CristianaLancioni_English_Education_LESSON3_APPROCCI.pptx

DIDATTICA DISCIPLINARE DI
LINGUA INGLESE E
LABORATORIO DIDATTICO 3
 APPROCCI
 Cristiana Lancioni
lancionicristiana@gmail.com

CLIL
 CLIL lesson is not a language lesson
it is the subject matter which determines the language needed
to learn
 is not a content based language lesson
it is not merely content in FL/SL
 the lesson plan is language enhanced/language sensitive
 focus is on content, but learners are provided with
language support to reinforce the FL and to meet their
linguistic needs

CLIL
 Content → strategies for language learning
 OBJECTIVES (x 2) CONTENT explicit + LANGUAGE implicit
 4 language skills combined
Reading + Writing + Speaking + Listening

CLIL
 STT>TTT
 The teacher uses strategies to ensure that input is both rich
and accessible and that the learners have opportunities to
actively and authentically use the language.

CLIL
 Authentic activity, in a classroom setting, must have all the
characteristics of real activity created for real purposes in
real contexts. That is, it must be holistic and meaningful.
It places cognitive development and content, not FL
instruction, as the primary object of instruction. (S:8)
 RULE OF FORGETTING

CLIL
 Lesson must be interactive C.L.I.(+I.)L.
 Interpretation teacher>transmission teacher
 Develop communication skills → learner-learner interaction
should be encouraged
 task-based>IRF(→←→)
 Tasks (reasoning, problem-solving, collaborative and co-
operative learning opportunities) → 1. content 2.
developing language 3. different learning styles (visual/
auditory/kinesthetic/haptic)

CLIL
 Content - Progression in knowledge, skills and
understanding related to specific elements of a defined
curriculum
 Communication - Using language to learn whilst learning
to use language
 Cognition - Developing thinking skills which link concept
formation (abstract and concrete), understanding and
language
 Culture - Exposure to alternative perspectives and shared
understandings, which deepen awareness of otherness and
self.

Integrating Art History and
language learning
 ADVANTAGES: linguistic cognitive cultural

Art and FL/SL: Linguistic
effectiveness
 SPINA 1994
 There is a direct correspondence between the drawn
symbol and the written symbol. Graphic images are part of
a visual vocabulary which has intense personal meaning
to the child. There is a symbiotic relationship among
drawing, writing, reading, speaking, and listening. (Platt in
S:18)

effectiveness
 Information coded as artistic imagery has been shown to be
easily accessible in memory and perceptual processes,
including critical thinking and language comprehension,
rely heavily on imagery in mentally formulating and testing
hypotheses. (S:18)

effectiveness
Neuropsychological studies
 It has been found that certain stroke patients who can
recognize objects but are unable to name them are able to
learn sign-language.
 Furthermore, the use of sign-language often helped the
patients recall the spoken names, as though the gestures
had linked knowledge to language through alternative
pathways. (S:20)

effectiveness
 One could argue, that engagement in artistic activity
should result in stronger, more diverse pathways to
language links in normal populations by maximizing
possible mediational outcomes between concepts and word
forms. (S:20)
 Arts-based curricula facilitate the transfer from
contextualized to decontextualized language: Academic
skills taught within the contextualized framework of an arts-
based curriculum can be then more easily transferred to
new contexts.

effectiveness
+ Stephen Krashen’s hypothesis of
the comprehensible input is a key
theoretical concept which describes
the use of the target language at a
level which can be broadly
understood by the learner, through
the use of support mechanisms.
(CP:4)

effectiveness
 Krashen demonstrated that comprehensibility of language
can be dramatically increased with the addition of extra-
linguistic information.
 An environment which supports SL acquisition through
non-linguistic as well as verbal means is much more typical
of learning outside of school, thus much more authentic.
(S:14)
 Non verbal exemplifications, descriptions and definitions
through images, realia and audio-visual means → CLIL
comprehensible input (redundancy) = Art History
didactics.

effectiveness
CRAIG AND PARAISO Research action study
The use of art in an ESL classroom
 lowered the affective filter
 contributed to a greater degree of comfort and proficiency
with the use of oral language skills
 let to improvement in student vocabulary and
communication skills
(CP:29)

effectiveness
 Affective filter: According to Krashen and Terrell (1988), it
contains all of the elements that prevent a child from
learning a new language. Situations, learning environments,
and other classroom factors that produce anxiety when
learning are considered aspects of the affective filter.

effectiveness
 By eliminating these aspects, the second language-learning
environment becomes one that is non-threatening,
comforting and safe, ideal for learning.
 Perhaps one of the most important techniques used to
alleviate the affective filter is to remove the demand for
immediate language production and expression in the
new language.
 By removing the demand to immediately speak the FL,
students are given the opportunity to gain confidence and
to learn at their own pace without the pressures involved
in language production.

effectiveness
 One way to assist in removing the demand to speak
immediately is to have students draw and create
illustrations and express themselves through art.
 Does free expression in the form of artwork assist in
alleviating the affective filter therefore promoting language
acquisition? (CP:17)

effectiveness
 As students were given opportunities to create drawings
and illustrations, they began interacting and discussing
the artwork. The use of vocabulary increased as they
shared with each other. (CP:21-23)

effectiveness
 Artwork was displayed around the classroom. This also
encouraged students to continue to create as well as
engage in dialogs and discussion regarding their work. The
natural flow of language used when describing their art
carried over to content area subject instruction and
language learning. (CP:18)

effectiveness
 Students were eager to discuss their artwork and freely talked about what
they created. The personal voice that appeared during “art conversations”
was clear, strong, interesting, and proud. (CP:18)
 An increased proficiency in written English was observed as well, as
students began to either write or dictate their stories about their art in
English. As their sense of accomplishment increased, so did the children’s
self-confidence.

effectiveness
 ⇝They began to expect and experience success in other
areas. Students—with encouragement to express
themselves through artwork—steadily progressed in all
areas of school.
 These immigrant children had begun to find their own
voice. (CP:21-23)
 Providing opportunities for free expression enabled the
students to share freely, thereby, developing individual
cultural voice. (CP:21)

Art and FL/SL: Cultural and
Cognitive effectiveness
 Spina (1994) demonstrated how authentic art-based
education may be used in transcending limitations of
language, culture and experience that are not mainstream,
in order to use the cultural diversity in the classes as a
strength. (S:9)

 An authentic art-based approach allows for the broader
orientation of language proficiency as Saussure defined it:
the ability to communicate effectively in the tasks one
carries out, not in terms of grammatical or phonemic
correctness (measured against the practices of the
dominant group)
Just keep communication going
Robert J. Di Pietro

 Language-dependent communication of ideas and feelings
often leave SL learners frustrated over their inability to express
themselves and have that expression understood. (S:16)
 The varied opportunities for language use within another
symbol system for communication (the arts) serves to
alleviate anxiety in the language-dependent communicative
sphere. (S:16)
 Dewy (1934) and Langer (1942) located the cognitive power of
the arts in their ability to express ideas that defy conventional
language.

 Placing arts as a central part of the educational process the
notion of classroom discourse is expanded by extending
language to include cultural and social mediation,
offering a communication milieu that is accessible to
students who do not have proficiency in the predominant
language.
 Although cognizant of the importance of SL mastery, the
learner fears the loss of part of his/her self. Yet the school
must help the child adjust to and develop to his/her fullest
potential in the larger, new society. (S:25)

 Conducting communication in a SL can be an integrating
force without becoming a forced assimilation by
providing cultural reinforcement through the arts to
compensate for that no longer reinforced through
language. (S:25)
 This allows the child to acclimate to the new culture
without having to reject the old and lessens the trauma of
changing one’s language and thus one’s mediational
resource.

Arts-based education teaches us
 about our capacity to communicate ideas and feelings in a
variety of modes and media (not just language)
 to analyze data through analogy and illustration
 to accept compromise, ambiguity, and difference as positive
human traits
 to construct ethical standards of judgment and action (S:17)
The arts teach respect for multiple perspectives, imagination,
and interpretation; and that solutions to problems can take
many forms. (S:24)

Art history interacts with the students social and personal
identities. (S:25)
 Personal interpretation : personal background: motivation
 Teachers learn about students’ background and cultural
identity and —equipped with information—are better able
to meet the needs of students

case
 […] Knowing that they were not going to be judged for the
imagery contained in their artwork, the children began to
talk freely about the stories they represented by their
creations. One boy who frequently drew gang symbols
explained that he saw those images when he lived in Miami
and that he missed living in Miami. What some may have
misinterpreted as gang involvement was to this child
merely a longing for his home. (CP:22)

 CLOSER TO SL CULTURE Writing about a successful art
appreciation course offered by Temple University to ESL
students, Preece (1996) advocated integrating art and
architecture tours into ESL programs as a way to teach
language and introduce students to the second language
culture.
 He concluded that the tours of major art collections in
Philadelphia provided students with a wider variety of
“experiences to reflect upon, to share, and to exploit the
cultural and linguistic environment” (Ic:7).

Preece (I:7) cautioned about adequate instructional preparation
for this activity and proposed several models for bringing
the arts into ESL curriculum:
1. University-level art appreciation courses (for advanced
students)
2. Sheltered, ESL-only elective courses, including studio art
classes (for all levels)
3. Content-based courses, preparatory for a credit-earning
required non-ESL art course (advanced level)
4. Segments within existing ESL classes (all levels)

 L1 ART PEDAGOGICAL TOOL In teaching a SL one can use
the students’ cultural heritage which their first language
embodies (their art history for example) as a pedagogical
tool in teaching SL.
 For language minority learners, both in schools and
colleges, who often end up with limited knowledge of and
conflicting loyalties to L1 and L2 cultures, learning about
their L1 culture can help foster their sense of pride in their
roots and affirm their emerging identities in L2 society.
 Igoudin’s study suggests the following benefits of including
L1 art history in SL education:

 Incorporating elements of students’ cultural heritage into
L2 curriculum signals respect for their backgrounds and
validates their identities.
 Topics related to students’ cultural experience, […] may
elicit more interest among students and produce a richer
L2 output than those that don’t.

 Interaction with the L1 culture can engage advanced
language learners in the development of higher-level
critical thinking skills.
 Critical examination of diverse L1 cultures present in L2
learning contexts facilitates student development into
plurilingual world citizens who are pluriculturally
aware.
 Pluricultural pedagogical activities can teach
interculturality, be instructionally meaningful, but also
remain enjoyable to students. (I:28)

 COGNITIVE EFFECTIVNESS Spina compared 2 ESL classes:
arts-based curriculum > traditional ESL methods
Arts-based curriculum provides significant advantages to ESL
students by building on the cognitive strengths inherent in
bilingualism (I:2)
 Because there is more ambiguity in a visual or artistic
statement than a verbal statement, in the sense that a
painting, for example, leaves us with more alternatives for
meaning, it offers a wider choice of elements from which to
extract information and provides us with more opportunity
for inquiry.

This “artistic” thinking reflects the cognitive advantage of
bilingual persons.
 Persons who have been uprooted from traditional
cultures, or who have been thoroughly exposed to two or
more cultures, seem to have the advantage in the range of
hypotheses they are apt to consider, and through this
means, in the frequency of creative innovation. (S:21)

 Spina noted that the semiotic richness of the arts echoes
the semiotic abundance available to speakers of more than
one language, nurturing an ability to approach
symbolization in a creative, nuanced way.

Art and FL/SL: Practice
PLANNING A CLIL UNIT Coonan (2002)
Promote L (Comprehensible Input Avoid L Problems Maximize
output)
All teachers are teachers of language
 Does an Art History program have language objectives?
 What activities are normally used in Art History didactics? Can
they be exploited for language teaching?
 What ways of evaluation are normally used in Art History?
 What linguistic genres and what kind of texts are typical of Art
History?

American National Standards Italian ‘programmazione’
 Q 1 Students will develop strong writing skills when
describing, analyzing, and comparing works of art.
 To meet the standards, students must learn vocabularies
and concepts associated with various types of work in the
visual arts and must exhibit their competence at various
levels in visual, oral, and written form.

 Lo studio della Storia dell’Arte deve porsi l’obiettivo di
sviluppare le capacità linguistiche e logiche sottese alla
comprensione dei fenomeni artistici. Nel primo caso appare
indispensabile impadronirsi del linguaggio specifico che
anche la Storia dell’Arte, come tutte le altre discipline, possiede.
Ciò tuttavia non risulta sempre sufficiente, in quanto la capacità
di descrivere e dialogare intorno all’arte richiede un possesso
lessicale ampio ed articolato. Nel caso dello sviluppo delle
capacità logiche, esse non solo appaiono connesse con il
corretto utilizzo della lingua, ma specificamente, per ciò che
riguarda la Storia dell’Arte, vanno indirizzate alla comprensione
di due fondamentali processi logici: arte come
rappresentazione […e] arte come comunicazione.

 LINGUISTIC OBJECTIVES OF ART HISTORY Promotion:
specific vocabulary ACTIVITIES: visually-aided activities, such
as matching word and picture, or word picture and
definition, crossword with pictures instead of/in addition to
definitions, matching word and definition; cloze texts;
crossword; odd man out; multiple choice (find the right
definition); fill in the blanks (write the right term for each
definition)
 FRAMES presentations and essays (provide learners with the
structure of a painting analysis, the language and the
common expressions used)

 Q 2 3 Students are required to read approximately one chapter
per week from their primary textbook as well as complete
supplemental readings from Web sites, articles, and other
texts
 Videos are also shown to supplement the textbook, which
students are required to take notes on to prepare for a short
quiz the following class period.
 Students will complete an analysis graphic organizer for 4–6
artworks per chapter. The graphic organizers include the
following information for each artwork: identification,
period/culture, subject/iconography, style/technique,
significance/function/purpose (includes social, political, and
religious values of the culture; patronage; art
historical/historical significance).

 Students will also complete comparative graphic
organizers to make connections between artworks of the
same period/culture as well as to other periods/cultures.
 Discussions based on reading assignments. Students will
often work in small groups to come up with solutions to
problems posed by the teacher, or participate in a
game/activity to reiterate learning. Some of these activities
include:

1. Artist/Artwork Speed Dating (students take on the
characteristics of an artist/artwork and introduce themselves
to each other)
2. Dominoes (students align images of artworks domino-style
to make conceptual and visual connections among artworks)
3. Visual Descriptions (students work in small groups to try to
come up with the most complete visual description of an
artwork in the class)
 Students will be given pop quizzes on reading assignments, as
well as an extensive exam at the end of each chapter/unit
(these include multiple choice, short-answer, and slide
questions, as well as essays)

 Nel momento delle spiegazioni è indispensabile ricorre a
schemi precisi, a mappe concettuali, anche con il ricorso a
grafici o diagrammi, o quanto altro può sintetizzare
visivamente i concetti e gli argomenti spiegati […]
presentazione delle opere da effettuarsi con il ricorso al
più ampio materiale iconografico possibile. […] l’attività
di studio, da svolgersi a casa, deve consistere nel leggere e
nello scrivere, non nel leggere e nel ripetere. […] In tal caso
compito dell’insegnante è di fornire il progetto-
“scaletta”, ovvero la successione logica degli argomenti sui
quali gli studenti devono esercitarsi a scrivere, nonché il
metodo, che deve consistere nell’abbinare sempre parte
scritta e parte illustrativa

Art activities that promote Language skills
CLIL language sensitive (input/output)
 use pre-reading, while-reading, post-reading activities
 present visually-aided texts (accompanied by illustrations so
that learners can visualize what they are reading)
 use further structural markers in texts. These markers may
be linguistic (headings, sub-headings) and/or diagrammatic,
visually-based texts.

Further ideas for the classroom:
(Adapted from Lane Igoudin’s material (Ia), ESL Instructor and
assistant Professor, Los Angeles City College)
 Speech presentation (individual or group)
 Practice language skills through oral presentation of their
paintings to the group, pointing out elements of art or
principles of design and describing narrative (providing a
guide to follow and common phrases used)
 Writing assignment: Practice language skills while
describing artwork (providing a guide to follow and
common phrases used)

writing topics to be used in
paragraph or essay assignments
 Using narrative art vocabulary, describe the story contained
in the [title] painting and the visual details which support it.
 Describe the relationship between the different characters in
the [title] painting.
 Describe the life of [artist’s name] as seen through his/her
self-portrait.
 Describe the life of [person’s name] as seen through his/her
portrait by [artist’s name].

 Compare or contrast two Italian artists
 Compare or contrast an Italian artist and an artist from your
native country (or region).
 Using appropriate art vocabulary, compare or contrast the
following two works of art: [titles].

 Some of these topics can be also used for individual or
group presentation assignments in oral skills classes.
 REMEMBER Addition of visual aids would enliven such
presentations and make them more interesting and
accessible to the audience.

Further ideas are:
 Field trip
 Internet research related to the topic (providing a frame)
 On-site workshop at the museum

Lesson plan
An example
Tips for Teaching about Narrative Art
Narrative works allow students to act as detectives and figure
out what’s happening in the pictures. Many images tell a
specific story, be it a myth, a religious parable, or a well-
known fable or tale. Others tell stories that may not be so
obvious, leaving the viewer to use his or her own
imagination to decipher them

General questions looking at
narrative art:
 What do you think is happening in this work of art?
 What do you see that makes you say that?
 Who do you think is the main character of this story?
 Do you recognize any of the characters? If so, how?
 What can we say about these characters?
 Describe the relationship between the different characters.
 Describe the setting.
 What time of day is it?
 What season is it?
 Where does this scene take place?
 What do you think happened ten minutes before this scene?
 What do you think will happen ten minutes later?

Lesson
 Grades/Level: Adult Learners [B2]
 Subjects: Visual Arts, English–Language Arts, ESL [Art History
and English]
 Time Required: Single Class Lesson; 30–45 minutes
 Lesson Overview: Students discover how visual artists
represent a story by depicting a single moment from it.
 Learning Objectives: Students explain how visual artists and
writers represent the same story in different ways and use
narrative art vocabulary to describe an image and the moment
it represents in the story. CLIL ≠ content-based
 [Language Objectives]: Improve listening and speaking skills
(BICS and CALP)
Students will listen to a myth and discuss a painting

Materials:
Two narrative images (Venus and Adonis and Pluto Abducting
Proserpine)

Lesson Steps
• Begin with the following questions:
 Why do we tell stories? How do we learn about stories? Are
they always truthful?
• Explain to students that they are going to look at an image
that illustrates an ancient Greek myth.
 Ask students if they can name any myth they may have
heard. Review the Narrative Art Vocabulary.
• If the students are going to look at Venus…, ask them to
imagine what the goddess of love and beauty would look
like. For Pluto…, ask how students would imagine the god of
the underworld, ruler of the dead.

Lesson Steps
• Write down the words they use to describe the goddess or
god.
• Explain to students that they will look at how the artist
imagined gods in the year the image was made.
• Before displaying the image, read students the related story.
Ask them which moment in the story they would choose to
portray in a picture.
• Display the image.

Lesson Steps
 Discussion Questions
• What moment in the story has this artist chosen to portray?
• What is happening at this moment?
• How does the artist help us understand this moment in the
story?
PLENARY DISCUSSION
GROUP DISCUSSION
FRAME FOR INDIVIDUAL/GROUP PRESENTATION

TASK BASED LEARNING
‘The more confidently you can answer yes to each of these
questions, the more task-like the activity.
 Will the activity engage learners' interest?
 Is there a primary focus on meaning?
 Is there a goal or an outcome?
 Is success judged in terms of outcome?
 Is completion a priority?
 Does the activity relate to real world activities?'

IS IT A TASK?
Work in pairs. Talk about your grandparents.
Tell each other what you know about their past lives.
Use the phrases and patterns from the box above.

 Try to find out three things that your grandparents' and your
partner's grandparents' lives had in common. What was the
biggest difference between them?
 Decide which one of your partner's grandparents was / is the
most interesting person and give two reasons why you think so.
Then tell the class about him/her and vote to decide on the
three most interesting grandparents in the class.
 Describe two early memories you have of one particular
grandparent. Tell your group. Take notes when listening to each
other.

 Listing and/or brainstorming
You can list people, places, things, actions, reasons,
everyday problems, things to do in various circumstances
etc.
 Examples:
(1) In pairs, agree on a list of four or five people who were
famous in the 20th century and give at least one reason for
including each person.
(2) Can you remember your partner’s busiest day? On your
own, make a list of all the things he/she did. Then check
with your partner. Were there any things you forgot?

 Ordering and sorting
This can be sequencing, ranking, or classifying.
 Examples:
(3) In pairs, look at your list of famous people. Which people
are most likely to remain popular and become 20th century
icons? Rank them from most popular to least popular, and
be prepared to justify your order to another pair.
(4) Look at the four pictures. They are mixed up. Work in pairs.
Put the four pictures in a sequence so that they tell a story.
Prepare to tell your story to another pair.

 Matching
You can match captions / texts / recorded extracts to pictures;
short notes or headlines to longer texts, e.g. news items.
 Examples:
(5) Read the texts – each is about a famous person but the person
is not named - and look at the photos. Match each text to a
photo. Then talk to your partner, and say how you were able to
match them. Prepare to tell the class how you did it.
(6) Read the four headlines A to D. Match two pieces of information
(given in 1-8 below) to each headline. Explain to your partner
how you did this. What clues did you find? Did you both use
the same clues?

 Pre-task (15-20min)
Aim: To introduce the topic of nights out and to give the
class exposure to language related to it. To highlight words
and phrases.
 Show sts pictures of a night out in a restaurant / bar and ask
them where they go to have a good night out.
 Brainstorm words/phrases onto the board related to the
topic: people / verbs / feelings etc.

 Introduce the listening of two people planning a night out.
Write up different alternatives on the board to give them a
reason for listening e.g. (a) restaurant / bar (b) meet at the
train station / in the square. Play it a few times, first time to
select from the alternatives, second time to note down
some language.
 Tell them that they are going to plan a class night out and
give them a few minutes to think it over.

Task (10min)
 Students do the task in twos and plan the night. Match
them with another pair to discuss their ideas and any
similarities and differences.
Planning (10min)
 Each pair rehearses presenting their night out. Teacher walks
around, helps them if they need it and notes down any
language points to be highlighted later.

Report (15 min)
 Class listen to the plans, their task is to choose one of them.
They can ask questions after the presentation.
 Teacher gives feedback on the content and quickly reviews
what was suggested. Students vote and choose one of the
nights out.

Language Focus (20min)
 Write on the board five good phrases used by the students
during the task and five incorrect phrases/sentences from the
task without the word that caused the problem. Students
discuss the meaning and how to complete the sentences.
 Hand out the tapescript from the listening and ask the students
to underline the useful words and phrases.
 Highlight any language you wish to draw attention to e.g.
language for making suggestions, collocations etc.
 Students write down any other language they wish to
remember.

LEXICAL APPROACH
 The principles of the Lexical Approach have [been around]
since Michael Lewis published 'The Lexical Approach' [10
years ago]. [It seems, however, that] many teachers and
researchers do not [have a clear idea of] what the Lexical
Approach actually [looks like] [in practice].
All the parts in brackets are fixed or set phrases. Different
commentators use different and overlapping terms -
'prefabricated phrases', 'lexical phrases', 'formulaic
language', 'frozen and semi-frozen phrases', are just some
of these terms. We use just two: 'lexical chunks' and
'collocations'.

 Lexical Chunks (that are not collocations)
by the way
up to now
upside down
If I were you
a long way off
out of my mind

 Lexical Chunks (that are collocations)
totally convinced
strong accent
terrible accident
sense of humour
sounds exciting
brings good luck

 In recent years it has been recognised both that native
speakers have a vast stock of these lexical chunks and that
these lexical chunks are vital for fluent production. Fluency
does not depend so much on having a set of generative
grammar rules and a separate stock of words - the 'slot and
filler' or open choice principle - as on having rapid access to
a stock of chunks.

 "Language is grammaticalised lexis, not lexicalised
grammar" (Lewis 1993)
 we should spend more time helping learners develop their
stock of phrases, and less time on grammatical structures.

 studi su come la lingua è usata da chi parla e da chi scrive in
testi quotidiani e autentici.
 L’approccio basato sui corpora ha indicato un modo
efficiente per indagare sull’uso della lingua ed ha, allo
stesso tempo, favorito lo sviluppo di nuove ricerche
fornendo una
nuova prospettiva all’insegnamento.

 Un corpus è una selezione molto ampia e sistematizzata di testi
naturali, ovvero autentici, o di espressioni rappresentative di
una lingua, raccolta in un database elettronico e utilizzata per
effettuare analisi di tipo linguistico.
 Un programma di concordanza è un programma informatico
che, applicato a un testo o a un corpus, consente di ottenere
una concordanza delle sue parole.
 Nel prospetto che si ottiene con tale programma le parole del
testo sono elencate in ordine alfabetico al centro dello
schermo, e ogni esempio di occorrenza di una parola è
preceduto e seguito dal suo immediato contesto

 Ciò può sollecitare la riflessione di chi apprende sull’uso
reale della lingua, sulle più probabili occorrenze della lingua
d’uso, sulle collocazioni più frequenti, anziché limitarsi ad
indicare come e quando alcune espressioni devono essere
usate.

 lo studente = ricercatore della lingua, cominciando così a
formulare ipotesi e a verificarle sulla base dei dati forniti dai
corpora con un approccio pedagogico legato alla scoperta
personale. Anziché fornire esempi artificiali, la lingua viene
insegnata
esponendo gli allievi alle sue reali occorrenze.

CristianaLancioni_English_Education_LESSON3_APPROCCI.pptx

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