Unit 6 (De)suggestopedia 暗示教學法 (1970-) By Georgi Lozanov

1. Unit 6 (De)suggestopedia 暗示教學法 (1970-) By Georgi Lozanov

2. Me us You You Him they Her it I am You are He/she/it is They are Classroom set-up Peripheral Learning (p.78 and p.84)

3. Materials (including props) Hat Bag Rhyme instrument Classical painting Mask Lengthy handout

4. Origin • Originator: in the 1970s by Georgi Lozanov, a Bulgarian psychiatrist-educator (保加利亞的精神科醫師兼教育家) • An affective-humanistic approach (respect for learners’ feelings): derived from Suggestology • Suggestology: science concerned with the systematic study of the non-rational and non-conscious influences that human beings are constantly responding to; involving loading the memory banks with desired and facilitating memories 它的理論基礎源自於精神科醫學中〝非理智、非意識狀態對人之影響〞的研究報告，以及瑜珈中意識狀態、專注力和韻律式呼吸的技巧。

5. Origin • Desuggestion: involving unloading the memory banks or reserves of unwanted or blocking memories; in this method the suggestive atmosphere takes place with soft lights, baroque music, cheerful room decorations, comfortable seating and dramatic techniques used by the teacher in the presentation of material • Suggestion:其實是將學生有興趣、能增進記憶力的內容〝灌輸〞給學生 ；desuggestion則是把阻礙學習的因素像是「擔憂」給排除在外，不被暗示出來。

6. Fine arts

7. Principles (1) Most learning takes place in a relaxed but focused state so attentiveness can be manipulated to optimize learning and recall. (2) The emphasis on memorization of vocabulary pairs—a target language item and its native language translation—suggests a view of language in which lexis is central and in which lexical translation rather than contextualization is stressed

8. (3) Six principal components through which desuggestion and suggestion operate • Authority: people remember best and are most influenced by information coming from an authoritative source 權威（authority）---Lozanov認為，聽起來極富科學感的語言、深具語言能力和自信心的老師可增進學生上課時記憶力的專注 • Infantilization: a teacher-students relation is like that of parent to child; learners take part in role playing, games, songs and gymnastic exercises that help the older students regain the self-confidence, spontaneity and receptivity of the child. 幼兒化（infantization）---教師的權威感讓學生感覺回溯到幼兒時期專心、自發自動學習又有自信的時期

9. Double-plannedness (involving both hemispheres of the brain (analysis + synthesis) & using both the conscious and unconscious mind): the learner learns not only from the effect of direct instruction but from the environment in which the instruction takes place 雙重影響（double-plannedness）--- 教師的人格特質、教導方式，乃至於教室內硬體之擺設、音樂的使用等都會影響學生的學習效果；

10. Intonation, rhythm and concert pseudo-passiveness: Varying the tone and rhythm of presented material helps both to avoid boredom through monotony of repetition and to dramatize, emotionalize, and give meaning to linguistic material. Both intonation and rhythm are coordinated with a musical background. The musical background helps to induce a relaxed attitude, concert pseudo-passiveness in which anxieties and tension are relieved and power of concentration for new material is raised. 上課時應該變換語調、說話節奏，以避免枯燥，並使課程內容更富戲劇效果。其中，語調和節奏應該要搭配四分 之四拍慢版的巴洛克音樂，以消除課堂上的緊張壓力，達到增進記憶力的效果。此外，上課內容的呈現方式也要按照音樂中的拍子來進行，因為Lozanov認 為，音樂的節奏會影響心跳，而當心跳速率較慢時，心智意識運作的效率可以提升。

11. (4)Teaching goal 在短期內培養學生進階級的字彙和會話能力

12. Characteristics (1) The students with a new identity and personal information (2) The decoration, furniture, and arrangement of the classroom, the use of music, and the authoritative behavior of the teacher to create an optimal learning environment (3) Teachers trained to read dialogues in a special way of using voice quality, intonation, and timing to deliver advanced conversational proficiency quickly and have students understand and create solutions of problems

13. (4) The centrality of music and musical rhythm to learning - Three functions of music in therapy by Gaston in 1968 (i) to facilitate the establishment and maintenance of personal relations (ii) to bring out increased self-esteem through increased self-satisfaction in musical performance (iii) to use the unique potential of rhythm to energize and bring order (Lozanov calls upon in his use of music to relax learners as well as to structure, pace and punctuate the presentation of linguistic material)

14. (B) The type of music: • First concert (active concert): Music is played; then the teacher begins a slow, dramatic reading, synchronized in intonation with the music after a few minutes when students are reading the dialogue. (the early Romantic period) • Second concert (passive concert): Students put their scripts aside; the teacher reads the dialogue at a normal rate of speed e.g. pre-Classical or Baroque

15. Syllabus (1) a course lasts 30 days and consists of ten units of study; classes are held four hours a day, six days a week (2) each unit is a dialogue about 1200 words with a vocabulary lest and grammatical commentary (3) activities: imitation, question and answer and role play, listening activities in pre-session phase (on the first day of a new unit with three readings where the students first look at and discuss a new text with the teacher, then they lean back in their chairs listening to the teacher read the text in a certain way and finally the material is acted out by the instructor in a dramatic manner over a background of the special musical)

16. 依照字彙、文法程度來設計，每個單元約為一篇有1000字的對話，用三天的時間上完（第一天上半天、第二天上整天、第三天再上半天）。第一天由教師來說明 對話內容，學生則專心聆聽，並參考對話的翻譯對照表。第二天請學生唸課文、提出問題，第三天教師必須鼓勵學生將內容統整後自創新的對話內容。

17. Influence (1) fine arts to relax learners (2) emphasis of keeping students’ privacy and dealing with their feelings (3) contexualized dialogues that are culturally based for developing functional proficiency through role- plays and other interactive activities (4) an interest in the development of accuracy, as explanations are provided for grammatical structures learned

18. Drawbacks • questionable results from Suggestopedia of Lozanov’s experiment data (2) lack of practicality (3) the input material is almost pedagogically prepared: lack of authenticity