Visualizzazione post con etichetta study Italian in Italy. Mostra tutti i post
Visualizzazione post con etichetta study Italian in Italy. Mostra tutti i post

venerdì 13 febbraio 2015

Higher education systems in Italy and England

by Olga Lenczewska

I study Italian and Philosophy at the University of Oxford in the UK, but this year I’ve been spending some time away from the Anglophone world and dreaming spires of Oxford, as a visiting student in Italy at Università degli Studi di Pavia.

It isn’t all that different. Pavia, unlike the majority of Italian universities, has colleges, each of which, just like at Oxford, comprises student accommodation, common rooms, a few lecture halls, a dining hall, and a library. At Oxford or Cambrdge, however, a college is a must, and all of them are academically equal. At Pavia belonging to a college is optional. Even if you do, only four out of eighteen are considered “di merito”, prestigious, because you have to maintain excellent academic results each semester in order to stay in. The two oldest colleges, Borromeo and Ghislieri, in their beauty and traditions resemble the Oxonian colleges.

The higher education system at the two universities is quite different. Pavia doesn’t replicate the famous Oxbridge system, where, apart from lectures and seminars or labs, students have to produce as many as two essays a week and discuss them in one-to-one meetings with a professor. In Pavia, like in the rest Italy, there are no essays or tutorials. Instead, however, the number of lectures per subject per week is much higher than in England. What’s more, Italian students can’t choose what classes they take, whereas in England there’s a lot of flexibility in this respect. We basically study only what we are really interested in, but this means that we can decide to specialise in a certain area very quickly or not to specialise at all.

Moreover, Oxford allows you to study two courses at the same time and, funnily enough, every student has the same amount of work, regardless of whether he/she is doing one or two courses. This means that if you study only one course, you can take more subjects in it. In Italy, on the contrary, it’s impossible to be enrolled in two departments at the same time.

The most dreaded thing amongst students, exams, are organised differently, too. At Pavia, you need to take exams each semester, but their length and form depends on individual professors. At Oxford, we have exams once a year (or ever rarer, depending on the course), but the are all crammed into one or two weeks and organised in a standardised way: for each subject we take a three-hours’ long, essay-based paper. Producing a bachelor thesis isn’t compulsory in England like it is in Italy and, for those who decide to write it, it usually substitutes one of their final exams.

Finally, I find the student life at Oxford much more diversified than in Pavia. Anything you’ve ever dreamed of doing surely exists in Oxford: from crazy Doctor Who societies, salsa classes or Quidditch teams, to more serious political, religious or cultural clubs. But, to even out, Italian students are generally more open and eager to spontaneously make friends on a night out, endlessly walking around the city centre “in giro”. All these differences taken aside, one thing is sure: you’ll never appreciate what your university gives you if you don’t get a chance to study at a different one on your year abroad!

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martedì 27 gennaio 2015

Truth, theatre and reality in Pirandello’s “Sei personaggi in cerca d'autore”

by Olga Lenczewska


In my last article about Pirandello’s “Enrico IV”, I analysed the notions of sanity and madness and illustrated Pirandello’s concept of truth by the vagueness of the distinction between sanity and madness in his “Enrico IV”. This time I will illustrate the concept of truth by the opposition between theatre and reality, which is the main theme of his “Sei personaggi in cerca d’autore”. It is worth reminding the readers what I have already written in my last article, namely, that the theatre conveys always its own version of truth – the one that is true within the newly-created world, and presented as such on stage. In Pirandello's works, the notions of truth and illusion within any play not only constantly intertwine, but intertwine to such an extent that the notion of truth gets lost in the way, and one does not know any more what is an illusion and what is not. 

The opposition between theatre and reality in the light of the notion of truth, that is, the distinction between being a stage character and being a real person, is particularly important for “Sei i personaggi in cerca d'autore”, as this play involves an important meta-theatrical discussion. In “Sei personaggi in cerca d'autore” we are immediately presented with two completely different groups of people: one being the actors and their director, all rehearsing for Pirandello's new play, the second being an odd troupe that interrupts the rehearsal. From the very beginning the “personaggi” appear to contain a paradoxical element in their very essence, as they are presented as being no less real than the actors, but at the same time they are called, look like, and define themselves as characters from a certain play. 

Through introducing them to the “normal” world (in the play represented by the theatre's workers) Pirandello clashes two worlds: the real one and the world of imagination, implying that both are equally authentic and legitimate. What is more, the characters claim to exist outside of their author's head, that is, as beings whose existence does not need to depend on another finite mind: “IL PADRE: (…) la natura si serve da strumento della fantasia umana per proseguire, piú alta, la sua opera di creazione”. The philosopher Roman Ingarden would call their way of living “intentional beings”, because, despite being a work of art, their existence acquired an independent ontological status.

As for the truth of nature and appearance of the six characters, one can argue that because of their masks that impose on them a fixed expression throughout the whole play they do not seem very authentic. But, in my opinion, this is not the case – in fact, the masks intensify the characters' emotions and states of mind, marking what is the most distinct human element. The characters, furthermore, turn out to have an extremely complex set of feeling and relations with one another, thus proving themselves to be more and more real as we read the play. Therefore an important distinction needs to be made: the characters may appear as less real because of their nature, but nevertheless they seem to be more authentic and true than the “normal” people on stage; this view is supported in the play by the Father's words: “a essersi vivi, piú vivi di quelli che respirano e vestono panni! Meno reali, forse; ma piú veri!”. It can be said that, for Pirandello, being “more alive” depends on one's internal complexity, not on the external appearance. Furthermore, he makes a distinction within the very concept of truth between “reale” and “vero”, therefore truth cannot be simply defined as information that conforms to reality but carries its own inner truth. 

The notion of truth in Pirandello's plays is presented as relative. What is and what is not “true” or “real” depends on the readers’ or audience’s viewpoint. Reality gains new conditions: it is authentic actions and feelings of the “personaggi” that make them real, and this beats their fictional character. Perhaps for Pirandello what is “vero” (authentic, true) had more significance than a mere formal status of being “reale” (real).

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venerdì 16 gennaio 2015

Tuscan recipes: Schiacciata alla Fiorentina

Carnival has started! 
Get in the mood with this traditional Florentine cake. It's very easy to prepare and very tasty, especially served with whipped cream or chantilly cream.
Deliziosa, believe us!



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lunedì 12 gennaio 2015

Truth, sanity and madness in Pirandello’s “Enrico IV”

Luigi Pirandello
by Olga Lenczewska


“Truth” is a piece of information with conforms to reality as it is. It is meant to be objective and commonly shared by a large group of people. The opposite of truth is fiction, therefore also any form of art that alters reality, or even goes as far as to create new characters and events, could be called the opposite of truth. Yet, since any author is a creator of a new world that functions within his works, theatre itself conveys always its own version of truth – the one that is true within the newly-created world, and presented as such on stage. In order to follow and understand the spectacle, we must engage in this game. In theatre, therefore, illusion often becomes truth. In Pirandello's works, however, the game goes much farther – the notions of truth and illusion within any play not only constantly intertwine, but intertwine to such an extent that the notion of truth gets lost in the way, and one does not know any more what is an illusion and what is not. The concept of truth in Pirandello’s plays can be illustrated by the vagueness of the distinction between sanity and madness in his “Enrico IV”. 

“Enrico IV” presents a story of a talented actor and historian falls off his horse while playing the role of Henry IV in a historical pageant. After he comes to, he believes himself to be Henry. For the next twenty years, his wealthy nephew, Count de Nolli, funds an elaborate hoax in a remote villa, hiring actors to play the roles of Henry's privy councillors in order to simulate the 11th-century court. In the play the notions of sanity and madness are defined within its frame and laws: we are confronted with a comparison between a theatrical world that resembles ours and anther one with in that does not resemble ours. The first one is represented by all of the “persone” except of Enrico; the latter by Enrico and the theatre-in-theatre, created by others who are aware of the game. Therefore the distinction between madness and sanity seems initially to be marked by the awareness of the game (everyone but Enrico) or by lack thereof (Enrico). 

A scene from Enrico IV
During the first two acts the reader may establish truth as that what the others say, and insanity as Enrico's behaviour. The situation, however, complicates itself to an unbearable extent in the last act when the reader and the other characters find out that Enrico has been aware for eight years that he is not really the German Emperor, and that the has been playing the game with the others, or he has been imposing the rules of his game upon the others who were completely unaware of it. Who appears to be mad at this point? Funnily enough, we are still inclined to say: Enrico, despite the fact that now we know it was him who was aware and the others that were not. But somehow the criterion of madness changes, and Enrico seems to have been mad by letting the game continue and acting as an insane person. Was this a mad decision? We are inclined to say it was, but nevertheless the definition of insanity is being substantially altered. Finally, it is altered once more at the very end of the play when Enrico, having unveiled the truth about himself to everyone's bewilderment, has a change to appear as sane, and in fact is considered as such by some characters, for example Belcredi: “BELCREDI: (…) Tu non sei pazzo!”. Enrico, however, immediately denies this, shouting “Non sono pazzo? Eccoti!”, and kills Belcredi. This decision seems to have been made by him in order to prove a point, but we get a feeling that a sane person would never kill somebody just to prove a point. 

Is Enrico really mad for doing so? And, is he still mad, or is he mad again but in a different way now? Clearly the definition of madness as well as the demarcation line between sanity and insanity become extremely vague at this point, and much is left to the reader's interpretation and speculation. But that is precisely what Pirandello wants: to leave the search for the truth to the readers; this is the final part of the game. In my opinion, at the end of the play Enrico himself doubts whether he is mad or not, but his decision to kill Belcredi has consequences, and he has to act as mad again (“Ora sí... per forza... qua insieme, qua insieme... e per sempre!”), which is inevitable in the light of his previous decision. The notion of truth seems relative and its objectivity hidden to us (as well as some characters). 

The notion of truth in Pirandello's plays is presented as relative. “Enrico IV” introduces so many dimensions that it is virtually impossible to answer, on the objective grounds, the question which of the characters are sane and which are mad. The truth, therefore, becomes a strongly relative concept, or, to put it differently, the objective truth is hidden from the audience (and some characters as well), and what remains visible are just certain viewpoints or perspectives of the theatrical reality. Which scenario is the true one or which characters are real and sane is never explicitly sad, and thus the truth is always hidden from the reader. Moreover, it can be questioned whether a fixed truth even exists in the plays – where would it be? I see no space within which it could exist – it cannot be found in the texts, implicitly or explicitly, and there are many plausible interpretations of what has really happened to the characters before the play. But pondering it might turn out to be useless, as the characters did not exist before the play and, after all, they are mere creations of the author.

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venerdì 9 gennaio 2015

Let's meet Giulia Scarpaleggia: a young Tuscan foodblogger, food writer and cooking teacher

Giulia Scarpaleggia
interview by Ilaria Gelichi


Hi Giulia. Can you tell us something about yourself? Where do you live, what do you do…

I live in the countryside in between Siena and Florence, in my family house. I am a full time foodblogger, I teach Tuscan cooking classes to tourists, I develop recipes for magazines and brands and I take pictures of those recipes. As you can easily understand, all my life is about food! and I love eating, as well!

How was the passion for cooking born?

I’ve always loved cooking, at an unconscious level, though. I enjoyed baking a cake on Sunday morning with my mum or spending time in the kitchen with grandma. Growing up I’ve always found myself in the kitchen, at home and at friends’ parties. In my twenties this passion grew up to a conscious level and I realized how cooking was a central energy in my life.

When was your blog born? How did you have this idea?

I began my blog on the 1st of February 2009, almost six years ago. I wanted to have something mine, something I could work on, and I wanted to share my recipes and photos. It began just for fun, as I was already reading food blogs.

You are a full-time food writer now. What are the positive aspects of your job, and what the negative ones (if there is anything negative)?

Positive? Just imagine, I have to cook and write about food for the whole day, and I get to taste and eat everything I cook. As it is my passion, this is undoubtedly fun, plus I can organize my time and my work as I work from home, from my kitchen most of the times. Downsides? I am surrounded continuously by food, so there's no chance to be on a serious diet!

Cooking course at Juls' Kitchen
You also published some books about food. Can you tell us something about this?

My first book, I love Toscana, is about my region and its most traditional food. It was published in 2012 and you can find it in Italian, English, Dutch and Polish.

The second cookbook, Cucina da chef con ingredienti low cost, for the moment is just in Italian. Its focus is a simple hearty cooking made on a budget, with seasonal local ingredients.

I love the process of writing a cookbook, you put all yourself in choosing the recipes, testing them and taking the pictures, it's an amazing journey.

At this point, which are your targets for the future?

I just hope I will be able to keep enjoying my work as I am doing now, and I would love to keep on writing cookbooks!

With the financial crisis still in act, young people must invent their own job to go on. Do you have any advice for someone who dreams about becoming a full-time blog writer?

You have to be prepared to work more than before, but as long as you do something that you really love, you will enjoy every single moment. I began my blog as a free time activity, I didn't want to turn it into a job at the beginning, so I enjoyed it, and I am still enjoying it!

Visit Giulia's food blog: http://en.julskitchen.com/


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giovedì 18 dicembre 2014

Istituto Europeo: If you are ready to dream, please contact us





5 good reasons to study Italian:

1. You will learn a lot of words used for food, arts and fashion
2. You will be able to communicate with Italians in a short time
3. Italian is not only a language, it's a way of living: discover it
4. Italian is the language of love and beauty par excellence
5. Around 145 millions people speak Italian in the world


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mercoledì 17 dicembre 2014

Istituto Europeo: Don't stop dreaming your dream



5 good reasons to study Italian:

1. You will learn a lot of words used for food, arts and fashion
2. You will be able to communicate with Italians in a short time
3. Italian is not only a language, it's a way of living: discover it
4. Italian is the language of love and beauty par excellence
5. Around 145 millions people speak Italian in the world


Contact us! info@istitutoeuropeo.it - www.istitutoeuropeo.it

venerdì 5 dicembre 2014

At Christmas give yourself a dream. Study Italian




5 good reasons to study Italian:

1. You will learn a lot of words used for food, arts and fashion
2. You will be able to communicate with Italians in a short time
3. Italian is not only a language, it's a way of living: discover it
4. Italian is the language of love and beauty par excellence
5. Around 145 millions people speak Italian in the world


Contact us! info@istitutoeuropeo.it - www.istitutoeuropeo.it


martedì 2 dicembre 2014

Travelling as a way of living, trilingualism as a way of communicating with the world

I at Angkor, Cambodia
by Olga Lenczewska


During the last three years I have been constantly living between three countries: Poland, the United Kingdom, and Italy. A few years ago, when I was in high school, I also spent one year living in the United States. I don’t use the word “abroad” anymore, because it simply doesn’t mean anything specific for me. When asked to provide my address on a document, I always hesitate, unsure which one of the three I’ve got to write down. Same thing with my phone number. 

How has it all started? No, my parents aren’t diplomats. Neither is my family multinational. They’re both Polish and it is in Poland that I spent my early and adolestent life. By applying to study in a foreign country for a course with a compulsory year abroad in yet another country I chose to lead a different life myself. Maybe precisely because I wasn’t “born into” a multicultural and multilingual life I have so much to say on why I appreciate it and how travelling like this changes you completely.

Despite living between three countries already, I travel to others whenever time and money allow me to. Last year I have been to Hungary, Holland, Spain, and Germany, and this year to Thailand, Malaysia, and Cambodia. I currently live in Pavia, but since September I have already managed to visit friends in Oxford and Warsaw. I have been on nine flights since September alone. I’m going back to Poland for Christmas and then in January I’m flying to Morocco with a friend, after which I have to move to Rome for another half a year, probably visiting friends in France and England in the meantime. In June I want to go to China for two months, then back to Poland for the rest of summer holidays, and finally back to Oxford to complete my Bachelor degree in Modern Languages and Philosophy.

The multicultural aspect of Oxford - my university town - allowed me to make friends with people from around the world, which suddenly became smaller than it appeared before. Oxford is a minature of the whole earth, representing its cultural, religious, and linguistic variety in a way which forces you to embrace it, not approach it with indifference. But it doesn’t mean Oxford made me want to be a tourist. I don’t like the word “tourist”. It carries an assumption that you go somewhere, use expensive facilities and live in posh hotels, sightseeing the most obvious attractions with a guide’s aid. In all of that gets lost what for me is the essence of travelling, and in all of that it is virtually impossible to witness the authentic culture and customs of a place. And, yes, whilst when travelling privately or even on your own you can sometimes find yourself in places you don’t feel safe in and see one cockcoach too many, believe me, it’s worth it.

A Buddhist temple in Bangkok
When I go abroad - wherever “abroad” is at the moment - I consider it not only a chance to see new places, but above all an opportunity to learn new ways of living, understand other cultural heritages, and become a wiser person by comparing what I see now to what I lived around before. During the days when I visit a place I’ve previously not been to, I feel happiness that I don’t experience otherwise. Sometimes a new city appeals to me to such an extent that I want to shout “I’m going to live here one day!” and there would be nothing wrong with this had it not been for the fact that I shout this way too often. Whilst I can’t live in all these paces simultaneously, I can visit them from time to time, and whilst some destinations remain my future home only in my dreams, there are a few countries where I really feel at home.

But travelling so often, despite what you may think, did not only make me “lose” my one home that I once had. It also, and more importantly, made me understand in which ways I’m Polish (and always be Polish not matter where I am) and, on a bigger scale, in which ways I’m European. If you travel around your continent, your cultural perspective broadens to the extent that you’re able to understand yourself in the wider context of the whole continent. When you travel to different continents, however, your cultural perspective broadens even further and you begin to understand yourself in the context of the whole world. That’s because it is only when facing something different and unfamiliar that you’re able to fully understand yourself. Making this realisation happen is the most exciting thing you can chose to do with your life.

Lastly, there’s one thing which changed me even more than having lived in four countries: having become trilingual. I use the word “trilingual” is a loose sense, because I’m not, of course, properly trilingual. I do nevertheless speak fluently (and think and dream in) English, Polish, and Italian, or preferably speak a combination of these if the linguistic skills of my conversational partner permit me. Much have been said about the effects of multilingualism on people, but I consider worth mentioning just one thing: speaking a few languages fluently is the thing that surprises me in myself the most. Sometimes my mind suddently switches to another language without an obvious reason, and witnessing this “from the inside” is baffling. But one drawback of this fact is that whenever I speak with someone who doesn’t know all three of these languages (that is, around 95% of my interlocutors), I feel as though a part of me cannot be understood or expressed and I have to be careful in which tongue I formulate my thoughts. When I find someone who speaks all three of them, however, there’s no fun beyond starting a sentence in one language and finishing it in another, or worrying that I cannot find a word for something in one tongue, because I can just express what I want to in any linguistic form that I know.

I’m not sure where I’m going to live when (if?) I finally settle down. But this uncertainty doesn’t terrify me. On the contrary, it feels quite exciting. After all, I’ve got all the necessary tools to be able to consciously choose where I want to spend the rest of my life. And with friends all around the world, I will be able to travel without feeling like an intrusive tourist even when I settle down.

Floating market in Thailand

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mercoledì 26 novembre 2014

Christmas 2014 in Florence - Markets and events

by Ilaria Gelichi


Christmas is in the air and Florence is dressed up with lights, Christmas trees and decorations. But the most awaited events are the Christmas Markets, and the most famous one is the Weihnachtsmarkt, the German Christmas Market, that every year (this one is the 14th edition) gathers Florentines and tourists in the beautiful Piazza Santa Croce.
This year the Christmas Market will be held from December 3rd to December 21st and - as usual – will host more than 50 exhibitors from Italy and Europe, especially Austria and Germany. Glühwein, brezel, strudel, biscuits, Christmas decorations and gift ideas are just an example of the products one can find at the market, open everyday from 10:00 AM to 10:00 PM. Entrance is free.

But the Weihnachtsmarkt is not the only Christmas-themed event in Florence: from December 11th to December 14th you will find Christmas athmosphere at the Fortezza da Basso, with “Natale in Fortezza”. The fair, open from 3:00 PM to 8:00 PM on Thursday and from 11:00 AM to 8:00 PM on Friday, Saturday and Sunday will host typical Christmas products, gift ideas and decorations. For the little ones there will be a special area with inflatable bouncers, funny activities and of course… Santa Claus! Tickets: Adults Euro 5, free for children under 12.

Enjoy Christmas in Florence!!


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martedì 25 novembre 2014


The bad news: you can't speak Italian
The good news: you can learn it at Istituto Europeo



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martedì 18 novembre 2014

Pre-Sartrean existential literature in Italy: Alberto Moravia’s “Gli indifferenti”

Alberto Moravia
by Olga Lenczewska


When asked about the first existentialist novel of the 20th century, many of us would point to Jean-Paul Sartre’s “Nausea” (1938). Whilst Sartre is world-famous for his literary achievements and novel ideas, very few acknowledge the importance of a book which was written nine years before “Nausea” here in Italy - Alberto Moravia’s literary debiut “Gli indifferenti” (1929).

If we trust that the author is honest with us, at the time of writing the novel Moravia knew nothing of existentialism and after the novel had been published he claimed he merely tried to resolve his own problems without realising they were at the same time the problems of the century.
“Gli indifferenti is a forerunner of the existentialist novel. In it the existentialism is instinctive, spontaneous, unsystematic, it only becomes thought out and elaborated in the subsequent work of the author; but it is not limited to what generally termed the climate, the atmosphere of a work, but underlies the whole novel and lays the foundations for all the essential themes, so as to make it the first narrative work of it in any literature” [Falconi, “Vent'anni di Moravia”].

The Ardengo family presented in the novel comprises Mariagrazia and her children: Carla and Michele. The mother is selfish and narcissistic, and only cares about getting back her lover, Leo. The adolescent sibligns are both deeply dissatisfied with their boring, mediocre lives. However, they are so absent-minded and weak-willed that they turn out to be unable to change it. Carla’s only act against her mother - giving in to the seduction of her mother’s former lover Leo - does not come from her conscious decision, but is a passive act of letting Leo do with her what he wants despite an obvious immoral element aspect to his action. Michele is used to being treated as an immature youngster with no voice, and when he finally decides to affirm his independent voice by attempting to kill Leo, his brave act turns into a farce because he forgets to load the gun before shooting. “[Carla and Michele] are incapable of any positive action and yet they are urged by the torment of a necessity for choice which, nevertheless, cannot find support in any definite moral criterion, where the criterion of sincerity is rejected. (…) All their attempts at choice appear condemned at the outset to the most radical failure, so that no escape seems possible other than death or a passive acceptance” [Scaramucci, “Moravia tra existenzialismo e freudismo”].

Leo, a cynical man whose only needs are the primitive desires of sex and money, is the only protagonist who knows exactly what he wants and always achieves it. His brutal needs are always fulfilled, and whilst doing so he only thinks about himself. Tragically, Leo is the only “successful” character of Moravia’s novel precisely because he is not detached from the reality like the others.

The problems the writer touches upon in his debiut novel concern one’s inability to communicate with the others, to be true to oneself, and to live and make decisions according to a coherent system of moral values. Moravia presents a complete collapse of the relationship between man and reality, and detachment from traditional ethics, which comes from being unable to establish any kind of relationship with the real world which seems obscure or, worse, ceases to exist. The titular “indifferenza” is thus visible in the lack of any meaningful action that would be done truthfully to one's feelings and desires, and the lack of honesty between the characters. The narration is played in between the two narrative dimensions: the dialogues and the internal monologues, the first expressing opinions that the other character want to hear and the society demands, the latter showing the reader what the protagonist really thinks.

“Poveri di spirito (ma ricchi di denaro), i borghesi dipinti da Moravia testimonano dell'impossibilitá della tragedia nel mondo capitalistico. Ma mostrano soprattutto di saper creare una commedia che torna a vantaggio dei loro concreti interessi, proprio perché sembra colpire i loro inesistenti ideali. Tragedia mancata, 'Gli indifferenti' é in realtá una commedia grottesca pienamente riuscita” [Tessari, “Alberto Moravia”]. What is at the root of the characters’ consciousness is the failure to establish a relation with other people and the real world. This is a result of all the other failures they went through: failure to make decisions, to do what one wants to do, or to tell the truth instead of communicating with lies. Eventually Carla and Michele find it impossible to go on living like they do, since it is impossible to either be faithful to oneself and remain totally alienated from reality, or to inauthentically yield to external demands of the society, but unfortunately they are unable to change their situation. At the end of the novel it becomes clear that the characters have failed to shake off their inertia and change anything in their lives, and their failure is existential. This mechanism, aptly presented to us by Moravia, expresses the modern crisis of man and begins the topics explored later in 20th-century existential novel.

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lunedì 10 novembre 2014

Lavorare all'Istituto Europeo: l'esperienza di Ilaria

Ilaria, segretaria all'Istituto Europeo
Lavorare all’Istituto Europeo è davvero una sfida.

Ogni giorno mi dedico soprattutto al problem solving, che è una delle attività tipiche di una scuola come la nostra, la più difficile ma forse anche la più remunerante.

E’ bello vedere le facce sorridenti e soddisfatte degli studenti una volta che li hai aiutati nei loro piccoli (e talora grandi) problemi quotidiani. E’ una grande ricompensa. La più grande.

Il contatto quotidiano con studenti che vengono da ogni parte del mondo è un altro aspetto interessante di questo lavoro.

Io non viaggio moltissimo ma forse proprio a causa del mio lavoro, stando a contatto con tutto il mondo, il mondo viene da me. Imparo moltissimo dalle diverse mentalità degli studenti che incontro ogni giorno.

Un bel lavoro non c’è che dire!


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