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Introduction
Thewholeprocessofsecond/foreignlanguageteachingcanbecompared
toaphilharmonicorchestra.Whenonebeginsobservingitsinstrumentsand
analyzingthefunctonseachofthemmustperform,onehastocometoacon-
clusionthatboththemusicians,knowinghowtoplayeachofthemandthe
conductor,knowinghowtoputallthesesoundstogether(soastoavoidobvi-
ouscacophony)mustpossessplentyofknowledge,imaginatonandcreatvity
tostartfunctoninginthewaythatwouldresultinharmoniousandnicetohear
productonofsounds.Allbasicinstruments,aswellasvarioustypesofancillary
instrumentssupportngtheoperatonofthemaininstruments,togetherconst-
tutearathercomplicatedandhard-workingmachine,which-inordertorelease
cleanandunadulteratedsounds-mustbegivenacompetentcooperator,who
willknowhowthiswhole-pressingonallsides-forcetoenslaveandleadto
harmoniouscooperaton,soastobereadytocomewiththeactvitesaimedat
obtainingesthetcbenefitsbyallpersonsinvolvedinitsfunctoning.
Asimilarsituatoncanbefoundintheareaoflanguageteaching.Ontheone
hand,thereisglotodidactcs-thescienceofprinciples,forms,techniquesand
waysofteachingforeignlanguages,andontheother-anumberofpeoplewho
wanttoseeandunderstandhowalltheseexistngandapplicabletechniques
andprinciplesofteaching/learninganotherlanguagecanbecheckedand/or
manipulatedineveryindividualcase.Atthismomentthepositonoftheteacher,
or,ifyoulike,agifedmechanic,seeinghowtoscrew,tghtenandadjustallthe
screwsinsidethemechanismcalledtheprocessoflanguageacquisiton,seems
soimportantthatyoucannotdowithoutit.Thewholeprocessofforeignlan-
guageeducaton(further:FLE)requiresplentyofknowledge(soastoknowwhat
istobedealtwithandinwhatsituatonswhatinstrumentsaretobetriggered).
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