As Specific Only as the Resource
by Özgehan Uştuk
This process is based upon the hypothesis that the past experiences or “situations” are specific and may result in many learning difficulties including foreign language anxiety. Yet they are as specific only as the resources one may decide to include in or exclude from the situation. Foreign language anxiety is an anxious state of mind that mind generally caused by the unique nature of the language learning process which includes various challenges for learners (McIntyre & Gardner, 1994). These challenges has negative influences on the foreign language learning process (Aydin, 2008). It is mainly considered as a situation-specific anxiety rather than state anxiety (Spielberger, 2010) or trait anxiety (Scovel, 1978). Situation-specific anxiety is related to specific situations and events (Horwitz et al., 1986). By the following NLP process integrating reframing based strategies with anchoring, by asking specific questions (Ready & Burton, 2010, pp. 277) the coach intends to facilitate the client to discover and reconsider the core behind the anxious feeling while speaking in a foreign language.
0. Build rapport – matching, mirroring, pacing, leading respectively.
1. Identify a past experience in which the client suffered from anxiety while speaking in a foreign language. Specify the surrounding. Look for VAKOG patterns. The factor is discovered and contextualized.
2. The possible factors might be
a. Fear of negative evaluation
b. Test anxiety
c. Communication apprehension
d. Teacher
e. Classroom setting etc.
3. Ask the client to accept this factor as the symptom and ask him/her to go back to the experience. Tell the client how would it be different if the factor disappeared in the specific situation. Find and contextualize the feeling. And go back to the core by following the steps given below
Question 0: “What is it that you want? What do you want to work on?”
a. “If you get this feeling in the specific situation, what would be more important to achieve?”
b. “Once you have this achievement with you, what resource of yours would you like to have in the situation?”
c. “It is OK to see this reaction as a part of yours that wants to secure you in a bad situation, isn't it?”
d. “How can you symbolize this achievement that you now have in the situation?”
4. Once the symbol is ready, the client anchors it with the help of the coach.
5. Ask the client to go back to the situation with the anxiety. Let the client have the original feelings for a moment (if s/he still needs…). The coach asks where in the body is the anxiety the most intense. What kind of unbalance is created. Then the anchored symbol is initiated by the client and he or she is asked to welcome and accept the symbol in the situation. With the elevator metaphor, the symbol is used to set the balance again. The experience is reframed.
6. Once the effect of the anchor is amplified, the client is asked to find another situation in the future with a similar the feeling. The client is asked if it would be ok for him or her to have the same symbol placed in the body at the right place. Eco-check is assured.
REFERENCES
Aydin, S. (2008). An Investigation on the Language Anxiety and Fear of Negative Evaluation among Turkish EFL Learners. Online Submission.
Burton, K., & Ready, R. (2010). Neuro-linguistic programming for dummies. John Wiley & Sons.
Horwitz, E. K., Horwitz, M. B., & Cope, J. (1986). Foreign language classroom anxiety. The modern language journal, 70(2), 125-132.
MacIntyre, P. D., & Gardner, R. C. (1994). The subtle effects of language anxiety on cognitive processing in the second language. Language learning, 44(2), 283-305.
Scovel, T. (1978). The effect of affect on foreign language learning: A review of the anxiety research. Language learning, 28(1), 129-142.
Spielberger, C. D. (2010). State‐Trait anxiety inventory. John Wiley & Sons, Inc..
0. Build rapport – matching, mirroring, pacing, leading respectively.
1. Identify a past experience in which the client suffered from anxiety while speaking in a foreign language. Specify the surrounding. Look for VAKOG patterns. The factor is discovered and contextualized.
2. The possible factors might be
a. Fear of negative evaluation
b. Test anxiety
c. Communication apprehension
d. Teacher
e. Classroom setting etc.
3. Ask the client to accept this factor as the symptom and ask him/her to go back to the experience. Tell the client how would it be different if the factor disappeared in the specific situation. Find and contextualize the feeling. And go back to the core by following the steps given below
Question 0: “What is it that you want? What do you want to work on?”
a. “If you get this feeling in the specific situation, what would be more important to achieve?”
b. “Once you have this achievement with you, what resource of yours would you like to have in the situation?”
c. “It is OK to see this reaction as a part of yours that wants to secure you in a bad situation, isn't it?”
d. “How can you symbolize this achievement that you now have in the situation?”
4. Once the symbol is ready, the client anchors it with the help of the coach.
5. Ask the client to go back to the situation with the anxiety. Let the client have the original feelings for a moment (if s/he still needs…). The coach asks where in the body is the anxiety the most intense. What kind of unbalance is created. Then the anchored symbol is initiated by the client and he or she is asked to welcome and accept the symbol in the situation. With the elevator metaphor, the symbol is used to set the balance again. The experience is reframed.
6. Once the effect of the anchor is amplified, the client is asked to find another situation in the future with a similar the feeling. The client is asked if it would be ok for him or her to have the same symbol placed in the body at the right place. Eco-check is assured.
REFERENCES
Aydin, S. (2008). An Investigation on the Language Anxiety and Fear of Negative Evaluation among Turkish EFL Learners. Online Submission.
Burton, K., & Ready, R. (2010). Neuro-linguistic programming for dummies. John Wiley & Sons.
Horwitz, E. K., Horwitz, M. B., & Cope, J. (1986). Foreign language classroom anxiety. The modern language journal, 70(2), 125-132.
MacIntyre, P. D., & Gardner, R. C. (1994). The subtle effects of language anxiety on cognitive processing in the second language. Language learning, 44(2), 283-305.
Scovel, T. (1978). The effect of affect on foreign language learning: A review of the anxiety research. Language learning, 28(1), 129-142.
Spielberger, C. D. (2010). State‐Trait anxiety inventory. John Wiley & Sons, Inc..
Walk of Dreams
by Panagiotis Mamouzakis
Aim:
Walk of Dreams is technique aims to slow down the learning flow and allow the client(s) to self-assess their learning or self-coach themselves by reflecting individually while being in contact with the nature.
Background:
This technique is developed in the context of Personal Development & Coaching trainings happened in 2015 & 2016 in Bulgaria and it has been implemented already 4 times with groups between 22-28 people aged 17 to 49. It was created out of the need to slow down the flow of intensive training program of inner exploration. There were different variations of this technique based on prior experiences and focus that the facilitator want to give. The two big variations are that it was used for putting assessed learning forward into life or as a self-coaching purposes.
Objectives:
Preparation:
Implementation:
Step 1
Step2
Step 3
Step 4
Approaches from NLP used:
Walk of Dreams is technique aims to slow down the learning flow and allow the client(s) to self-assess their learning or self-coach themselves by reflecting individually while being in contact with the nature.
Background:
This technique is developed in the context of Personal Development & Coaching trainings happened in 2015 & 2016 in Bulgaria and it has been implemented already 4 times with groups between 22-28 people aged 17 to 49. It was created out of the need to slow down the flow of intensive training program of inner exploration. There were different variations of this technique based on prior experiences and focus that the facilitator want to give. The two big variations are that it was used for putting assessed learning forward into life or as a self-coaching purposes.
Objectives:
- To allow the client(s) to reflect in silence in connect with nature.
- To support the client(s) to form wanted objectives in their lives.
- To spend critical time without new input after days of intensive and continuous input.
- To give space to the client to self-reflect, self-assess previous learning, to slow down the learning process and feedforward learning.
- To leave space for the client for own & environment eco-check.
- To give the opportunity to the the client(s) to stay disconnected from daily habits, technology and patterns (such as: smoking, reading, internet, keeping track of time, capturing photos, listening to music etc).
- Explore the power of silence.
Preparation:
- Find a walk/hike towards a unique spot from your base-home that takes between 45’-55’ in slow pace. Ideally with view, not crowded and away from civilization.
- Brief your client(s) that you are going to spend 2-3 hours outside in order to equip themselves for the weather conditions and that they have to come in your meeting point prepared for a walk.
- Meet with your client(s) in a roofed warm place that has chairs for everyone.
- Materials: music system, spare bottles of water, table, mindfulness bell, stopwatch.
Implementation:
Step 1
- You welcome your client(s) in your roofed room and brief them on logistics: ○ Tell them to leave on the table all things that might be distract him during the process (cigarettes, phones, cameras, books, music players, watches and everything else they think might distract them).
- Brief them in order to be completely ready before they sit on their chairs and that they will be for 2-3 hours outside in silence.
- Tell them to have with them a bag with things can be crucial for them (water, some fruits, raincoat, sunscreen, sunglasses).
- When everyone is ready to start and is sitted you brief the participants on the content of the process.
- Everyone should be silent during the whole process.
- No verbal or nonverbal communication with other client(s).
- Use Milton language to support them stay in rapport as a group all together but also to walk in a connected way together. If you do it with more than one client or to stay in rapport with you if you do it one to one (eg. Say: “How you can stay in connection with eachothers/me?” “Be there one for the other without communication and see/hear/experience what this brings to you.”)
- Do a closed eye focus and you add a song within. Use Milton language to focus the client(s) on here and now. (eg. “This is a new moment in time, you have never experienced this moment before. Everything that happened before this moment, happened before this moment. For the worries you have from the past, you have a choice. You can leave them where they are or you can bring them here and let the destroy your experience. Open yourselves for the experience that lies in front of you. Choose to be here…” )
- Instruct your client that you are going to walk for an hour and give them a specific focus depends on the focus you want to give in the technique. For example:
- “Focus on what is your vision in life. What is what you want to achieve in your life? Keep this focus on your mind while we will be walking towards our destination.”
- “Bring in your mind an issue you have in your life and it keeps you busy from creating what you want in life..” etc
- Leave all together as a group and start walking towards the preselected destination.
Step2
- Once everyone arrives in the destination inform the clients that around this area you are all going to spend 1 hour. When this hour is over they will hear a bell ringing and they have to return to this point in case they choose to move further.
- Instruct the client(s) on the focus you would like to put for them. For example:
- “Spend this hour by yourself to find ways to achieve these vision you just setted”
- “Spend this hour by yourself to examine how you can work out this issue you are having” etc
Step 3
- After everyone one hour passes you ring the bell and everyone gathers to depart together.
- You instruct the client(s) to take the same way back to the beginning point and sit on their chair(s) and remain silent until further instructions. Ask them that on the way back to focus depends where you want to bring the process to think:
- “Spend the way back to make a specific plan on the actions you are going to take in order to achieve this vision(s)”
- “Spend the time of the way back to make a specific plan on the actions you need to take in order to work the issue you have” etc
- [Optional: In case of many clients ask from them to walk in connection to each others, without verbal or nonverbal communication
Step 4
- After everyone is sitted on his chair do a closed eye focus with a song of your choice in order to create an anchor of the previous parts.
- When the song is over the process is over and the client(s) can leave the room.
- [Optional: You can give them time to write down findings on a paper, or share with the person they were walking with, or give them a reflection paper with focus questions]
Approaches from NLP used:
- Axioms:
- The resources an individual needs to effect a change are already within them.
- The ability to change the process by which we experience reality is often more valuable than changing the content our experience of reality .
- The resources an individual needs to effect a change are already within them.
- Well formed objectives
- Context reframing
- Milton language
- VAKOG
- Anchoring
Midnight Knocking
(or Between the Lines)
by Aikaterini Tsiouma
Description & Objectives
A field of application lies in
Benefits
This project’s focus lies in the comparative review, through the dialogue of sources, the filtering and influences of western thought tradition diachronically and the bidirectional and interactive process of writing, reading by modifying and expanding the perception of the self (in reality or constructed) and illuminating by other means the present.
The basic theoretical tools here are narratology (typology of Gerard Genette), the semiotics and some general axioms of Theory of Literature; This could contributes strongly to depict a multilevel reflection on cross- and multi-dimensional structure of a text, speech, story, narration, concerning the representation of reality, let us mention the self and literature.
Let’s start with some notions of NLP and place them in the sphere of theory...
1. Trance
As far we can trust opinions, aphorisms, lyrics like:
2. Concerning the Meta-programs and...
...NLP techniques, such as Meta-Mirror and SOAR MODEL, or the notions of associated, dissociated, dissociated-metaposition we could indicate some correspondences to findings of theoretical thought of ‘70s, attributed by the typology of Gérard Genette's work (1972, 1983, Figures III).
NLP and Narratology
- As far as I am interested in Comparative Literature and Theory of Literature, I would like to share some thoughts concerning a reflect on an interdisciplinary approach: The –conscious or unconscious - contribution of literary theory to NLP.
- Make a proposal of a field of discussion on the terms and notions that Theory of Literature may contribute to NLP.
- To illustrate some aspects of narratology and semiotics and NLP techniques in comparison.
- To establish a reflection on the exploitation of the diachronically formatted reception and perception of the self, the narrative ego and the product (narration, well-structured speech, oral, written, etc).
- To (start to) test the axes of disciplines bidirectionally through indicative notions and concepts.
A field of application lies in
- the creative writing or in reading of literary texts | story telling
- the practicing of NLP techniques; it could be adopted by individuals or group members to “play” with their creative writing skills, their creativity or to cultivate someone’s self awareness through writing and re-writing (editing, re-compose) texts, stories.
Benefits
- For the theory of criticism and the NLP itself
- Through discussing the terms, the definitions and the notions may we can enrich them
- “Reframe” of the terms?
- Encourage the interdisciplinary dialogue
This project’s focus lies in the comparative review, through the dialogue of sources, the filtering and influences of western thought tradition diachronically and the bidirectional and interactive process of writing, reading by modifying and expanding the perception of the self (in reality or constructed) and illuminating by other means the present.
The basic theoretical tools here are narratology (typology of Gerard Genette), the semiotics and some general axioms of Theory of Literature; This could contributes strongly to depict a multilevel reflection on cross- and multi-dimensional structure of a text, speech, story, narration, concerning the representation of reality, let us mention the self and literature.
Let’s start with some notions of NLP and place them in the sphere of theory...
1. Trance
As far we can trust opinions, aphorisms, lyrics like:
- “Fantasy is hardly an escape from reality. It's a way of understanding it.” ― Lloyd Alexander
- “You must stay drunk on writing so reality cannot destroy you.” ― Ray Bradbury, Zen in the Art of Writing
- "Few people have the imagination for reality." ― Johann Wolfgang von Goethe
- Trance is a factor that works as variable in the process of writing, or reading.
- We can use writing to discover… a new reality, the self, the others, the desire or the dynamics of the language?
2. Concerning the Meta-programs and...
...NLP techniques, such as Meta-Mirror and SOAR MODEL, or the notions of associated, dissociated, dissociated-metaposition we could indicate some correspondences to findings of theoretical thought of ‘70s, attributed by the typology of Gérard Genette's work (1972, 1983, Figures III).
NLP and Narratology
- The internal mechanisms of narrative, the form taken by a narrated story
- To gain a better understanding of the relations between the narrator and the story in a given narrative.
- In the narrative discourse, we search the core principles of text composition and 3 fundamental entities: story, narrative and narration.
- Examine some notions that are representatives in NLP as well
SOAR MODEL |
Future |
Present |
Past |
Associated |
|||
Dissociated |
|||
Dissociated-metaposition |
3. Other NLP notions
Orientation in regard to relations (→Phobia Cure):
Orientation in regard time (→Timeline):
Orientation in regard to the processing of information:
Semiotics for Key parameters of Modelling and key behavior of analogue and linguistics we can recall...
Results:
References (selected):
Orientation in regard to relations (→Phobia Cure):
- Self (narrator, story)
- Other, strangeness — person’s deep sense of sense (see: Julia Kristeva, Strangers to Ourselves. New York: Columbia University Press,1991).
- Context (Todorov)
Orientation in regard time (→Timeline):
- Past, present, future
Orientation in regard to the processing of information:
- Who, what, when, where, how?...
- philosophical and artistic movements, cultural trends and changes →
- transformations in Western society, model of the world (e.j. Realism ≠ Romanticism… depiction on VAKOG)
- philosophical and artistic movements, cultural trends and changes →
Semiotics for Key parameters of Modelling and key behavior of analogue and linguistics we can recall...
- Redefine is... editing! (What about Changing History)
- Metaphor (Six Step Reframing, Walt Disney, etc)
- rhetorical effect,
- La Métaphore vive (Ricoeur 1975) Metaphor is living, he claims, in that it is the principle which revives our perception of the world and through which we become aware of our creative capacity for seeing the world anew.
- rhetorical effect,
- For symbolization, Hypocatastasis, Alliteration, Simile
- Further information: David Gordon, Therapeutic Metaphors: Helping Others Through the Looking Glass, 1978.
Results:
- This is the submission of thought, but in progress to future.
- Field of studies are able to collaborate in order to enrich the points of view and to encourage new approaches and practical application to interdisciplinary work.
- Let future show…
References (selected):
- Lucie Guillemette and Cynthia Lévesque, “Narratology”, http://www.signosemio.com/genette/narratology.asp
- Matthew Wingett, “The Creativity Booster for Writers”, http://www.nlplifetraining.com/general-articles/creativity-booster-writers.htm
- Gordon, Therapeutic Metaphors: Helping Others Through the Looking Glass, 1978.
- Paul Ricoer, La Métaphore vive, Paris, 1975.
- Gerard Genette, Figures III, Paris, 1972.
Summary of Genette's narrative typology*-expanded to NLP notions
*Lucie Guillemette and Cynthia Lévesque, “Narratology”, http://www.signosemio.com/genette/narratology.asp (17.12.2016)
*Lucie Guillemette and Cynthia Lévesque, “Narratology”, http://www.signosemio.com/genette/narratology.asp (17.12.2016)
Love Your Dog
by Alexandros Georgiadis
This N.L.P technique has as goal to inform people about animal protection organizations, which are especially connected with dogs. The main target is to represent this technique as a presentation to a part of people who will be informed about the role of an organization like this.
- Video presentation with people playing with their dogs at the most green park of the area where this video will be presented.
- After the end of a video:
- Recall now a recent memory when you were out with your dog or if you don’t have one, recall a recent memory when you saw someone to play with his/her dog somewhere.
- What can you see? How this picture looks like? Draw it if you want somewhere (there will be some papers nearby, so it will be easy for someone to do it ... I think that some of them will definitely do it) .
- How do you feel? How this picture makes you to feel?
- What can you hear?
- What can you smell?
- What can you see? How this picture looks like? Draw it if you want somewhere (there will be some papers nearby, so it will be easy for someone to do it ... I think that some of them will definitely do it) .
- Now, you have all of these ingredients (voices-smells-images).Put them now on your left or right hand, whatever you prefer. With the other hand just touch this hand slightly.
- Imagine now a future phase when you are going out for a walk with your own dog and you are holding it with the other hand.
- What can you see? How this picture looks like? Draw it if you want somewhere (there will be some papers nearby, so it will be easy for someone to do it ... I think that some of them will definitely do it).
- How do you feel? How this picture makes you to feel?
- What can you hear?
- What can you smell?
- What can you see? How this picture looks like? Draw it if you want somewhere (there will be some papers nearby, so it will be easy for someone to do it ... I think that some of them will definitely do it).
- Now you are in the present. You have already deserted your dog. Imagine this animal now.
- To go around alone at the same place where it was with you.
- To go around alone at this place searching for food by itself.
- To go around alone and suddenly while it is trying to cross a road, a car crushes it.
- To live with another family, but not with you anymore.
- To go around alone at the same place where it was with you.
- Recall now a recent memory when you were out with your dog or if you don’t have one, recall a recent memory when you saw someone to play with his/her dog somewhere.
- Now we are here. Join your hands. There are so many dogs around us which live here alone. What would you like to be their future? With you or not? How it will be if you will desert your dog?