Ecole de la Paix Scuola di Pace Schule des Friedens School of Peace

Transcription

Ecole de la Paix - Scuola di Pace - Schule des Friedens - School of Peace
Liceo Classico “F. Stabili - E. Trebbiani”
Athénée Royal de Gilly
Runge-Gymnasium Wolgast
Ecole de la Paix
Scuola di Pace
Schule des Friedens
School of Peace
Comenius Project: L’école de la paix 2009-2011
Comenius Project: L’école de la paix 2009-2011
www-comeniusschoolforpeace.eu
20, Rue du Calvaire - 6060 Gilly, Belgique
Project Coordinator: Jacqueline Vannès
[email protected]
Liceo Classico “F. Stabili - E. Trebbiani”
Viale Vellei 10 - 63100 - Ascoli Piceno, Italia
Project Coordinator: Giuliana Crocetti
[email protected]
Schulstraße 1 - 17489 - Greifswald, Deutschland
Project Coordinator: Christiane Heinrich
[email protected]
Ce manuel présente des pistes
didactiques et méthodologiques parmi
lesquelles les professeurs choisiront ce qui
convient le mieux à leur public pour organiser
l’Ecole de la Paix pendant une semaine.
Dieses
Handbuch
beinhaltet
Unterrichtsideen für eine “Schule
des Friedens”. Von den didaktischen und
methodischen Vorschlägen können die Lehrenden
jene auswählen, die am besten zu ihren Schülern
bzw. einem eigenen Projekt passen.
Questo manuale offre ai professori delle
indicazioni didattiche e metodologiche
tra cui scegliere quelle più adatte agli studenti
per organizzare la Scuola della Pace nell’arco di
una settimana.
This manual offers didactic and
methodological indications to the
teachers who will choose what is the most
adapted to their students to organize the School
of Peace during one week.
Index
4 Préface
Preface
J. Vannès
9 Ecole de la Paix
School of Peace
P. Philippe
11 Introduzione
Introduction
M. Salvatori
13 Präsentation
Presentation
C. Heinrich, K. Roggow
17 Concours logo
Logo Competition
C. Heinrich, I. Bertrand,
C. David, J. Vannès
19 Sich kennen lernen
Meet each other
C. Heinrich, G. Stahl
25 Fotorallye in drei Etappen Photo-rally in three steps
C. Heinrich, A. Richter, B. Krüger
29 Metodologia per preparare
una visita guidata
Methodology to prepare a T. Piermarini
guided visit
35 Stéréotypes
Stereotypes
R. Verrocchio
41 A scuola di pace
At school of peace
R. Sperantini
47 Au revoir les enfants
Au revoir les enfants
G. Crocetti
51 Lezione di Diritto
Law lesson
S. Spurio
59 Création d’un hymne pour Creation of an anthem for I. Bertrand, C. Ramsauer
l’Ecole de la Paix
the School of Peace
66 Grille d’observation et
d’evaluation
Observation and
evaluation grid
C. David
Jacqueline Vannès
Coordinatrice du projet - Project coordinator
Préface
Prefazione
L’idée originale d’un manuel didactique
pluridisciplinaire au service de l’Ecole de la Paix
est le fruit des expériences acquises au cours de
plusieurs projets Comenius précédents.
Au fil de nos collaborations entre professeurs
issus de pays différents, nous avons eu le plaisir
découvrir et de mesurer les importants bénéfices
pédagogiques et humains de l’interdisciplinarité
et de l’apprentissage coopératif.
Nous avons donc décidé de créer une
semaine d’activités dans le cadre d’une Ecole
de la Paix qui pourrait être organisée dans tout
établissement scolaire désireux de promouvoir
les valeurs humaines auprès de leurs étudiants.
Les activités proposées permettront aux
étudiants d’intégrer différents apprentissages
et d’acquérir de nouvelles habilités grâce à
une interdépendance positive qui débouchera
toujours sur la valorisation de la paix et des
grandes valeurs humaines qu’elle implique.
L’innovation de notre enseignement
consiste
en
l’utilisation
de
différents
moyens d’apprentissage (visuels, auditifs
et kinesthésiques) et de diverses pratiques
pédagogiques dans la méthodologie pour
introduire des matières scolaires tout en
L’idea di realizzare un manuale didattico per
la “Scuola di pace” è nata dal precedente progetto
Comenius, che si è rivelato un’esperienza unica
per tutti i partecipanti.
Gli insegnanti provenienti da diversi paesi
europei hanno scoperto e verificato l’efficacia
pedagogica e l’arricchimento umano derivanti
dal lavorare insieme. Per questo hanno deciso
di organizzare, in occasione della settimana che
trascorreranno in Italia, una “Scuola di pace”,
cioè una serie di attività, che impegnino gli alunni
a maturare un’esperienza di collaborazione
internazionale, intesa a promuovere valori
umani. Attività che permetteranno agli studenti
di confrontarsi con forme nuove di apprendimento
e di maturare atteggiamenti diversi, derivanti
dalle relazioni positive vissute, tutte rivolte al
riconoscimento di un’ideale di pace e dei valori
ad essa legati. Cosa c’è di nuovo in questa
modalità di insegnamento? L’esperienza di diverse
pratiche pedagogiche, che offrono la possibilità
di utilizzare modi diversi di apprendere le varie
materie di studio.
I vantaggi della cooperazione si rivelano con
evidenza quando se ne fa esperienza: quando,
cioè, viene organizzata una classe internazionale
Vorwort
Preface
Die Idee für ein didaktisches Handbuch zur
fächerübergreifenden « Schule des Friedens »
ist ursprünglich im Verlauf mehrerer vorheriger
Comeniusprojekte geboren.
Während der Zusammenarbeit mit Lehrern
aus verschiedenen Ländern lernten wir die
großen Vorteile interdisziplinären Arbeitens und
des gemeinsamen Lernens auf pädagogischer
wie menschlicher Ebene schätzen.
So entschieden wir uns eine Projektwoche
im Rahmen einer « Schule des Friedens » zu
entwerfen, die so oder ähnlich in jeder Schule
durchgeführt werden kann, die mit ihren
Schülern zum Thema Werteerziehung arbeiten
möchte.
Die vorgeschlagenenAktivitäten ermöglichen
den Schülern die Integration verschiedener
Lernmethoden ebenso wie das Erlernen
neuer Herangehensweisen, wobei immer die
Beschäftigung mit Werten des Friedens und
humanistischer Werte im Mittelpunkt stehen.
Wir
bedienen
uns
verschiedener
Vermittlungsformen
(visuell,
auditiv,
kinästhetisch) und diverser pädagogischer
Methoden zur Einführung in die Themen und
profitieren dabei von den Erfahrungen des
During the previous Comenius projects, all
the partners lived interesting experiences. The
idea of a didactic manual about different school
subjects working for our “School of peace” was
born from these experiences.
Teachers coming from different countries
discovered and assessed the important pedagogic
and human benefits working all together. That’s
why they decided to create a week of activities
on the occasion of a “School of Peace”. These
activities could be organized in every school
being anxious to promote the human values.
All these activities will allow the students
to assimilate different ways of learning and
to have new aptitudes thanks to the positive
interdependence leading to the development of
peace and all human values included in it.
What is new in our teaching? The use
of different ways of learning and the use of
different pedagogic practices to introduce school
subjects. It’s easier to prove the advantages of
the cooperation using the experience.
This pedagogic experience takes on its full
meaning when an international class is created
and when all the people taking part in this
class (teacher, students) do not speak the same
démontrant par l’expérience les avantages de
la coopération.
Cette expérience pédagogique prend
tout sons sens lorsque l’on crée une classe
internationale dont les membres (professeurs
comme étudiants) ne parlent pas tous la
même langue et ont des habitudes culturelles
différentes. En invitant tous ces étrangers
à réaliser un projet commun, on provoque
immédiatement un engagement mutuel dévoué
à l’équipe et la volonté personnelle d’acquérir
les compétences nécessaires pour contribuer au
succès de l’objectif visé.
C’est alors que l’on peut exploiter les
pistes décrites dans ce manuel pour permettre
à chacun de progresser tant au niveau de la
connaissance des langues, de la maîtrise des
différentes matières proposées et de l’utilisation
des nouvelles technologies tout en lui inculquant
l’intime conviction que la paix, la tolérance et
la coopération sont les ingrédients nécessaires à
la prospérité de l’Humanité.
in cui insegnanti e studenti non parlano la stessa
lingua e hanno culture completamente diverse.
Pur partendo da esperienze di base molto lontane
l’una dall’altra, l’invito a realizzare un progetto
comune porta a un naturale coinvolgimento
reciproco, che stimola ad acquisire abilità e ad
ottenere risultati.
Il presente manuale, nato spontaneamente
come risultato di una sperimentazione
didattica su tematiche della pace e momenti di
animazione Comenius, è stato poi assemblato e
tradotto secondo i seguenti criteri linguisticocomunicativi: le attività svolte nelle lingue
dei paesi partner sono state sempre tradotte
in inglese e francese, scelte come lingue
veicolari, garantendo così una fruizione ampia,
ma mantenendo intatto il valore culturale e
comunicativo della lingua nella quale l’attività
è stata pensata e vissuta didatticamente.
Vi invitiamo a mettere a frutto le indicazioni
trovate nel manuale (utili per qualsiasi scuola,
anche se pensate per una scuola speciale) per
permettere agli studenti di migliorare la loro
conoscenza (per quanto riguarda le lingue,
le nuove tecnologie e le nuove materie di
studio). Impegnandosi sui temi della pace,
della tolleranza e della cooperazione, gli alunni
interiorizzeranno la necessità di questi valori
per la prosperità umana.
pädagogischen Austauschs.
Die
pädagogische
Zusammenarbeit
erreicht ihren Höhepunkt mit den Aktivitäten
in der internationalen Klasse, deren Mitglieder
(Lehrer wie Schüler) nicht die gleichen
Sprachen sprechen und verschiedene kulturelle
Hintergründe haben. In der unmittelbaren
Umsetzung eines gemeinsamen Vorhabens
entwickeln alle Beteiligten Gemeinschaftssinn
und sind motiviert, die nötigen Kompetenzen zu
erlangen, die es für das Gelingen des Projektes
braucht.
Die vorgeschlagenen Ideen dienen also
allen Teilnehmenden dazu, Fortschritte sowohl
in der Beherrschung der Fremdsprachen wie
auch in den jeweiligen Fachbereichen und bei
der Verwendung neuer Medien zu machen. Nicht
zuletzt geht es aber um das persönliche Erleben
der Erfahrung, dass Frieden, Toleranz und
Zusammenarbeit unerlässliche Voraussetzungen
für die Weiterentwicklung der Zivilisation sind.
language and have got different cultural habits.
All the students and teachers coming from
different countries are invited to realise a
common project and immediately the mutual
involvement is growing and this involvement
leads to the personal will to acquire the skills to
achieve results.
Pascal Philippe
Préfet de l’Athénée Royal de Gilly
Ecole de la Paix
School of Peace
La Tour de Babel que constitue l’Europe peut
être vue comme un obstacle à la transmission de
savoirs communs. Mais on peut aussi considérer
cet éparpillement linguistique comme une
source d’enrichissements et de défis à relever
pour passer au-delà de cette difficulté.
The Tower of Babel, which constitutes
Europe, can be seen like an obstacle to the
transmission of common knowledge. But we
can also consider this linguistic scattering as a
source of enrichments and challenges to take up
to pass beyond this difficulty.
C’est le but de ce manuel pédagogique
développé dans le cadre de l’Ecole de la Paix. Sa
conception a amené les différents participants
à comparer leurs différences culturelles, à se
nourrir de leurs pratiques multiples et, enfin, en
transcendant l’aspect linguistique, à privilégier
les points de rencontre, à réaliser une synthèse
transposables et utilisables dans des situations
nouvelles par de nouveaux acteurs.
This is the goal of this teaching handbook
developed within the framework of the School
of Peace. Its design led the various participants
to compare their cultural differences, to
nourish their multiple practices and, finally, by
transcending the linguistic aspect, to privilege
the points of meeting, to carry out a synthesis
transposable and usable in new situations by
new actors.
Tous ces efforts sont guidés par les belles
valeurs mises en avant par ce projet Comenius,
paix, tolérance, fraternité, et contribuent, à
leur modeste niveau, au progrès de nos écoles,
de l’Europe et de l’humanité.
All these efforts are guided by the high
values proposed by the Comenius project,
peace, tolerance, fraternity, and contribute to
the progress of our schools, of Europe and of
mankind.
10
Prof.ssa Marisa Salvatori
Dirigente scolastico del Liceo Classico Stabili Trebbiani
Introduzione
Introduction
Guerra e pace sono due elementi antitetici
che coesistono dal momento in cui l’uomo è
comparso sulla faccia della terra. La guerra
rappresenta l’innato desiderio di sopraffazione
dell’uomo, che per motivi territorialiespansionistici, economici, razziali e religiosi
agogna la sua supremazia sull’altro. Guerra è
altresì sinonimo di distruzione, rovina e morte,
la negatività dell’uomo, palese dimostrazione
dell’abiezione umana.
Anche oggi, in un’epoca contrassegnata
dal progresso in ogni campo dello scibile
umano, l’uomo non è riuscito a debellare la
guerra, ma il concetto di pace, che si enuclea
prioritariamente come armonia dello spirito e
desiderio di uguaglianza e fratellanza, frutto
di cambiamento spirituale che parte dal cuore
di ogni essere umano e che si diffonde nella
comunità, diventa un sentimento universale
sempre più sentito. E tale concetto va impresso
come principio base dell’educazione di ogni
discente che deve recepire che la pace si
identifica con la mancanza di diversità, con
l’uguaglianza, e che l’Uomo non è più homo
homini lupus, ma fratello e amico pronto ad
aiutare il suo simile.
War and peace are two antithetical elements
that were born with man. War represents man’s
natural instinct of domination; in fact, he longs
for the submission of others, for territorial,
expansionist, economic, racial and religious
reasons. War is a synonym of destruction, ruin
and death, and it is the demonstration of human
abjection.
Today, in a time characterized by progress
in every field of knowledge, man has not yet
succeeded in eliminating war; however, an idea
of peace – intended as harmony of spirit and
desire for fraternity and equality, and which
is the fruit of a spiritual change, arising from
every man’s heart and spreading through the
whole community – is becoming an increasingly
perceived universal feeling. This concept must
be taught as a basic principle in the education
of every student, who must learn that peace can
be identified with equality and that man is no
longer homo homini lupus, but a brother and a
friend ready to help his neighbour.
It is in this spirit that the Liceo Stabili
Trebbiani in Ascoli Piceno, scholastic pole for
“Education in Europe” and the Peace Projects,
has participated with Belgium and Germany in the
11
Ed è con questo spirito che il Liceo Stabili
Trebbiani di Ascoli Piceno, scuola polo per
“L’Europa dell’Istruzione” e per i Progetti di
Pace, si è impegnata con Belgio e Germania
nel progetto “L’école de la paix” a realizzare
un Manuale di pace, una raccolta di attività cui
ispirarsi per pervenire ad un percorso concreto
di pace valido per le generazioni future. Un
arduo compito, che speriamo sia riuscito nel suo
intento più vero, quello di creare, come dice la
parola di Cristo, “gli operatori di pace”.
project “L’école de la paix”, in order to realize a
Manual for Peace, a collection of activities that
can be used to indicate a “path to peace” valid
for future generations. A difficult task which we
hope has succeeded in its authentic intention,
to create, as Christ says, “peace-makers”.
12
Christiane Heinrich
Karl-Uwe Roggow, Schulleiter
Präsentation
Presentation
Auf unser Gymnasium gehen vor allem
Schüler aus dem ländlichen Raum. Wolgast ist
eine kleine Stadt im Nordosten Deutschlands,
kurz vor der Ostsee-Insel Usedom. Die Region
lebt vorrangig vom Tourismus.
Unsere Schüler, aktuell etwa 300, sind
13 bis 19 Jahre alt. Sie besuchen die 7.-12.
Klasse. Viele unserer Schüler haben wenig
Auslandserfahrung. Da auch die Zahl der
Familien mit Migrationshintergrund sehr gering
ist, sind Begegnungen mit fremden Kulturen und
Lebensstilen eher selten. Durch europäische
Projekte und Austausche versuchen wir den
Jugendlichen Gelegenheit zu Begegnungen
mit jungen Ausländern zu geben. Hier können
sie Ideen austauschen, sich neue Perspektiven
erschließen und Klischees bekämpfen.
Dies ist auch das Ziel der Schule des
Friedens. Für uns liegt der entscheidende Teil des
Projekts in der Vorbereitung und Realisierung der
persönlichen Begegnungen. Hier wurde friedliches
Miteinander ganz im Alltäglichen erprobt:
das Lachen an den Tischen, das dreisprachige
Flüstern und die ungewohnt ausgesprochenen
fremden Wörter - Das waren der “Sound” dieser
Treffen. Gemeinsam wurde an den Projekten
Our grammar school is mainly attended by
students from rural regions. Wolgast is a small
town in the north-east of Germany, next to the
island Usedom on the Baltic Sea. Tourism plays a
very important role in this region.
Our students, now nearly 300, are 13 to 19
years old. They attend the grades 7 to 12. Most
of our students don’t have foreign experiences.
Due to the low number of families with migration
background, the encounters with unknown
cultures and different ways of life are rare. With
European projects and exchanges we try to give
young people the opportunity to meet young
foreigners. Here they can exchange ideas, open
up perspectives and fight clichés.
This is also the aim of the “School of
peace”. The most important part of the project
for us was the preparation and the realization
of the meetings. This was the chance to prove
peaceful living in the real all-day-life: the
laughters around the tables, the trilingual
whispers and the foreign words pronounced in
a strange way -these were the sounds of the
meetings. Together we worked on projects,
all together we prepared the activities and
communication barriers were overcome with
13
gearbeitet, die Aktivitäten haben alle zusammen
vorbereitet und Kommunikationshürden wurden
dabei fast spielerisch überbrückt. Nicht zuletzt
wurden Kontakte geknüpft, die über das Projekt
hinaus fortdauern. Was können wir uns mehr für
eine europäische Zukunft wünschen?
the greatest ease. Last but not least, contacts
have been created to be continued even after
the end of the project. What more can we wish
for an European future?
14
Christiane Heinrich, Ingrid Bertrand, Chantal David, Jacqueline Vannès
Runge-Gymnasium Wolgast, Athénée Royal de Gilly
Concours logo
et création du Club du
Jeune Citoyen européen
Logo Competition
Tous les partenaires
All of the partners
Il s’agit de lancer le projet et de le
communiquer grâce à un concours pour créer un
logo qui symbolisera l’Ecole de la Paix.
On profitera de la création du logo pour
mettre en place le Club du Jeune Citoyen
européen auquel adhéreront automatiquement
tous les élèves faisant partie du projet et
également ceux qui auront suivi des leçons en
rapport avec le projet (prolongements possibles
des leçons proposées dans ce manuel, telles que
l’analyse filmique, la leçon de droit, l’hymne, les
stéréotypes…)
Les productions résultants du travail de
ce club seront affichées dans chaque espace
Comenius et seront renouvelées au fur et à
mesure du projet.
The teachers of the different countries
have to launch the project. The aim of this
competition is to create a logo that will symbolize
the “School of Peace”.
At the same time all the teachers will put
up a “Club of the Young Citizen” and all the
students sharing the project and all the students
who will have followed the lessons in their own
schools about the project will join this club.
NB: these lessons will be a possible continuation
of the lessons suggested in the manuel (analysis
of a film, lesson on the stereotypes, lesson about
the law…)
The students’ productions will be showed in
a special “Comenius space” and will be replaced
as the work progresses.
Etape I
- Création d’une affiche commune pour tous les
établissements pour motiver les élèves.
- Début du concours: création des logos par les
participants.
- Imposer une date limite de présentation.
- Un jury de chaque école (5 personnes) choisit
First Step
- Creation of a poster common to all the schools to
motivate the students to take part in this project.
- Start the competition : creation of logos by all
the participants.
- Don’t forget to impose a deadline for the
presentation.
17
les 5 meilleurs logos destinés à concourir pour
devenir le logo officiel de l’Ecole de la Paix.
- Envoi des 20 meilleurs résultats de chaque
pays pour l’exposition qui sera itinérante et
organisée dans chaque école faisant partie du
projet.
- Choose among all the logos the 20 best ones.
- Each school will send its 20 best logos (for an
exhibition) in the school where the “School of
Peace” will be organized.
- A jury in each school (5 people) will choose
the 5 best logos.
Etape II
- Création d’une affiche (numérique et en
papier) pour la présentation des 5 meilleurs
logos de tous les pays participants à publication
sur le site web.
- Envoi à tous les établissements.
- Vote des élèves sur le site web pour le choix
du logo définitif.
- Communication du résultat du vote par
l’établissement organisateur.
- Publication du logo choisi.
- Vernissage d’une exposition des meilleurs
résultats dans l’établissement organisateur.
Second step
- Creation of a poster (digital or paper) to
present the 5 best logos of all the countries
which participate to the project à publication
on the website.
- Send the best logos to all of the schools.
- Students have to vote on the website to choose
the final logo.
- The school which organizes the competition
has to communicate the result of the vote.
- Publication of the selected logo.
- Private view of the exhibition of the best logos
in the school that organizes the project.
18
Christiane Heinrich, Grit Stahl
Sich kennen lernen
Meeting each other
Es geht darum, sich als Gruppe vorzustellen
und die ersten persönlichen Kontakte der
Jugendlichen über Sprachgrenzen hinweg
zu erleichtern. Die erste Begegnung findet
natürlich bei der Ankunft der Gruppe statt. Die
Aufnahme in den Gastfamilien ist zweifellos
eine außergewöhnliche Erfahrung für alle
Beteiligten.
Dies ist eine sehr individuelle Erfahrung.
Um aber den multinationalen Charakter des
Projekts bewusst zu machen, ist es wichtig, dass
die Teilnehmer sich auch als Gruppe vorstellen
und persönlich so viele Projektteilnehmer wie
möglich kennen lernen. Die hier vorgestellten
Aktivitäten sind für das erste gemeinsame
Treffen aller vorgesehen, das normalerweise in
der gastgebenden Schule stattfindet.
The aim is to present ourselves as a group
and to help the students to overcome language
barriers in order to get in personal contact.
Of course, the first meeting will be during the
arrival of the group. The reception in the host
family is an exceptional experience for all the
participants.
This is a very individual experience. But in
order to create awareness of the multinational
character of the project, it is important that
the participants present themselves also as a
group and that they get individually in contact
with as many others as possible. The activities
presented here are planned for the first meeting
of all particpants which usually takes place in
the host school.
Presentation of the region and of the schools
Two or three of the students (or the whole
group) present their school, their region, their
country in order to impart an idea of their
day-to-day life to the others. Depending on the
equipment of the school this can be made with
posters, power-point presentations or even by
presentation of the homepage of the school.
Vorstellung der Region und der Schule durch
die teilnehmenden Gruppen
Zwei oder drei Schüler (oder die gesamte Gruppe)
stellen ihre Schule, ihre Region, ihr Land vor, um
den andern eine Vorstellung von ihrem alltäglichen
Leben zu vermitteln. Je nach Ausstattung der
Schule kann dies mittels Plakaten, PowerPoint-Präsentation am Computer oder gar durch
19
Hunting for autographs
Every student gets a sheet with 20 phrases in
different languages. Everybody has to move in
the classroom and has to communicate with the
others. The aim is to get one “autograph” for
each phrase applying to the student who wrote
it. Who is the first to have all autographs?
Projektion der schuleigenen Website geschehen.
Autogrammjagd
Jeder Schüler erhält eine Kopie mit 20 Aussagen
in verschiedenen Sprachen. Alle dürfen sich
frei im Raum bewegen und miteinander
kommunizieren. Sie haben die Aufgabe, zu jeder
Aussage eine Unterschrift von einem Schüler zu
sammeln für den dieser Satz zutreffend ist. Wer
hat zuerst alle Autogramme bekommen?
Assembly of the groups (of four students)
All the students form a line arranged according
to their date of births (day, month) starting from
the first of January. To find the right order, the
students are not allowed to speak. They can
just communicate with signs or gestures. After
this, the pupils form groups of four following the
order of the line.
Gruppenbildung (je 4 Schüler)
Aufstellung in Reihe
Alle Schüler sollen sich in einer Reihe aufstellen
sortiert nach ihrem Geburtsdatum (Tag, Monat)
beginnend mit dem 1. Januar. Um die richtige
Aufstellung zu finden, ist es den Schülern jedoch
untersagt zu sprechen. Sie dürfen sich lediglich
mit Gesten und Zeichen verständigen. Diese
Reihe wird im Anschluss genutzt, um zu viert
abzuzählen und Vierergruppen zu bilden.
Common points of the four students: “What is
connecting us?”
On a big sheet of paper every student writes
down his name. The four corners of the sheet
are connected by lines (horizontal, vertical and
diagonal). On the lines the pupils write common
qualities (favorite dish, favorite pop group,
sisters and brothers etc.). In the middle they
write the characteristics that are common to all
of them.
Finally the poster can be decorated with
sketches, drawings or even a picture showing the
common points. After that every group presents
its poster to the others. The posters can be part
of an exposition.
Gemeinsamkeiten der 4 Schüler: “Was uns
verbindet…”
Auf einem Blatt (A3) notiert zuerst jeder
Schüler seinen Namen. Alle vier Ecken werden
durch Verbindungslinien (horizontal, vertikal
und diagonal) verbunden. Auf den jeweiligen
Verbindungslinien
sollen
gemeinsame
Eigenschaften (Lieblingsessen, Lieblingsband,
Anzahl der Geschwister usw.) festgehalten
werden. In die Mitte schreiben die 4 Schüler
die Attribute, die alle verbindet. Zum Abschluss
kann das Blatt grafisch ausgestaltet werden.
Möglich ist auch die Gemeinsamkeiten als Bild
darzustellen. Anschließend stellt die Gruppe ihr
Blatt der gesamten Runde vor. Die Poster lassen
sich gleich zur Raumgestaltung nutzen.
The aim of this series of lessons is to sensitize
the students to the values of peace. They will
look for images showing the idea of a peaceful
living together. Collaborating in small multicultural groups, the pupils will find pictures
20
in their everyday surroundings. They have to
agree about images which are comprehensible
to everybody.
This work requires both communication and
creativity. The communication in all of the
languages is a very important part of the
project.
The exposition will show this process as well as
the creative results of the work.
First step
1. Creation of multinational groups of three or
four pupils
2. Work in groups: find words or expressions
concerning the topic of peace in all of the
languages
3. Presentation of the results on the blackboard.
Choice of 7 to 10 words/expressions suitable as
titles for a ordered series of photos.
Autogrammjagd
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Ich habe drei Geschwister.
I have been to America.
J’ai de la famille à l’étranger.
Io suono il piano.
Ich spiele gern Fußball.
I have a black Nokia cell phone.
Je fête mon anniversaire en octobre.
Mi piace mangiare cinese.
Ich spiele jeden Tag “world of warcraft”.
I like listening to “Linkin Park”.
J’ai un poster de Robert Pattinson.
Ho più di 10 paia di scarpe.
Ich bin sehr gut in Mathematik.
I am very good at math.
J’aime Minka Kelly.
Mi piace leggere romanzi fantasy.
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21
Autogrammjagd
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
I have three siblings.
J’ai été en Amérique.
Ho dei parenti all’estero.
Meine Lieblingsfarbe ist grün.
I enjoy playing football.
J’ai un téléphone portable Nokia noir.
Il mio compleanno è in ottobre.
Ich möchte später mal heiraten.
I play every day “world of warcraft”.
J’aime écouter de la “Linkin Park”.
Ho un poster di Robert Pattinson.
Ich esse gern Spinat.
I am very good at math.
J’aime lire des bandes dessinées.
Io amo Minka Kelly.
Ich bin kreativ.
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Autogrammjagd
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Ho tre fratelli.
Ich habe Verwandte im Ausland.
I play piano.
Ma couleur favorite est le vert.
Mi piace giocare a calcio.
Ich habe im Oktober Geburtstag.
I like to eat Chinese.
Je voudrais me marier plus tard.
Io gioco ogni “World of Warcraft” giorno.
Ich habe ein Poster von Robert Pattinson.
I have over 10 pairs of shoes.
J’aime manger des épinards.
Sono molto bravo in matematica.
Ich liebe Minka Kelly.
I like to read fantasy novels.
Je suis créatif.
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22
Autogrammjagd
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
Ich war schon einmal in Amerika.
I have relatives abroad.
Je joue du piano.
Il mio colore preferito è il verde.
Ich habe ein schwarzes Nokiahandy.
I have birthday in October.
J’aime manger chinois.
Vorrei sposarmi più tardi.
Ich höre gern „Linkin Park“.
I have a poster of Robert Pattinson.
J’ai plus de 10 paires de chaussures.
Mi piace mangiare spinaci.
Ich lese gern Comics.
I love Minka Kelly.
J’aime lire des romans de fantasy.
Sono creativo.
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23
24
Christiane Heinrich, Anne Richter, Beate Krüger
Fotorallye in drei Etappen
Photo-rally in three steps
Das Ziel dieser Unterrichtsreihe ist es, die
Schüler für die (recht abstrakten) Werte des
Friedens zu sensibilisieren. Sie suchen Bilder,
die die Idee eines friedlichen Zusammenlebens
vermitteln. Im Projekt arbeiten die Schüler in
kleinen multinationalen Gruppen. Sie spüren
in ihrer alltäglichen Umgebung Bilder auf und
müssen sich einigen auf Motive, die für Jedermann
verständlich sind. Es handelt sich um eine
ebenso kommunikative wie kreative Aufgabe.
Die Verständigung in allen beteiligten Sprachen
bzw. auf einer Meta-Ebene ist wesentlicher
Bestandteil des Projekts. Die Visualisierung
der Ergebnisse in einer Ausstellung bildet auch
diesen Prozess ab.
The aim of this series of lessons is to
sensitize the students to the values of peace.
They will look for images showing the idea of
a peaceful living together. Collaborating in
small multi-cultural groups, the pupils will
find pictures in their everyday surroundings.
They have to agree about images which are
comprehensible to everybody. This work
requires both communication and creativity. The
communication in all of the languages is a very
important part of the project. The exposition
will show this process as well as the creative
results of the work.
First step
1.Creation of multinational groups of three or
four pupils
2.Work in groups: Find words or expressions
concerning the topic of peace in all of the
languages
3.Presentation of the results on the black-board
Choice of 7 to 10 words/expressions suitable
as titles for a ordered series of photos
Etappe I
1. Bildung multinationaler Gruppen aus drei bis
vier Schülern
2. Gruppenarbeit: Begriffe oder Wendungen
zum Thema Frieden in allen beteiligten
Sprachen finden
3. Präsentation aller Ergebnisse an der Tafel
Auswahl von 7 - 10 Begriffen/Wendungen die gemischt. Reihenfolge der Titel für eine
Fotoserie festlegen
Second step
Taking and choosing the photos
25
Etappe II
Aufnahme und Auswahl der Fotos
In einer festgelegten Zeit (1-2 Tage) machen die
Schüler Fotos, die zu den ausgewählten Titeln
passen. Sie arbeiten in den multinationalen
Mini-Gruppen aus Etappe I. In einer Stunde
(im Informatikraum) wählt jede Gruppe genau
10 Fotos in der festgelegten Reihenfolge der
Schlüsselwörter aus.
Die Fotos werden entwickelt bzw. gedruckt.
In a fixed time (1 or 2 days) the students take
photos and choose their possible titles. They
work in the multi-national groups as they were
assembled at the beginning. During one lesson
(working on computers) each group chooses
exactly 10 photos respecting the fixed order of
the titles.
All photos are developed.
Third step
Preparation of an exhibition
The participants agree on a common presentation
of the photo-series. Each group pastes their
photos - for example in a horizontal line. (It
would be practical to prepare this, for example
by making similar stripes of paper for pasting
the photos.)
The objective is to create an exposition-wall
where the visitors can compare the results of
the different series.
Etappe III
Vorbereitung einer Ausstellung
Die Teilnehmer beraten über eine einheitliche
Art der Präsentation der Fotoserien. Jede
Gruppe klebt dann ihre Fotos auf - zum Beispiel
in horizontaler Reihe. (Es wäre praktisch,
dies vorzubereiten, indem man zum Beispiel
gleichartige Papierstreifen zuschneidet, auf
die die Fotoreihen aufgeklebt werden). Das
Ziel ist es, insgesamt eine Ausstellungswand zu
gestalten, sodass man die verschiedenen Serien
miteinander vergleichen kann.
Example Exposition-wall:
Title: Hope/Friendship/Meeting/...
Group 1: photo 1/photo 2/photo 3/photo 4/...
Group 2: photo 1/photo 2/photo 3/photo 4/...
Group 3: photo 1/photo 2/photo 3/photo 4/... etc.
Beispiel Fotowand:
Titel: Hoffnung/Freundschaft/Begegnung/...
Gruppe 1: Foto 1/Foto 2/Foto 3/Foto 4/...
Gruppe 2: Foto 1/Foto 2/Foto 3/Foto 4/...
Gruppe 3: Foto 1/Foto 2/Foto 3/Foto 4/... etc.
In this way the visitor can compare how different
the associations of the groups are.
Furthermore a competition could be started in
order to choose the best series.
A wandering exhibition is also possible.
So kann der Betrachter vergleichen, wie
unterschiedlich die Assoziationen der Gruppen
zu den Schlüsselbegriffen sind. Man könnte
weiterhin einen Wettbewerb ausrufen, in
dem die beste Serie gekürt wird. Auch eine
Wanderausstellung bietet sich an.
Some practical advice:
Choose words/titles which are abstract enough
to leave space for interpretation.
It’s possible to write the words on small cards
26
Ein paar praktische Tipps:
Ausreichend abstrakte Begriffe wählen, die
Raum für Interpretation lassen
Eventuell die Begriffe auf kleine Kärtchen
schreiben und diese in die Bilder integrieren.
Ansonsten gut darauf achten, dass jedes Foto /
jede Datei den richtigen Titel trägt.
Genügend Zeit für die Aufnahme der Fotos und
für die digitale Übertragung einplanen.
Auch die Vorbereitung der Ausstellung erfordert
mindestens zwei Stunden.
and include them into the pictures.
Be sure that every photo/file has the right
title.
Plan enough time for the taking and the digital
transmission of the photos.
The preparation of the exhibition takes at least
two hours.
Conclusion:
As the quality of the photos was quite different
and not all of the groups were able to finish
a complete series, we slightly changed the
project: instead of exposing the series, we took
the pictures at hand and made collages with
them.
Nachbemerkung:
Da die Qualität der Fotos sehr unterschiedlich
war und nicht alle Gruppen eine komplette Serie
fertigstellen konnten, haben wir das Projekt
etwas variiert: Anstelle der Serien haben wir
mit den verfügbaren Fotos Collagen zum Thema
gestaltet.
27
28
Teresa Piermarini
Liceo Classico Stabili Trebbiani
Metodologia per preparare
una visita guidata nella città
che ospita il gruppo di studio
Methodology to prepare a
guided visit in the city of
the students’ program
Esempio di percorso per la conoscenza
della città di Ascoli Piceno.
Example of way to know Ascoli Piceno.
29
Introduction
Introduction
Les étudiants accueillant l’Ecole de la Paix
proposent une visite de leur ville ou d’un site
remarquable (musée, exposition, lieu naturel ou
historique…) en anglais.
Préalablement, ils se seront documentés sur
les endroits à découvrir et pourront susciter
certaines questions et répondre à d’autres.
Ils rédigeront un rallye (à partir d’un point
de départ dans la ville, les élèves suivent les
chemins qui les mènent devant des choses
intéressantes à voir.)
Ici, l’objectif premier sera la communication:
tous les moyens sont bons pour se faire
comprendre.
Les objectifs suivants seront de leur
permettre de prendre des initiatives, de
parfaire leur culture générale et d’éveiller leur
curiosité.
Méthodologie
1. Les élèves du pays accueillant l’Ecole de
la Paix élaborent un rallye à l’aide d’un
questionnaire sur la ville ou sur le site.
2. Les élèves sont divisés en équipes de 5 ou 6
de différentes nationalités (un(une) élève du
pays devra se trouver dans chaque groupe afin
de donner des informations supplémentaires.
3. Les groupes partent d’endroits différents et
sont munis d’une carte.
4. Le groupe qui aura obtenu le meilleur score au
niveau des réponses sera déclaré vainqueur.
5. Les élèves prennent des photos afin de réaliser
une présentation Power Point commentée
qu’ils ramèneront en souvenir et qu’ils
pourront présenter dans leur propre pays pour
communiquer leur expérience.
The students welcoming the “School of
Peace” propose a guided visit of their town.
It can also be a noteworthy site (museum,
exhibition, natural or historical place…). This
guided visit will be proposed in English so that all
the students can understand it. Beforehand they
will gather information about the interesting
places to see and will be able to arouse questions
and to answer other questions. They will write
a rally (from a departure point in the city, the
students follow the ways leading to different
interesting or famous things to discover in the
town).
Purposes of this rally:
to communicate: the students will have to talk
to each other, ask and answer questions; to
take initiative; to round off their knowledge; to
arouse their curiosity.
Methodology
1. The students welcoming the “School of Peace”
prepare a rally with the help of a questionnaire
about the town or the site.
2. The students are divided into 5 or 6 groups
of different nationalities (a student of the
organizing country will take place in each
group in order to give extra information.
3. The different groups will leave from different
places with the rally paper and a map of the
town.
4. The group that will have collected the most
answers and will have obtained the best score
will be the winner.
5. During the visit, the students will take photos
to realize a PowerPoint presentation. They
will give a commentary on this visit and they
30
will bring back the presentation in their own
country to share their experience with their
fellow students.
Studenti davanti l’antico sito militare di Peenemünde
Students in front of the ancient militar site of Peenemünde
31
La visita di una città sconosciuta è sempre
una scoperta interessante, un momento ludico in
cui la conoscenza nasce quasi spontanea, senza
alcuno sforzo, senza impegno: la visita guidata
della città degli amici ospitanti, quindi, non
deve essere un momento di scuola, un momento
di lavoro, ma può essere un’esperienza diversa
dalle altre.
Perché diversa?
1. Perché siamo all’aperto; anche se andiamo
a visitare luoghi chiusi, come un museo,
dobbiamo valorizzare il fatto che non abbiamo
banchi, non siamo in classe, ma la nostra
passeggiata somiglia più alla vita spensierata
che alla scuola.
2. Abbiamo come guide i nostri compagni.
The visit of an unknown city is always an
interesting discovery, a playful moment in which
knowledge arises almost spontaneously without
any effort, without commitment: a guided tour
of the city, host by friends, is a time of school,
a time to work but it can also be a different
experience.
Why?
1. Because we are in a free area; even if we visit
closed spaces, such as a museum, we should
know the fact that we do not have desks, we
are not in class. Our walk is more carefree
than at School.
2. We have our friends as guides.
It is very important to let students be our
guides (instead of teachers or professional
guides). They will be suitably prepared for a
simple path, with a few items to point out. This
is a synecdoche walk, which means that it is
chosen a few places to represent the history of
the host country. They will show these important
places, without excessive details and historical
monuments uprooted from the territory.
The students will explain what we see, after
choosing a significant place in the city to start,
for example, a central square, where public
buildings should be located, and then move from
that space handing a map. In this map, the route
will be emphasized as well as other two or three
items to see: another square, a monument, a
bridge, a museum. Synecdoche walk means a
part for the whole thing, little evidence to get
to know the area’s history, the origins, the most
important historical periods, and even today’s
problems.
During the walk, it is important that
guests photograph the monuments, in order
È molto importante che a fare da guida
siano i ragazzi (e non gli insegnanti o tanto meno
guide professionali) opportunamente preparati
ad un percorso semplice, con pochi elementi
da sottolineare, una passeggiata-sineddoche,
cioè una scelta significativa di luoghi che
rappresentino la storia del paese ospitante, per
cenni e siti importanti, senza eccessivi dettagli
storici avulsi dai monumenti e dal territorio. I
ragazzi spiegheranno ciò che si vede, scegliendo
di partire da un luogo significativo della città,
per esempio una piazza centrale, dove siano
ubicati i Palazzi pubblici, e poi si muoveranno da
quello spazio, dopo aver consegnato a ciascuno
degli ospiti una cartina semplificata, con la
segnalazione a colori del percorso proposto e
degli altri due o tre elementi da raggiungere:
un’altra piazza, un monumento, un ponte, un
museo. Passeggiata-sineddoche indica una parte
per il tutto, o meglio pochi elementi per inferire
da essi la storia del territorio, le origini (se sono
32
evidenti), i periodi storici più importanti, e
anche i problemi odierni.
Durante la passeggiata è opportuno che
i ragazzi ospiti fotografino i monumenti loro
mostrati, per poter tornare più tardi a consolidare
le conoscenze. I ragazzi del luogo, che fanno da
guida, faranno invece fotografie ai compagni
per documentare le loro emozioni, i momenti
ludici e quelli di commozione ed entusiasmo: la
“storia” insomma di questa avventura.
Obiettivi generali della visita, applicabili
a tutte le cittadine (da quelle come Ascoli,
che trasuda di storia e di arte ad ogni passo,
per cui si avrebbe la tentazione di spiegare
ogni strada e ogni monumento, a quelle come
Wolgast, che possiede le sue bellezze racchiuse
nel piccolissimo centro, ma soprattutto
nell’articolazione del paesaggio marino ricco di
golfi e insenature boscose) sono:
• riconoscere che la storia non è disciplina
avulsa dal territorio né lontana nel tempo
e nello spazio, né astratta, né libresca.
Il passato che ha modellato le nostre città
esiste ancora nei nostri percorsi quotidiani,
in un tempo nostro e in uno spazio nostro;
• ricostruire dai segni del territorio brani di
microstoria, che ci facciano sentire vicini,
tutti parte di una storia europea, partecipi
degli eventi più importanti, dalla preistoria
alle guerre mondiali;
• comunicare l’amore per il proprio territorio
come valore fondante di una comunità che si
apre all’altro nell’accoglienza, sottolineando
le specificità del proprio paese come ricchezze
da offrire al mondo intero.
Se la città possiede un museo, meglio
sarebbe dedicare ad esso una visita specifica in
un altro momento, successivo alla ricognizione
to consolidate the knowledge. The students
guide, will take pictures of their friends so as to
document their emotions, the playful moments
and those of emotion and enthusiasm: the”story”
of this adventure.
The general objectives of the visit,
applicable to all cities (from those such as Ascoli,
with history and art at every step, so you have
the temptation to explain every street and every
monument, to those like Wolgast, which has a
tiny but beautiful city centre, and also a marine
landscape rich in wooded bays and inlets) are:
• To recognize that history is not tied to the
area, time and space, and it is not abstract or
bookish. The past that has created our cities
is still visible in our daily journeys, in our
time and our space;
• To Reconstruct from the land-marks and
micro-tracks, that belong to all of us, the
history of Europe, that involves the most
important events, from prehistory to the
World Wars;
• To communicate the love of our own territory
as a fundamental value of a community that
receives other members, highlighting the
uniqueness of their country as a wealth to
offer to the world.
If the city has a museum, it is better to
make a specific visit, in another moment, after
the visit of the city. On the visit to the museum,
even if it is an archaeological, an art gallery,
or a museum of natural science, a careful
observation of the objects may be heavy and
disappointing. It is better to have a museumsynecdoche, which is a visit where you choose
three or four objects to see and to discuss. After
the guided tour and the visit of the museums, it
is important to discuss in class all this subject
33
della città. Anche nella visita al Museo, che sia
un archeologico, una pinacoteca o un museo
di scienze naturali, va sempre tenuto presente
che una osservazione accurata degli oggetti ivi
contenuti può risultare pesante e deludente;
meglio un museo-sineddoche, cioè una visita
dove si scelgono tre o quattro oggetti, si
osservano, si contestualizzano, si raccontano.
Dopo la visita guidata e la visione eventuale
dei musei, è opportuna una discussione in
classe stimolata da un questionario di rilettura
dell’esperienza. Tutto il materiale fotografico
prodotto potrà essere montato velocemente in
power point con didascalie bilingue o trilingue,
sia sulla conoscenza architettonica e storica della
città, sia sull’esperienza affettiva compiuta. Ciò
costituirà per tutti gli alunni un gradito souvenir,
che potrà consolidare nel tempo le amicizie
strette.
stimulated by a questionnaire. All photographic
product can be assembled in a power point with
bilingual or trilingual captions, talking about
both architectural and historical knowledge of
the city, and about the emotional experience.
This could be for all students a great souvenir,
which could also consolidate the friendship
made during the journey.
Gli studenti visitano Ascoli Piceno
The students visit Ascoli Piceno
34
Roberta Verrocchio
Stéréotypes
Stereotypes
Ce projet Comenius est né dans le but
de promouvoir l’interaction entre des écoles
européennes et également d’impliquer des
jeunes gens dans le concept de la paix.
Les stéréotypes sont importants dans notre
projet car ils créent des barrières et empêchent
la communication et l’harmonie entre les
individus.
Les stéréotypes correspondent à des traits
ou des comportements que l’on attribue à autrui
de façon arbitraire. Ils ne sont donc pas basés sur
des vérités objectives mais plutôt subjectives
et parfois sur des aspects invérifiables. Le mot
“stéréotype” vient de deux termes grecs stereos:
dur, solide et typos: empreinte, modèle.
Walter Lippman utilisa, en 1922, le terme
de stéréotype pour rendre compte du caractère
à la fois condensé, schématisé et simplifié des
opinions qui ont cours dans le public. Il expliquait
d’abord ce phénomène par l’existence d’un
principe d’économie, en vertu duquel l’individu
penserait par stéréotypes pour éviter d’avoir à
réfléchir à chaque aspect de la réalité.
Les stéréotypes peuvent être négatifs (les
Noirs sont paresseux, les Ecossais sont radins,
les femmes sont des commères…). Ils peuvent
The Comenius project was born to foster
interaction between European schools and to
involve young people in the concept of peace.
Our project is about stereotypes because
they create barriers and prevent communication
and harmony between individuals.
A Stereotype is a commonly held public
belief about specific social groups or types
of individuals. The concept of stereotyping
is often confused with many other different
meanings. Stereotypes are standardized and
simplified conceptions of groups based on
some prior assumptions. Stereotypes are not
based on objective truths but rather subjective
and sometimes unverifiable aspects. The term
stereotype derives from Greek: stereos is a
“solid form” and typos is “impression” and
hence “solid impression”.
The term, in its modern psychological sense,
was first used by Walter Lippmann in 1922, in his
work “public opinion” where he speaks about the
“imprinting” of first impressions. Stereotypes
can be: negative (blacks are lazy, the Scots are
stingy, women are gossips), positive (Australians
love music, the Germans are indrustrious),
neutral ( the Japanese take many photos, the
35
être également positifs (les Australiens aiment
la musique, les Allemands sont bûcheurs).
Quelques fois ils peuvent être neutres (les
Japonais prennent beaucoup de photos, les
Hollandais ont des tâches de rousseur, les Italiens
gesticulent beaucoup).
Ce projet a donc pour objectif de supprimer
les préjugés et ce, au travers d’un questionnaire
qui nous aidera à découvrir comment chaque
pays est vu par les autres nations et comment
cette façon de voir se reflètera sur notre
subconscient.
Dutch are freckled, Italians gesticulate).
This project aims at removing prejudice
about what others think of the “different”,
through a questionnaire that will help us to
discover how each nation is seen through the eyes
of other people and reflect on our subconscious
prejudices.
Plan
Lesson plan
But
Aider les étudiants à comprendre ce qu’est un
stéréotype et comment il peut influencer les
relations entre les personnes.
Aim
To help students understand what a stereotype is
and how it can influence human relationships.
Abilities involved
Oral skills: understand information given by the
teacher, express ideas on the subject matter,
interview people.
Written skills: take notes, read articles, write a
questionnaire.
Competences travaillees
La compréhension à l’audition: comprendre
les informations données par le professeur et
prendre des notes.
L’expression orale: exprimer ses idées sur le
sujet et interviewer des personnes.
L’expression écrite: écrire un compte rendu et
un questionnaire.
La compréhension à la lecture: lire des articles.
Level
Secondary school students aged 15-18.
36
Niveau
Secondaire (2ème et 3ème degré – élèves de 15
à 18 ans).
Time
2 lessons (fifty minutes each).
Methods
Brainstorming,
pair
activities,
researches on the Web, interviews.
Duree
Deux leçons de 50 minutes chacune.
Methode
Brainstorming, activités par paires, enquêtes,
recherches d’articles sur le net, interviews.
surveys,
Activities
1. Students find definitions of stereotypes and
try to give a detailed account of the subject
matter writing a short essay.
2.Students prepare a questionnaire to
be submitted to classmates of other
nationalities.
Results will be reported on sheets and
discussed in class.
3. In small groups, students will collect the
results of their surveys and draw a table with
the outcomes.
Activites
1.Les élèves doivent trouver la définition du
mot “stéréotype” et essayer de donner un
compte rendu détaillé des problèmes que
posent ceux-ci par le biais d’un petit texte.
2.Les élèves préparent ensuite un questionnaire
qu’ils soumettront à leurs condisciples
d’autres nationalités. Les résultats seront
reportés sur une feuille et ensuite discutés
en classe.
3.En petits groupes, les étudiants recueilleront
les résultats de leur enquête. Ils inscriront
les résultats dans un tableau.
Evaluation
The teacher prepares a grid of evaluation based
on the learning process activated by the students
rather than on the results of the project.
Evaluation
Le professeur aura préparé une grille d’évaluation
basée sur les procédés d’apprentissage qui ont
été mis en œuvre par les élèves plutôt que sur
les résultats du projet.
37
Dans cette scène, on montre l’acteur Alberto
Sordi en train de manger des spaghetti car il ne
veut pas de la nourriture américaine. Il préfère
la nourriture typiquement italienne. Cette scène
montre le stéréotype de l’Italien grand mangeur
de pâtes.
This picture is a scene from a famous film. The
actor, Alberto Sordi, is eating spaghetti because
he doesn’t want American food anymore. He
prefers typical Italian food. It shows a stereotype
of Italians who are big pasta-eaters.
Ici, on voit bien le premier Ministre italien,
Berlusconi, hilare. On le montre comme un
politicien italien typique, pas très sérieux et
assez rieur.
In this pictures, Berlusconi is laughing. He is
shown as the typical Italian politician who isn’t
very serious and tells too many jokes.
Cette image montre un autre stéréotype italien.
Beaucoup de gens pensent qu’il faut être
intelligent pour gagner en politique alors que la
seule loi qui prévaut est la loi du plus rusé.
This pictures shows an Italian stereotype. Many
people think that somebody is very clever
because he always wins especially in politics,
where the only law that prevails is the law of
the sly.
38
On décrit les Italiens comme des personnes qui
aiment la nourriture (comme dans la première
partie d’un film avec Julia Roberts « Mange,
prie, aime. » qui se passe à Rome et où Julia
mange beaucoup de pâtes). Les hommes italiens,
comme on le voit sur l’image, sont traités comme
des petits enfants par leur mère.
Italians are described as people who love food
(as in the first part of Julia Robert’s film “Eat
pray love” which is set in Rome and she eats a
lot of pasta). Italian men, like in the picture, are
treated like little children by their mothers.
Dans les films américains, le stéréotype italien
par excellence est la mafia. Dans ces films,
on montre souvent les Italiens comme des
personnes corrompues. La mafia et la corruption
envahissent tous les aspects de la société. Les
résultats sont obtenus par la corruption, pas par
le mérite.
A typical Italian stereotype is mafia. In American
films Italians are shown as corrupt, and mafia and
corruption pervade all aspects of society. Every
result is achieved by corruption, not merit.
La bonne nourriture et bien aimer manger sont
des stéréotypes que l’on attribue aux italiens. Le
symbole de l’Italie n’est-il pas la pizza ? Cette
pizza connue dans le monde entier!
An Italian stereotype is good food and the love
for eating. A symbol of Italy is pizza, which is
common all over the world.
39
Questionnaire
Questionnaire
1.Pensez à un italien typique. Comment peux-tu le décrire physiquement?
1.Thinking about a typical Italian person, how could you describe his physical features?
2.Pouvez-vous me donner cinq adjectifs qui définissent «l’italien» et qui concernent sa personnalité?
3.Selon vous, quelles sont les professions occupées par les Italiens?
Comment pensez-vous qu’ils se comportent au travail?
4.Comment voyez-vous une famille typiquement italienne et quelles sont les relations parents-enfants? Comment s’organisent-elles?
2.Can you tell me five adjectives to define “the Italian” with regard to his character?
3.In your opinion what are classical Italian jobs?
And how does an Italian behave at work?
4.How do you see the typical Italian family?
What is parental-child relationships like?
How is it organized?
5.Pensez-vous que l’Italie est un pays qui se «mondialise»?
Les Italiens sont-ils ouverts à la diversité? (aux minorités, à l’homosexualité, aux communautés étrangères, etc.)?
5.Do you think Italy is a globalized country?
Are Italians open minded towards diversity (minorities, omosexuals, outsiders, etc.)?
6.Connaissez-vous bien la mode italienne? A quoi ressemble-t-elle?
6.Are you familiar with Italian fashion?
What is Italian clothing like?
7.Aimez-vous la nourriture italienne? Comment la décririez-vous?
7.Do you like Italian food?
How would you describe Italian diet?
40
Roberta Sperantini
A scuola di pace
At school of peace
Premessa
Il teatro, come e forse più di altre discipline,
riesce nell’intento di avvicinare le persone,
di farle incontrare e conoscere, malgrado e
nonostante le barriere linguistiche e culturali.
Essendo una disciplina di per sé multidisciplinare,
poiché attinge a vari codici e linguaggi, da quello
verbale a quello mimico-gestuale-prossemico,
a quello simbolico (musicale, delle immagini
attraverso scenografie, costumi, trucchi, etc.),
fa percepire e comprendere all’alunno la
complessità e il fascino di una comunicazione
intensa, intima e profonda, che affonda spesso
e volentieri nel subconscio e nell’ineffabile.
In questa lezione si tenterà quindi di
illustrare un possibile percorso didattico di
educazione teatrale, il cui fine principale è
quello dello scambio e del confronto sui temi
del dialogo interculturale, del rispetto delle
diversità, della pace tra i popoli. Per fare
questo percorso è indispensabile partire dal
superamento dei pregiudizi e delle chiusure.
La lezione può articolarsi in 3 parti ed
impiegare 3 o 4 ore. È rivolta a un gruppo di 20/25
alunni di diversa nazionalità e appartenenza
culturale. La lingua di comunicazione è l’inglese.
Introduction
Theatre, just like other subjects, manages
in its intents to help people meet and know
each other, despite cultural and linguistic
barriers. Theatre is a multidisciplinary subject
per se, since it concerns codes and languages
from verbal discipline to miming – non
verbal communication – from Proxemics to a
environmental atmosphere, taking into account
Kinesics (musical, set design, costumes, makeup and others). It makes students comprehend
and notice the complexity and the charms of an
eager, deep and close communication.
Therefore, the main scope of this lesson
is to focus on didactic approaches of dramatic
education whose aim is to compare and exchange
issues about intercultural dialogues, regard
for diversity and keeping the peace between
countries. Hence, the overcoming of prejudices
and barriers is indispensable for carrying out the
lesson.
The lesson will be divided in three parts and
it will take three or four hours: 20/25 students
from different nationalities and cultures will
work together. The main language is English.
Dramatic lesson
Una lezione di teatro
41
I parte
First Part
Tema
Conoscersi, socializzare.
Issue
To strike up an acquaintance and socialize.
Obiettivi
Superare le iniziali inibizioni e le prime barriere
linguistiche.
Aims
To overcome initial inhibitions and the linguistic
barrier.
Contenuti
Esercizi di socializzazione, di fiducia e di
contatto.
Contents
Exercises of
contact.
Descrizione dell’attività
1.Gli studenti in cerchio si presentano
scandendo a voce alta il proprio nome, seguito
da un’attività che amano fare. La frase viene
poi accompagnata da un gesto didascalico.
Il gruppo, dopo aver ascoltato e osservato,
ripete all’unisono nome, frase e gesto.
L’esercizio
permette
di
conoscersi,
presentarsi, superando le prime inibizioni,
anche con l’aiuto del corpo.
2.Sempre rimanendo in cerchio, gli alunni
si guardano negli occhi. A turno un allievo
rivolge il proprio sguardo a uno dei suoi
compagni, dandogli così un segnale che lo
mette in movimento. I due si incontrano al
centro del cerchio dove saltano, battono le
mani e si scambiano di posto in corsa.
L’esercizio permette una comunicazione
non verbale molto intensa, che mette in
movimento il corpo e aumenta il processo di
conoscenza.
3.Rimanendo in cerchio i ragazzi si scambiano
energia attraverso una stretta di mano.
Dopo alcuni minuti trascorsi in silenzio a
occhi chiusi, sempre rimanendo uniti con le
Description of the activity
1.Students introduce themselves aloud, saying
their names and hobbies. After saying the
hobby, students will do a dramatic gesture.
The group, after listening and watching, will
repeat the name, hobby and gesture.
The exercise lets them meet each other,
introduce themselves and overcome the first
inhibitions, as well as body language.
2.Standing in a ring, students will look at each
other. In turns, one student will fix his/her
gaze on another one. This look is the sign
which makes the latter student starts moving.
Both of them go to the centre of the ring
where they will have to jump, shake hands
and exchange places.
The exercise allows for an intense non-verbal
communication, a development of body
language and knowledge is also increased.
3.The handshake is important because of the
exchange of energy between the students.
After a few minutes of silence with eyes
closed and holding hands in the circle, the
students will do stretching exercises with
their arms, legs and chest.
42
socialization,
confidence
and
mani, si fanno alcuni movimenti di stretching
con le braccia, le gambe, il busto, sempre
mantenendo la stretta.
Questo esercizio permette di stabilire una
forte complicità tra i componenti, aiuta
la concentrazione del singolo, facilita lo
scambio di energia.
This exercise establishes a powerful
complicity among the components. Moreover,
it helps in the development of the power of
concentration, and makes exchange of energy
easier.
II parte
Second Part
Tema e obiettivi
Prendere consapevolezza della propria corporeità
e usare consapevolmente lo spazio.
Issue and aims
To be aware of our own body and the space
which we take up.
Descrizione delle attività
1.Esercizio dello specchio:
A coppie ci si pone uno di fronte all’altro.
Uno dei due fa dei movimenti con il corpo,
coinvolgendo gradualmente il viso e le
espressioni facciali. L’altro lo imita. Dopo
alcuni minuti avviene il cambio di guida.
2.Esercizio del quadro vivente o dello
scultore:
A turno gli alunni prendono e dispongono nello
spazio scenico i corpi degli altri alunni, che,
mostrandosi docili e disponibili al contatto,
assumeranno le posizioni che l’autore-scultore
farà prendere loro, muovendo personalmente
i corpi e plasmando le posture.
Ciò che risulterà sarà un quadro con un
possibile significato o semplicemente una
creazione di corpi dalla bellezza astratta.
Questo esercizio consente di prendere
consapevolezza del proprio e dell’altrui corpo
nello spazio scenico.
Description of the activity:
1. Exercise of the Looking glass:
In pairs, one stands opposite the other. One of
them begins to move his/her body involving
the way of looking and making faces. The
other student imitates him at the same time.
After a few minutes, they exchange roles.
2.Exercise of the living picture or of the
sculptor:
In turn, students have to arrange the bodies
of the other participants who will let
themselves be guided into positions that the
author-sculptor wants, in order to give shape
to the positions.
A picture with an outstanding meaning or a
creation of bodies of abstract beauty will
result.
This exercise provides an awareness of our
own bodies and also the bodies of the other
partners on the stage.
43
III parte
Third Part
Tema
I pregiudizi e gli stereotipi.
Issue
Prejudices and Stereotypes.
Obiettivi
Confrontarsi con i propri e gli altrui pregiudizi.
Superare le chiusure e le diffidenze tra culture
diverse.
Aims
To face up to our own prejudices, and even the
prejudices of others. Defeat the barriers and
the difference among cultures.
Descrizione delle attività
Si passa ora alla parte più propriamente teatrale.
Gli allievi-attori dovranno, attraverso le tecniche
dell’improvvisazione, simulare delle situazioni
in cui emergano i più comuni stereotipi.
Description of the activity
This section implies the most dramatic feature.
The students-performers have to act out situations
in which the representative stereotypes are
involved, by means of the techniques and skills
of impromptu performance.
Esempi
Dopo un primo ma breve confronto verbale fra
tutti i partecipanti su come immaginiamo gli
italiani, i francesi, i tedeschi etc. a tavola oppure
alla fermata del bus o allo stadio, si dividono gli
allievi in piccoli gruppi di 5/6 persone.
Ogni gruppo immagina, simula e realizza
un’improvvisazione teatrale fatta di azioni
fisiche, gesti e ed espressioni mimiche. Il tutto
accompagnato da un linguaggio verbale simile al
“gramelot”, cioè fatto di parole inesistenti ma
modellate sulle sonorità delle lingue nazionali a
cui si fa riferimento nella performance.
Dopo aver assistito ai diversi tentativi dei vari
gruppi, si selezionano le improvvisazioni meglio
riuscite e più significative e si riprovano più
volte, fissando un canovaccio che verrà più o
meno rispettato nel momento dell’esibizione
finale davanti al pubblico.
Examples
The way in which Italian, French, German…
people behave at a bus stop, in a stadium, sitting
at the table…
After a brief confrontation among the
participants, the students will get into small
groups of 5 or 6 persons.
Each group imagines and acts out an impromptu
performance focused on physical actions, body
language and mime. The additional complement
of the verbal language, equal to “gramelot” which
is made up of nonexistent words although it is
inspired by the sound of the national languages
which are mentioned in the performance.
After the impromptu performances of the groups,
the best acted ones will be chosen. These ones
will be performed again in front of everyone
following a specific plot.
44
45
46
Giuliana Crocetti
Au cours de la rencontre des participants du
projet en Belgique en Octobre 2009, j’ai décidé
de proposer aux élèves faisant partie du projet
Comenius une étude du scénario «Au revoir les
enfants» écrit par Louis Malle dont l’étude serait
suivie de la vision du film.
During the Comenius meeting in October
2009 in Belgium, I decided to suggest a study
of the scenario “Au revoir les Enfants”(Goodbye
Children), written by Louis Malle to the students
taking part in the project. They would then
watch the film.
Les objectifs principaux sont les suivants:
1. Initier les élèves à l’étude du texte littéraire
et les sensibiliser aux codes spécifiques du
cinéma.
2. Savoir lire un scénario.
3. Repérer la fonction dramatique des scènes.
4. Analyser les répliques du point de vue du
discours.
5. Amener une réflexion à partir d’une scène clé
du film.
Main objectives:
1. Introducing the students to the study of the
literary text and making them aware of the
specific codes of the cinema.
2. Being able to read a scenario.
3. Spotting the dramatic function of the scenes.
4. Analysing the lines at the level of the
discourse.
5. Leading to a reflection based on a key scene
of the film.
Le travail comprend les phases suivantes:
1. Compréhension globale du scénario.
2. Compréhension détaillée de toutes les scènes
en analysant leur contexte et production
écrite d’après un questionnaire proposé aux
élèves à la fin de chaque scène.
3. Analyse du film dans sa globalité et analyse en
particulier de la scène clé.
Different stages of the work:
1. Global comprehension of the scenario.
2. Detailed comprehension of all the scenes
by analysing their contexts and written
productions with a questionnaire given to the
students at the end of each scene.
3. General analysis of the film and specific
analysis of the key scene.
Analyse d’une séquence filmique
Analysis of a film sequence
47
4. Interrogation écrite en classe pour vérifier le
niveau de compréhension du travail proposé.
4. Written test in the classroom to check the
level of comprehension of the work.
Remarques:
- Si le scénario écrit existe pour le public
(ex. Au revoir les enfants de Louis Malle), la
compréhension globale passe par le repérage
des caractéristiques de la communication (la
division en scènes, les mots en italique, le sujet
de la pièce, les personnages secondaires, leurs
caractéristiques et les rapports entre eux, les
actions) et par l’analyse des didascalies (les
mouvements et les attitudes des personnages,
le décor, les lieux et les sauts temporels, en
bref tous les éléments de la communication).
Dans toutes les scènes, la lecture analytique
permet aux élèves de dégager les éléments qui
soulignent l’importance du lieu de l’heure et de
l’époque, la fonction dramatique des scènes,
d’observer le langage utilisé par le metteur en
scène.
Les élèves observent comment tous les éléments
des didascalies et des dialogues sont rendus sur
scène.
- Si un scénario écrit n’existe pas, les
élèves analysent le film, l’histoire et les
caractéristiques propres à la forme artistique
cinématographique.
Nota Bene
- If the written scenario exists for the public
(ex: “Au Revoir les Enfants”, by Louis Malle),
the global comprehension goes through the
spotting of the features of communication
(scenes division, words in italics, subject of
the play, secondary characters, their features
and the relationships between them, the
actions) and by the analysis of the stage
directions (“didascalies”) (movements and
attitudes of the characters, the set, the
places and the temporal leaps, in short, all
the communication elements).
In all the scenes, the analytic reading enables
the students to highlight the elements that
underline the importance of the place, time,
period, dramatic function of the scenes, and the
importance of observing the language used by
the director.
The students observe how all the elements of the
stage directions (“didascalies”) and dialogues
are conveyed on stage.
- If a scenario doesn’t exist, the students
analyse the film, the plot and the features
peculiar to the film artistic form.
Cette leçon dure plus ou moins 15 séances et est
l’occasion de nombreuses lectures. Elle implique
de nombreuses analyses de textes, de résumés,
la réalisation d’exposés oraux, d’exercices écrits
plus ou moins complexes jusqu’à la composition
écrite finale.
This lesson extends over about 15 sessions and
offers a lot of readings. Several text analyses,
summaries,
oral
presentations,
written
exercises, more or less complicated are needed
to reach the final written essay.
The written activities can be organised on
the basis of a written questionnaire at the end
of each chapter. This type of work enables the
Les activités écrites peuvent être dirigées
par un questionnaire écrit à la fin de chaque
48
chapitre. Ce type de travail permet de
développer, outre la compétence linguistique
et communicative, la créativité, mais aussi la
perception visuelle et auditive.
students to develop their creativity, visual and
aural perceptions, next to the linguistic and
communicative skills.
For an activity organised in a class of the
School of Peace:
We suggest studying a key-scene during a twohour session, according to a pattern of this
type:
1. The spatiotemporal framework (place, period,
historical context)
2. The characters: the oppressors (opponents)
and the victims.
3. The damages or the injustices.
4. The reasons of the injustices (why? Ex: racist
ideas, prejudices, xenophobia = the fear of
the other, incomprehension, …)
5. Possible reactions of the victims and
oppressors.
6. Conclusions on the form of a short written
work (3 lines maximum).
7. Discussion about the message related to the
chosen theme.
Pour une activité prévue dans un cours de
l’Ecole de la Paix:
On propose pendant une séance de deux heures
d’exploiter une scène clé selon un schéma de
ce type:
1. Cadre spatio-temporel (lieu, époque, contexte
historique)
2. Les personnages: Les oppresseurs (opposants)
et les victimes.
3. Les préjudices ou les injustices.
4. Causes des injustices (Pourquoi? Ex.:
idées racistes, préjugés, peur de l’autre =
xénophobie, incompréhension, …)
5. Réactions éventuelles des victimes et des
oppresseurs.
6. Avis argumenté des élèves (conclusions) avec
demande de brève production écrite de 3
lignes maximum.
7. Discussion sur le message en rapport avec le
thème traité.
We can also suggest other films (and
readings) such as:
On peut proposer d’autres films (et lectures)
tels que:
Effroyables Jardins (In Our Strange Gardens):
novel by Michel Quint published in 2000 and
French film produced by Jean Becker released
in 2003.
Effroyables Jardins: roman de Michel Quint,
publié en 2000 et film français réalisé par Jean
Becker et sorti sur les écrans en 2003.
Les Femmes de l’ombre: film français de
Jean-Paul Salomé réalisé en 2008.
Les Femmes de l’Ombre (Female Agents):
French film produced in 2008 by Jean-Paul
Salomé.
La Liste de Schindler: drame historique
américain réalisé par Steven Spielberg, sorti le
La Liste de Schindler (The Schindler’s List):
American historical tragedy, produced by Steven
49
30 novembre 1993, et inspiré du roman éponyme
La Liste de Schindler de Thomas Keneally.
Spielberg, released on 30th November 1993,
based on the eponymous novel Schindler’s List,
by Thomas Keneally.
La vie est belle (La vita è bella): film italien de
Roberto Benigni sorti en 1997.
La Vita è Bella (Life is beautiful): Italian film,
produced by Roberto Benigni in 2008.
La Rafle: film dramatique-historique écrit et
réalisé par Roselyne Bosch, sorti le 10 mars 2010
en France, en Belgique, Luxembourg et Suisse.
Ce film est inspiré de la tragédie de la rafle du
Vél d’Hiv le 16 juillet 1942, date où la police
française a arrêté treize mille personnes fichées
comme juives, dont quatre mille cinquante et
un enfants à leur domicile, et notamment des
deux rares survivants Anna Traube et Joseph
Weissman, interprété par le jeune Hugo
Leverdez.
Le livre “Quand Anna riait” de Yaël Hassan peut
venir compléter la vision de ce film.
La Rafle (The Roundup): historical and dramatic
film, produced by Roselyne Bosch, released on
10th March 2010 in France, Belgium Luxemburg
and Switzerland. This film is based on the
tragedy of the Vel d’Hiv Roundup on 16th June
1942, date on which the French police arrested
13,000 persons who were filed as Jew. 4,051 of
them were children
the French police arrested 13,000 people from the
Jewish population (among them 4,051 children
and send them to Auschwitz for extermination.
Two rare survivors are Anna Traube and Joseph
Weissman, performed by the young Hugo
Leverdez.
The book “Quand Anna riait”, by Yaël Hassan
can complete the film point of view.
Elle s’appelait Sarah: roman de Tatiana de
Rosnay (titre original, Sarah’s key), sorti en
2006 et l’adaptation du roman au cinéma, par
le réalisateur Gilles Paquet-Brenner, sorti en
2010.
Elle S’appelait Sarah (Sarah’s Key): novel
by Tatiana de Rosnay, published in 2006. Its
adaptation was produced by Gilles PaquetBrenner in 2010.
50
Sergio Spurio
Lezione di Diritto
Law lesson
• Distribuzione del sunto in inglese dei 6 capitoli
della Carta dei Diritti Fondamentali dell’uomo
dell’Unione Europea a tutti gli studenti e sua
lettura.
• Distribution of the summary in English of the
6 chapters of the Charter of the Fundamental
Rights of the European Union to all the
students. Reading of it.
• Gli studenti formano 6 gruppi multilingue e
ognuno di essi lavora su uno di questi 6 principi:
Dignità, Libertà, Uguaglianza, Solidarietà,
Cittadinanza e Giustizia.
• The students form 6 multilingual groups
and each of them works on one of these
6 principals: Dignity, Freedom, Equality,
Solidarity, Citizenship and Justice.
• In ogni gruppo gli studenti ricercano ed
esprimono nella propria lingua parole che
appartengono al campo semantico relativo al
principio su cui stanno lavorando.
• In each group, the students look for and
express in their own language words that
belong to the semantic field related to the
principle they are working on.
• Essi creano poster su cui si vedranno le
loro idee espresse nei differenti linguaggi e
illustrate con disegni, dipinti o fotografie.
• They create posters on which we will see their
ideas expressed in their different languages
and illustrated with drawings, pictures or
photographs.
• Questi poster saranno esposti nei luoghi
dedicati al progetto Comenius.
• These posters will be then exhibited in the
places dedicated to the Comenius project.
51
Dignity
Human dignity; right to life; right to integrity
of person; prohibition of torture and inhumane
degrading treatment or punishment; prohibition
of slavery and forced labour.
Dignità
Dignità umana; diritto alla vita; diritto
all’integrità della persona; proibizione della
tortura e delle pene o trattamenti inumani o
degradanti; proibizione della schiavitù e del
lavoro forzato.
Freedom
Right to freedom and security; respect of privacy
and family life; protection of personal data;
right to marry and create a family; freedom of
thought; conscience and religion; freedom of
speech and information; freedom of assembly
and association; freedom of arts and sciences;
right to education; professional freedom and
right to work; freedom of enterprise; property
rights; right of asylum protection in case of
removal, expulsion or extradition.
Libertà
Diritto alla libertà e alla sicurezza; rispetto
della vita privata e della vita familiare;
protezione dei dati di carattere personale;
diritto di sposarsi e di costruirsi una famiglia;
libertà di pensiero, di coscienza e di religione;
libertà di espressione e d’informazione; libertà
di riunione e d’associazione; libertà delle arti
e delle scienze; diritto all’istruzione; libertà
professionale e diritto di lavorare; libertà
d’impresa; diritto di proprietà; diritto di
asilo; protezione in caso di allontanamento, di
espulsione e di estradizione.
Equality
Equality in front of the law, non-discrimination;
right to diversity of culture, religion and
language; equality between men and women;
child rights; rights for the elderly; integration of
people with disabilities.
Uguaglianza
Uguaglianza
davanti
alla
legge;
non
discriminazione; diritto alla diversità culturale,
religiosa e linguistica; parità tra uomini e
donne; diritti del minore; diritti degli anziani;
inserimento delle persone con disabilità.
Solidarity
Workers’ right to information and consultation;
right to collective negotiation and action; right
of access to placement services; protection
in the event of unjustified dismissal, fair and
equitable working conditions; prohibition of
child work and the protection of young people
at work, family life and professional life.
Solidarietà
Diritto dei lavoratori all’informazione e alla
consultazione nell’ambito dell’impresa; diritto
di negoziazione e di azioni collettive; diritto
di accesso ai servizi di collocamento; tutela in
caso di licenziamento ingiustificato; condizioni
di lavoro giuste ed eque; divieto del lavoro
minorile e protezione dei giovani sul luogo di
lavoro; vita familiare e vita professionale.
Citizenship
Right to vote and stand in elections for
the European Parliament; right to vote and
stand for municipal elections; right to good
52
Cittadinanza
Diritto di voto e di eleggibilità alle elezioni
del Parlamento europeo; diritto di voto e di
eleggibilità alle elezioni comunali; diritto a
una buona amministrazione; diritto d’accesso
ai documenti; mediatore europeo; diritto di
petizione; libertà di circolazione e di soggiorno;
tutela diplomatica e consolare.
administration; right of access to documents,
European mediators; right to petition; freedom
of movement and residence; Diplomatic and
Consular protection.
Justice
Right to an effective appeal in an impartial court
of justice; the presumption of innocence and the
right of defence; the principles of legality and
proportionality of the offences and penalties;
right not to be penally tried or punished twice
for the same offence.
Giustizia
Diritto a un ricorso effettivo e a un tribunale
imparziale; presunzione d’innocenza e diritti
della difesa; principi della legalità e della
proporzionalità delle offese e delle pene; diritto
di non essere giudicato o punito dal punto di vista
penale due volte per una stessa infrazione.
53
Documentazione
Documentation
I tre processi di sviluppo dei diritti dell’uomo
• POSITIVIZZAZIONE (1800):
Si incorporano i diritti nel diritto positivo.
• GENERALIZZAZIONE (fine ‘800 e inizio ‘900):
Si espandono i diritti grazie al suffragio
universale.
• INTERNAZIONALIZZAZIONE (fine II Guerra
Mondiale):
Si riconoscono i diritti a livello sovranazionale
con la Dichiarazione Universale dei diritti
dell’Uomo.
The three processes in the development in
Human Rights
• POSITIVISM (1800):
Rights are incorporated into positive rights.
• GENERALISATION (end of 1800’s and beginning
of 1900’s):
Greater rights through Universal Suffrage.
• INTERNAZIONALISATION (end of 2° World
War):
The Universal Declaration of Human Rights
recognizes rights at an international level.
Le quattro generazioni dei diritti
• Diritti di prima generazione:
Civili e politici (alla vita, all’uguaglianza, alla
libertà, al voto a suffragio universale, uguale
e segreto)
• Diritti di seconda generazione:
Sociali (al lavoro, alla sicurezza, all’istruzione,
ad un tenore di vita sufficiente)
• Diritti di terza generazione:
Allo sviluppo, alla pace, all’ambiente
• Diritti di ultima generazione:
Bioetica, privacy, altri in via di definizione
Four generations of Rights
• First generation Rights:
Civil and political (to life, equality, freedom,
vote and universal suffrage, secret and
equal)
• Second generation Rights:
Social (at the workplace, security, education,
a good standard of life)
• Third generation Rights:
Development, peace, environment
• Latest generation Rights:
Bioethics, privacy, others that are still being
defined
Breve storia dei diritti umani
Brief history of Human Rights
Magna Charta Libertatum
Viene emanata da Giovanni senza Terra in
Inghilterra nel 1215.
Considerata
documento
fondamentale
nella”storia” dei diritti soggettivi pubblici, è
un documento che riconosce a “tutti gli uomini
Magna Charta Libertatum
Promulgated by John Lackland in England in
1215.
It is considered the most important document
in the ‘history’ of public rights. It is the first
54
liberi” una serie di garanzie giuridiche.
document to guarantee judicial rights to ‘all
free men’.
Bill of Right
Venne promulgato, sempre in Inghilterra, nel
1689 ed è un documento che:
• vincola il potere del monarca, attribuendo un
significativo rilievo al ruolo del Parlamento
• difende la libertà di parola e nega al sovrano
la disponibilità di una propria forza armata
Bill of Right
Promulgated in England in 1689. It is a document
that:
• Limits the Monarch’s powers, while giving a
more important role to Parliament
• Defends the right to freedom of speech and
denies the Sovereign the right to having his/
her own armed forces
Stato assoluto
Si afferma nel XVI secolo; progressiva
parificazione dei sudditi nei confronti del
sovrano.
Absolute State
It was ratified in the XVIth century through a
progressive parity between the Sovereign and
his/her subjects.
Giusnaturalismo
Nasce nel XVII sec. e afferma la teoria dei diritti
naturali:
• alla vita
• alla sicurezza
• alla proprietà
Natural Justice
It was founded in the XVIIth C. and affìirmed the
theory of natural rights:
• to life
• to security
• to property
Il diritto naturale
Quell’antica e insostituibile aspirazione dello
spirito umano a una giustizia eterna e immutabile
che l’autorità umana esprime o dovrebbe
esprimere, ma non crea.
(Passerin D’Entrèves – filosofo)
Natural Law
“Quell’antica ed insostituibile aspirazione dello
spirito umano che lo spinge verso la nozione di
una giustizia eterna ed immutabile che l’autorità
umana esprime o dovrebbe esprimere, ma non
crea”.
(Passerin D’Entrèves – philosopher)
Lo Stato di diritto
Nasce alla fine del XVIII sec. a seguito della
Rivoluzione americana (1783) e della Rivoluzione
francese (1789).
Prevede una Costituzione che contiene:
• il principio di separazione dei poteri a tre
organi distinti: il Parlamento, il Governo e la
Magistratura
• il principio di legalità
‘That antique aspiration of the human spirit,
that cannot be substituted, which leads to the
notion of an eternal, unchangeable justice that
human authority expresses or should express,
but does not create’.
55
The State of Rights
It was founded at the end of the 18th century
following the American Revolution (1783) and
the French Revolution (1789).
It contemplates a Constitution that contains:
• principles of separation of power into three
distinct organs: Parliament, Government and Magistrates
• the principles of legality
• recognition of a sphere of subjective public
rights that originate from natural law
• il riconoscimento di una sfera di diritti
soggettivi pubblici che traggono origine dal
diritto naturale
La positivizzazione
Nel XIX secolo in Europa lo Stato di diritto assume
i connotati di Stato liberale.
Le Costituzioni contengono i “diritti di prima
generazione”:
• alla vita
• alla libertà personale
• alle libertà civili e politiche
Positivism
In Europe in the 19th century the State of rights
assumed the aspect of a liberal State.
The Constitutions contain the “first generation
Rights”:
• to life
• to personal liberty
• to civil and political liberty
Il diritto positivo
Dal latino ius positivum, che vuol dire diritto
imposto, creato dalle istituzioni incaricate della
produzione di norme e garantite dall’esistenza
di un apparato coercitivo.
Generalizzazione
Dichiarazione Universale dei Diritti dell’Uomo
È con la fine della seconda Guerra Mondiale che
cresce la necessità di un diritto sovranazionale
che garantisca i diritti inviolabili dell’uomo
contro ogni abuso posto in essere dai vari paesi
(ad es. gli orrori della guerra, lo sterminio del
popolo ebraico nei campi di concentramento) in
ragione di un diritto positivo.
Con l’adozione della Dichiarazione Universale
dei Diritti dell’Uomo da parte dell’ONU
(Organizzazione delle Nazioni Unite) nel 1948,
si riconosce la titolarità dei diritti soggettivi
pubblici, frutto dell’elaborazione del diritto
naturale, a tutti gli essere umani.
Nasce, all’interno del Diritto Internazionale, il
Diritto Internazionale Umanitario.
Art. 1 “Tutti gli esseri umani nascono liberi ed
eguali in dignità e diritti. Essi sono dotati di
Positive Rights
From the Latin ius positivum, which means
imposed rights, rights created by the institutions
whose task it is to produce rules and regulations
that are guaranteed by the existence of a
coactive system.
Generalization
Universal Declaration of Human Rights
At the end of the Second World War there was a
growing awareness of the need to internationally
guarantee the inviolable rights of man against
all types of abuse which were being carried out
in all the countries of the world (e.g. horrors of
war, genocide of the Hebrew population in the
concentration camps). The need was born from
the reasoning of positive rights.
56
ragione e di coscienza e devono agire gli uni
verso gli altri in spirito di fratellanza”.
The adoption of the Universal Declaration of
Human Rights by the UN (United Nations) in
1948, sanctioned public subjective rights, which
resulted from the elaboration of natural law and
was conferred to all human beings.
It was contemplated in International Law,
International Humanitarian Law.
Art. 1 “All human beings are born free and equal
in dignity and rights. They are able to reason
and have a conscience and must treat each
other as brothers.’.
Internazionalizzazione
Convenzione per la salvaguardia dei diritti
dell’uomo e delle libertà fondamentali
Il Consiglio d’Europa nel 1950 recepisce il
contenuto della Dichiarazione Universale dei
Diritti dell’Uomo, prevedendo uno specifico
organo di natura giurisdizionale: la Corte
Europea dei diritti dell’uomo.
Internazionalization
Convention for the safeguarding of the rights
and fundamental freedom of man
In 1950 the European Council adopted the
contents of the Universal Declaration of Human
Rights, creating a specific organ of a juridical
nature: The European Court of human rights.
Tribunale Penale Internazionale
Istituito con il Trattato di Roma nel 1998, per
giudicare e punire crimini contro l’umanità.
Corte Penale Internazionale all’Aja
Inaugurata nel 2003, dopo l’avvenuta ratifica
del trattato da parte di almeno 60 paesi.
International Penal Court
It was founded in 1998 with the Treaty of Rome
to judge and punish crimes against humanity.
Carta dei diritti fondamentali
Proclamata dall’Unione Europea con il trattato
di Nizza nel 2000-01, riunisce in un unico testo
i diritti civili, politici, economici e sociali dei
cittadini dell’Unione.
International Penal Court of Aja
It was inaugurated in 2003, after the ratification
of the treaty by at least 60 countries.
The Charter of fundamental rights
Promulgated by the European Union with the
Treaty of Nice in 2000-01. It unites in a single
text the civil, political, economic and social
rights of the citizens of the European Union.
57
Sarajevo, Bosnia Erzegovina - 1993
(foto di Claudio Speranza)
Somalia - 1997
Kukes, Albania - 1999
58
Adaptation par Ingrid Bertrand de la leçon proposée par Célina Ramsauer
(victoire de la francophonie)
Création d’un hymne pour
l’Ecole de la Paix
Creation of an anthem for
the School of Peace
Matériel
• enregistrement des différents hymnes
nationaux;
• vidéo du clip, enregistrement paroles et
musique, musique seule de la chanson
«Ensemble» à trouver sur le site:
www.ensemble-francophonie.org.
Objectifs
a)Objectifs relatifs au projet:
• Les élèves prendront conscience des
différences et des ressemblances de
chaque individu;
• Ils seront convaincus que l’harmonie et le
bonheur dépendent de la Paix;
• Ils seront conscients des qualités, des
notions, des valeurs qui sont nécessaires
pour vivre en paix;
• Ils seront amenés à développer et à faire
passer les messages porteurs de ces
valeurs.
b)Objectifs de langue:
• Les élèves intégreront quelques notions
relatives à la poésie;
• Ils apprendront à exprimer leurs sentiments
et émotions par écrit;
Equipment
• Recordings of the different national
anthems;
• video of the clip, recording of the lyrics +
music, music only of the song «Ensemble» to
be found on the site:
www.ensemble-francophonie.org.
Objectives
a)Objectives related to the project:
• The pupils will be aware of the differences
and similarities between each human
being;
• they will be convinced that both harmony
and happiness rely on Peace;
• they will be aware of the qualities,
notions, values that are necessary to live
in peace;
• they will have to develop and to pass on
messages that carry on these values.
b)Objectives of the language:
• The students will integrate notions related
to poetry;
• they will learn to express their feelings
and emotions in writing;
• they will express themselves in a correct
59
• Ils s’exprimeront dans un langage correct
tant au niveau de la grammaire et de
l’orthographe qu’au niveau des registres
de langue.
language (grammar and spelling, as well
as language range).
Development of the lesson
a)The students listen to 3 short extracts of the
different national anthems;
b)They give a definition of the word anthem;
Each of them gives examples from their own
language;
c) Example of what we can do:
• distribution of the text;
• watching the video + listening to the song
(or just listening to the song if we don’t
have the equipment to see the video);
d)Setting of the strategies:
• quick analysis of the song’s lyrics.
Déroulement de la leçon
a)Ecoute de 3 courts extraits des différents
hymnes nationaux;
b)Définition du mot hymne.
Chacun donne des exemples dans sa langue;
c) Exemple de ce que l’on peut faire:
• distribution du texte;
• visualisation de la vidéo + écoute de la chanson. (ou juste écoute de la chanson si l’on ne dispose pas du matériel nécessaire pour voir la vidéo);
d)Mise en place des stratégies:
• analyse rapide du texte de la chanson.
Ensemble (Together): Themes
Diversity, tolerance, peace, similarities and
differences, and all the resources and possibilities
resulting from them.
“Ensemble”: Thèmes
La diversité, la tolérance, la paix, les
ressemblances et les différences et les richesses
et possibilités qui en découlent.
Analysis of the song
a)What does the word «ensemble» («together»)
evoke? Which other words do you relate to
it? Which other words do you put in contrast
with it?
The students of the international classroom
write in their own language the answers that
they have found; the other students translate
these words in the other languages.
b)In your opinion, what are the qualities that
we have to develop to live in community, in
group, in harmony?
Idem as for question 1.
Solidarity,
respect,
equality,
humanism,
dialogue, honesty, fraternity? (These key-words
will be written on the board).
Analyse de la chanson
a)Qu’évoque, pour vous, le mot “ensemble”?
À quels autres mots l’associez-vous? À quels
mots l’opposez-vous?
Les élèves de la classe internationale vont noter
chacun à leur tour les réponses qu’ils trouvent
dans leur langue; d’autres traduisent chaque
mot noté dans les autres langues.
b)D’après vous, quelles sont les qualités
que nous devons développer pour vivre en
communauté, en groupe, en harmonie?
Idem question 1.
Solidarité, respect, égalité, humanisme,
60
c) Célina Ramsauer sings “Look, deep in our
eyes, there is only the need of being, not the
need of appearing”. How do you understand
these words? Explain with your own words and
give examples.
Oral sharing of the different ideas. Each group
or student expresses their point of view.
dialogue, honnêteté, fraternité. (Les mots-clés
seront inscrits au tableau).
c) Célina Ramsauer chante “Regarde, tout au
fond de nos yeux, seulement le besoin d’être,
non celui de paraître”. Comment comprenezvous ces paroles? Expliquez-les avec vos propres
mots en citant des exemples pour appuyer vos
propos.
Mise en commun à l’oral. Chaque groupe ou
apprenant exprime son point de vue.
Keys for the correction: what we really are is
more important than what we would like to be.
Our origin, our culture are an integral part of
our being and we should not feel ashamed of it.
We are all different and great things could arise
from this cultural diversity.
Piste de correction: ce que nous sommes vraiment
est plus important que ce que nous voudrions
être. Nos origines, notre culture font partie
intégrante de notre personne et nous ne devons
pas en avoir honte. Nous sommes tous différents
et de cette diversité culturelle peuvent naître
de grandes choses.
Our own anthem could start with...
Write the following beginnings of sentences on
the board:
“Envie de... (Desire to...)”
“Se sentir... (Feeling...)”
Notre hymne à nous pourrait commencer par...
Écrire les ébauches de phrases suivantes au
tableau:
“Envie de...”
“Se sentir...”
Constraints for our anthem:
1.one verse in each of the following languages
(concerning this project): French, Italian,
German;
2.each verse will contain the ideas found by the
pupils of each of these countries separately;
the different verses will come from the
different countries and won’t be a translation
from a language into another;
3.each verse will consist of 6 lines
(sentences);
4.the lines must rhyme (identical vocal
endings);
5.a chorus in French (common language);
6.finding a musician or a band to compose the
music or to use the one of the example;
7.making a video, not with pictures from the
Les contraintes pour notre hymne:
1.un couplet dans chacune des langues suivantes
(pour ce qui concerne notre projet): français,
italien, allemande;
2.chaque couplet reprendra les idées trouvées
par les élèves de chaque pays; en aucun cas,
il ne s’agira de traduction;
3.chaque couplet sera constitué de 6 vers
(phrases);
4.les phrases doivent rimer (terminaisons
vocales identiques);
5.un refrain en français (langue véhiculaire);
6.trouver un musicien ou un groupe de 61
musiciens pour écrire la musique ou utiliser
celle de l’exemple;
7.Suite possible: monter un clip, non pas avec
des photos prises sur Internet mais avec nos
propres photos;
8.a la dernière réunion de projet, une petite
chorale sera mise sur pied pour interpréter le
nouvel hymne.
Si la musique utilisée est celle de la chanson
“Ensemble”, il faut compter les pieds de chaque
vers pour que le nouvel hymne composé s’adapte
parfaitement.
Pour chaque langue, le professeur de langue
maternelle introduira quelques notions de
versification.
Internet, but using our own pictures;
8.a small choir will be formed for the last
project meeting to sing the new anthem.
If the song “Ensemble” is used, it is necessary
to count the feet of each line so that the new
anthem fits the music perfectly.
For each language, the mother tongue teacher
will introduce some notion of versification.
Evaluations
The written work
Evaluations
Le travail écrit
Critères de correction
Langue:
Correction orthographique
Correction grammaticale
Respect des règles de versification
Poésie:
Thèmes respectés
(paix, tolérance, liberté ...)
Originalité des idées
Total
0 – 1 – 2 – 3*
0 – 1 – 2 – 3*
0 – 1 – 2 – 3*
Correction criteria
Language:
Spelling
Grammar
Respect of the versification rules
0 – 1 – 2 – 3*
0 – 1 – 2 – 3*
0 – 1 – 2 – 3*
Poetry:
Respected themes
(peace, tolerance, freedom...)
Originality of the ideas
0 – 1 – 2 – 3
0–1–2–3
Total
*3 = without any mistakes
2 = from 1 to 2 mistakes
1 = from 3 to 4 mistakes
0 = more than 4 mistakes
0–1–2–3
0–1–2–3
/15
*3 = sans faute
2 = de 1 à 2 fautes
1 = de 3 à 4 fautes
0 = plus de 4 fautes
62
/15
63
Hymne pour la Paix
Regarde,
Quand on se tient la main,
On se sent tellement bien,
On partage le même refrain
Ensemble,
On ne forme plus qu’un,
Avec tous les humains,
Suivons le même chemin.
Refrain (Chorus)
Noirs, jaunes ou blancs
Petits, moyens ou grands
On a les mêmes peurs,
On court après le bonheur
Mais comment faire ?
Dans ce monde de misère
Pour bannir la guerre
Acceptons la différence,
Ensemble.
Se ti fermi,
un istante ti accorgerai
che la lingua è diversa sai,
ma su questa terra stai.
E come,
i colori di un arcobaleno,
che creano la magia,
l’amore creerà armonia.
Refrain (Chorus)
Ensemble.
Ganz anders oder sind wir gleich?
Das Leben ist nicht leicht
Aber wir sind frei
Freiheit – Freiheit macht alle gleich
Fasst euch an den Händen
Alles kann sich wenden.
Envie de vivre
Envie d’être libre
Se sentir léger
Se sentir accepté
Envie de vivre
Toutes nos différences
De corps et de sens
Véritables résonances
Envie de vivre
Envie d’être libre
Se sentir léger
Se sentir accepté
Ensemble
Ensemble
Ensemble
Ensemble
Ensemble
Ensemble
64
Organisation d´un buffet international
propre aux participants
An international buffet
Chaque pays délèguera quelques
étudiants qui viendront présenter
les spécialités de leur pays ou de
leur région. Au cours du buffet, les
élèves chanteront l’hymne de la
paix qu’ils auront créé ensemble.
Schüler aus jedem Land stellen
Spezialitäten ihres Landes oder
ihrer Region vor. Während des
Buffets singen alle gemeinsam
die Hymne, die vorher gemeinsam
geschrieben wurde.
Gli studenti di ogni nazione
presentano i piatti tipici del
loro paese. Durante il buffet
internazionale i ragazzi cantano
l’inno della pace, da loro
precedentemente creato.
Each country asks some students
to present their typical local food.
During the buffet, the students sing
the anthem of peace which was
previously written by them all.
65
Un travail de groupe ce n’est pas juste demander à des élèves d’effectuer une tâche. Les
élèves doivent sentir que le produit fini sera le fruit de l’effort et de la responsabilité
de tous les membres du groupe. Ils doivent interagir avec les membres de l’équipe
mais pas individuellement ni de façon compétitive.
Les principes de cette collaboration sont la responsabilité, les aptitudes personnelles,
la communication et l’estime de soi.
GRILLE D’OBSERVATION ET D’EVALUATION
Activité vue: (veuillez indiquer en quelques mots l’activité que vous avez vue et que vous souhaitez
évaluer)
Les élèves
Compétences
sociologiques
faible assez bon bon très bon excellent
Ecoutent les autres
Regardent les autres
Aiment parler avec les autres
Commentaires:
Les élèves
Comprennent le sujet de la discussion
Compétences
conceptuelles
Donnent une définition du sujet
Expriment leur point de vue
Posent des questions pour approfondir la
connaissance du sujet
Commentaires:
Les élèves
Font des efforts pour parler et se faire comprendre
Ne craignent pas de donner leur avis
Compétences
communicationnelles Argumentent dans le but d’étayer leur avis
Rencontrent des situations conflictuelles
Résolvent ces situations par le dialogue
Commentaires:
66
Les élèves
Donnent un exemple concernant le sujet
Apportent une preuve de ce qu’ils avancent
Compétences
logiques
Ne croient pas immédiatement aux arguments
apportés par les autres
Donnent un contre exemple
Ne changent pas d’avis
Changent d’avis
Commentaires:
Les élèves
Compétences
épistémologiques
Utilisent différentes méthodes pour comprendre ce
qui leur posent problème (au niveau des langues
utilisées)
Commentaires:
Les élèves
Compétences
éthiques
Donnent un jugement de valeur
Commentaires:
67
Collaborative teamwork is more than just asking students to form groups to carry out a
task. Students must feel that the final product is the fruit of all the member’s efforts
and responsibility. They must interact with the other members of the team but not
individually nor competitively.
The principles of this collaboration are responsibility, interpersonal abilities,
communication and self-assessment.
OBSERVATION AND EVALUATION GRID
Activity: (please write some words about the activity that you have seen and that you want to
evaluate)
The students
poor
fair
good
very good
excellent
poor
fair
good
very good
excellent
poor
fair
good
very good
excellent
Listen to each other
Sociological skills
Look at each other
Like talking to each other
Comment:
The students
Understand the subject of the discussion
Conceptual skills
Give a definition of the subject
Explain their point of view
Ask questions to learn more about the subject
Comment:
The students
Make the effort of speaking and make themselves
understood
Communication skills
Are not afraid to offer opinions in the discussion
Offer arguments that support their opinions
Meet controversial situations
Solve these situations using the dialogue
Comment:
68
The students
poor
fair
good
very good
excellent
poor
fair
good
very good
excellent
poor
fair
good
very good
excellent
Give an example about the subject
Give a piece of evidence about the given example
Logical skills
Don’t believe immediately the other’s arguments
Give a counterexample
Don’t change their mind
Change their mind
Comment:
The students
Epistemic skills
Use different ways to identify what they don’t
understand
Comment:
The students
Ethical skills
Give a value judgment
Comment:
Chantal David
69
70
Merci
Monsieur le Préfet Pascal Philippe
Les professeurs, Ingrid Bertrand, Chantal David, Vanessa Di Bari, Jacqueline Vannès
Tous les élèves qui ont participé aux activités de l’Ecole de la Paix
avec une mention spéciale pour Elodie Prudhomme
Hubert Guerry pour son aide précieuse
Ringraziamenti
Il Dirigente Scolastico del Liceo Classico Stabili Trebbiani Prof.ssa Marisa Salvatori
Università della Pace
Gabriele Schwarzinger
Roberta Verrocchio
Giuliana Crocetti
Anna Maria Virgulti
Alicia Rivero Montesinos
Cristina Calvo Arellano
Sergio Spurio
Claudio Speranza
Teresa Piermarini per la preziosa collaborazione
Vielen Dank!
An den Schulleiter Karl-Uwe Roggow
An die Lehrer Grit Stahl, Kathrin Wachsmann, Christiane Heinrich, Norbert Kühn,
Anne Richter, Beate Krüger
An alle Schüler, die im Projekt mitgearbeitet haben
English translation by:
Chantal David, Vanessa Di Bari, Roberta Verrocchio, Anna Maria Virgulti
71
Progettazione grafica: ALFAgrafica (Alessandra Colombini, Fabio Speranza)
www.alfagrafica.eu - [email protected]
Stampa: Tipografia Fast Edit, via Acquaviva Picena (AP)
www.fastedit.it - [email protected]
72

Ecole de la Paix Scuola di Pace Schule des Friedens School of Peace

Transcription

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