling a bit lost with their tour guide, Moretti, their hypotheses on what Nanni might do or say become more and more creative and inventive. Students complete this verse, compare and contrast with their classmates, and prepare to find out what Nanni likes to do in other cities.

Final student projects for Intermediate Italian I include a complete diary—a combination of their corrected compositions from throughout the semester as well as one final, original entry that is built on the skeleton of the closing lines of Caro diario: As part of their final, cumulative assessment, students also work on a creative reinterpretation of any of the materials used in the course. Many of them choose to orchestrate their own versions of a scene from the film. While outside the scope of this written article, it was truly a pleasure to share with participants at the Georgetown conference videos that were made by Intermediate Italian I students at the University of Pennsylvania during these years that we have been studying Caro diario.

Each semester the final products serve as evidence not only of what students took away from their experience, but also what they added to it—and will continue to. Of note is that each Spring, students are invited to share their projects with the broader community at our annual Italian Showcase. Keeping in mind that their work has an audience that is neither limited to their instructor nor to only their classmates drives them to create high quality finished products that thoughtfully represent their achievements in Intermediate Italian. Intermediate Italian II, on the other hand, centers on the novel Am- maniti, and film Salvatores, Io non ho paura.

Intermediate II will be discussed in further detail in a future article. These bridges may carry students from one language level to another, beyond a language re- quirement, onto a minor, major, or maybe even travel and graduate work. Offering our students our hand, literally, to guide them from one profi- ciency level to the next, crisscrossing along the messy yet inviting itiner- ary of second or foreign language development, enhances their learning experience and builds our community.

These are the students that will remember that Rome is not merely the Coliseum, sunshine makes a sound, and Italian can be a bridge to many bridges—most of which they will now be able to build for themselves, and even guide others across, thanks in no small part to the interdisciplinary, inclusive, dynamic high- er-level thinking skills they have been motivated to explore, develop, and apply in our Italian Language and Culture courses. Gallego de Biblioteche Composition and the foreign language curriculum.

ADFL Bulletin, 24, The Mod- ern Language Journal, 76, Dialogue journal writing with limited English proficient students. Center for Applied Linguistics. The use of restructuring strategies in EFL writing: A study of Spanish learners of English as a Foreign Language. Journal of Second Language Writing 8: Theoretical premises and practical appli- cations.

The Modern Language Journal, 78, Writing from the Strat: A Task-oriented developmental writing pro- gram for foreign language students. Southern Conference on Language Teaching. Rethinking foreign language writing. Contextualized Language Instruction 4th ed. The effects of collaboration. Cross-cultural encounters with Afri- can folktales. Foreign Language Annals, 28, Relationship between lexical compe- tence and language proficiency.

Studies in Second Language Acquisition, 27, Formulating in L2 writing: Towards and empirical model. A multidisciplinary approach pp. Indovina chi dice le seguenti parole, lei o lui? Secondo te, che tipo di rapporto esiste tra lei e lui? Ti sorprende sentire chi ha veramente detto queste parole? Prima, leggi gli infiniti elencati. Poi, inserisci i verbi che senti negli spazi vuoti. Ascolta la canzone per la terza volta e controlla i verbi che hai scritto. Usando i tuoi aggettivi, scrivi frasi originali in cui descrivi i due personaggi: Non sei affatto modesta, vero?

Ha ha ha… Mina hotmail. Ci vediamo domani al ristorante. Usando un vocabolario vario, immaginate di essere loro e create la loro conversazione. Il tuo viaggio personale: Usando le parole dalle liste, ed altre, descrivi le diverse tappe del tuo Viaggio personale: Il film che vedrai si chiama Caro diario. Cosa sta per fare questa persona, secondo te? Abbina le parole ed espressioni a sinistra con il loro sinonimo a destra. Scegli la categoria adatta dalla lista per le colonne di parole ed espressioni sotto.

Conosci i seguenti personaggi storici? Giuseppe Garibaldi Leon Trotsky C1.

Guarda il primo capitolo del film senza leggere il copione , cercando di ascoltare per le nuove parole ed espressioni che hai appena imparato. Le capisci meglio vedendo e sentendo il contesto? Guarda il primo capitolo del film mentre leggi il copione. Cominci a capirle sempre meglio? D'estate a Roma i cinema sono tutti chiusi, oppure ci sono film come "Sesso amore e pastorizia", "Desideri bestiali", "Biancaneve e i sette negri", oppure qualche film dell'orrore come "Henry", oppure qualche film italiano.

Ormai ho paura di rimettermi in gioco. Ti si stanno imbiancando le tempie. Incominciano a pesare le sconfitte. Una serie ininterrotta di sconfitte. La nostra generazione, che cosa siamo diventati? Siamo diventati pubblicitari, architetti, agenti di borsa, deputati, assessori, giornalisti.

www.farmersmarketmusic.com:Kindle Store:Kindle eBooks:eBooks in Foreign Languages:Italian

Siamo tanto cambiati, tutti peggiorati, oggi siamo tutti complici. Questa fissazione, tutti uguali, tutti compromessi, siamo tutti complici. Ormai noi due stiamo insieme solo per abitudine. Tu ti vergogni di me. Ti ricordi il tintinnio rassicurante del vecchio tubetto? Sai una cosa Antonio? Siamo invecchiati, siamo inaciditi, siamo disonesti nel nostro lavoro. Gridavamo cose orrende, violentissime, nei nostri cortei, e ora guarda come siamo tutti imbruttiti.

Voi gridavate cose orrende e violentissime, e voi siete imbruttiti. Io gridavo cose giuste, e ora sono uno splendido quarantenne. E me ne vado in giro per i lotti popolari. E allora suono un citofono, e faccio finta di fare un sopralluogo, e dico che sto preparando un film. Il padrone di casa mi chiede: E andando in Vespa mi piace anche fermarmi a guardare gli attici dove mi piacerebbe abitare.

Mi immagino di ristrutturare appartamenti su in alto che vedo dalla strada, ma appartamenti che i proprietari non hanno nessuna intenzione di vendere. Abbiamo chiesto quanto costava e ci hanno risposto dieci milioni a metro quadro. Come dieci milioni al metro quadro? Sa cosa stavo pensando? Io stavo pensando una cosa molto triste. Io credo nelle persone. Cosa sta facendo Nanni nel primo capitolo del film Caro diario? Crea delle frasi originali.

Presenterai in italiano alla classe quello che impari. Adesso, maccarone, io me te magno, ahmmm! Per com- prenderlo, lasciamoci prendere per mano e condurre nei meandri della nostra storia personale. Adesso pensate ai cinque sensi e come questi siano stati, allora, stimolati da quello che avevate davanti agli occhi senso della vista , da quello che odoravate olfatto , gustavate gusto , toccavate tat- to , o sentivate udito attorno a voi in termini di rumori e parole. Eckert, Re- presenting Italy Through Food Il testo di John Dickie, Delizia! Durante gli incontri settimanali di due ore e mezza, gli stu- denti dovevano discutere il periodo storico di riferimento e anche conte- stualizzare i piatti che sarebbero stati poi cucinati.

Inutile dire che il corso ha ricevuto un successo straordinario sia tra gli studenti frequentanti sia tra quelli che ne avevano solo sentito parlare.

Da una riflessione sommaria siamo poi passati alla teoria, condividendo con alcuni colleghi di lingue straniere soprattutto di italia- no, francese e spagnolo , durante un laboratorio seminariale, le possibili evoluzioni del corso. Poi abbia- mo delineato la struttura dei pasti in Italia antipasti, primi, secondi e contorni, dolci e degli orari in cui questi generalmente si consumano e quanto durano in media , come questi siano diversi nei giorni feriali, in quelli festivi o durante le grandi feste famigliari per esempio, i matrimo- ni , come i pasti siano cambiati nel tempo e come si diversifichino in base alle regioni.

Dopo queste prime riflessioni e ricerche, ci siamo chiesti quali piatti italiani o italo-americani avremmo potuto cucinare assieme agli studen- ti. I piatti dovevano anche essere contestua- lizzati culturalmente, partendo da una contestualizzazione regionale. Per esempio, il pesto: Devono essere tenuti in considerazione una serie di fattori: Ci si deve chiedere per quale livello concepire dei moduli gastronomici inclusivi di certe strutture grammaticali, di un certo vocabolario e anche di una parte pratica, che vede appunto la prepara- zione dei piatti scelti e la loro degustazione.

Communication , culture C: Cultures , con- nessioni C: Connections , paragoni C: Cultures e quello comunicativo C: Commu- nication , i cui livelli possono ovviamente essere adattati in base alle cono- scenze degli studenti. Un ampiamento della ricerca potrebbe coinvolgere la contestualizza- zione della gastronomia italiana sia a livello mondiale che a livello nord- americano.

Non solo farmaci

In base alle specializzazioni degli studenti, questi possono facil- mente portare avanti la ricerca nelle discipline di loro competenza, cer- cando di connetterle con la lingua e la cultura italiana C: In questo caso, gli studenti scelgono un ristorante italiano o una pizzeria della zona in cui vivono e scaricano il menu da internet o ne recuperano uno direttamente dal loca- le. Assieme al paragra- fo riprodotto in Appendice, si possono fornire delle domande di com- prensione, che possono variare in base al livello degli studenti.

I vari in- gredienti devono essere messi a disposizione degli studenti per essere os- servati, annusati e assaggiati. Se no, quale olio usano per cucinare? Si possono ovvia- mente incoraggiare gli studenti a formulare altre domande per ampliare la riflessione e indagare la conoscenza personale dei vari ingredienti.

Che consi- stenza ha? Come sono gli spaghetti alla carbonara? Che profu- mo hanno? Se pubblicizzato anche a livello di social media, si ritiene che un approccio pedagogico che coinvolga la preparazione e la degustazione di alcuni piatti della tradizione regionale italiana possa contribuire a pro- muovere maggiormente i corsi di lingua e di cultura e gli stessi pro- grammi.

Avranno imparato qualcosa sulla storia e sulla cultura regionale gastronomica italiana e, in questo caso particolare, di Roma e del Lazio. Da qui si sostiene che la Carbonara nasce nel Polesine. Such was the competitiveness that the ballastladen VW of Jason Plato could only manage 22nd on the grid, although the double champion has cited an as yet unknown problem with his IMDb.

You can enable this app to track your phones. Theres still one week left to enter our Ms.

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Ed, Edd n Eddy follows the lives of "the Eds," three preteen boys who all share variations of the name Ed, but differ greatly in their personalities:. I began this project mainly to see if I can integrate all the. Even though they werent instructed to restrain themselves from considering such a solution, they were unable to see the white space beyond the squares boundaries.

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