Teaching poetry: writing poetry — teaching as a writer

This paper considers the ways in which the authentic strategies and struggles of the creative writer in formulating a text, can be translated into classroom activity. It explores four activities which derived from my own practice as a writer, and demonstrates the process of adapting, trialling and evaluating them in a range of different classroom settings. The paper attempts to answer the questions: w ere these ‘real‐life’ processes successful as a basis for learning activities? How did the learners respond and what can we learn from heir responses? The paper concludes with the premise that being congruent with one's own ‘real‐life’ strategies can indeed lead to valid learning activities, and that these activities help us to deconstruct many of the myths about what it means to be creative.     

浅谈古诗词教学资源的有效拓展

基于古诗词在中国传统文化中的重要地位及其在语文课程中只占极小部分的特殊状况,综观当前古诗词课堂教学资源严重匮乏及学生古诗文积累远远低于课标要求的现状,有必要强调拓展古诗词教学资源的重要性,探讨古诗词教学资源有效拓展的策略,从而激发学生热爱古典诗文的情感,提高学生的文化素养和审美情操.     

Teaching poetry: a descriptive case study of a poetry unit in a classroom of urban deaf adolescents

A qualitative study was conducted that reflected an analysis of a 6-week poetry unit in a language arts classroom of 6th and 8th graders at a school for the deaf in a large city in the northeastern United States. The school served a large population of children of poverty who were of Latino and African American descent. The study was guided by 4 research questions: (a) Would students benefit from having American Sign Language (ASL) poetry as a part of the unit? (b) Would teachers' signing of poems increase students' understanding of the poems? (c) Could students analyze the meaning of poems independently? (d) Would students view writing poetry as a vehicle for expressing their feelings and ideas through themes that were important to them? The evidence provided support for affirmative answers to questions a, b, and d.     

Rhetoric and poetry

To win in 1972 the Democrats needed a unified rhetoric. Their strategy was to emphasize persona. The breaking news of Senator Eagleton's mental health, coming at a strategic time, created a fantasy that chained through the electorate and presented the McGovern persona as inconsistent, inept, and untrustworthy.     

The poetry explosion

Brian Merrick bas made a major contribution to the development of poetry teaching for younger children in the United Kingdom during the 1980s. CLE invited bim to look back over the decade and to select a personal list of favorite collections.ForCLE he has written on Poetry in Performance (issue 35) and Charles Causley (issue 70). The latter article was expanded intoTalking with Charles Causley for the National Association for the Teaching of English (1989). NATE has also published his influentialExploring Poetry: 5–8 (1987) andExploring Poetry: 8–13 (1990).     

浅析诗言志向诗缘情的嬗变

在中国诗论中两个最重要的范畴是"诗言志"和"诗缘情"。"诗言志"是对文学作品本质最早的描述。而后在汉代经学盛行、个体意识和审美意识觉醒的情况下,诗学之中"诗言志"的观念发生了变化,出现了"情"和"志"并列的说法。此后"诗缘情"成为中国诗论中一个重要命题,二者的嬗变是有着诗论发生变异的内在必然性的。     

意象主义诗歌浅说

意象主义出现于 20世纪早期,它的诗歌以其简练、浓缩、准确、具体的风格见长,这些特点源于意象主义诗歌的三大原则用准确的语言"直接处理"诗歌主题、取消修饰的"多余的"词语、按照流畅的音乐节奏,而不是节拍器的节奏来安排诗的韵律.除了以上的基本特点外,东方诗歌尤其是中国古诗对它的影响也是意象主义诗歌不可或缺的组成部分.     

几何与诗歌

本文通过诗歌中蕴含的数学思想及概念,诗歌中的几何意象,诗歌几何题,诗歌改作几何题等问题的阐述,揭示出几何与诗歌的内在联系。     

"朦胧诗"后的两大诗歌写作倾向评析

“朦胧诗”是“传统诗学精神的复苏”而非“新美学原则的崛起”。“知识分子写作”和“民间写作”是超越“朦胧诗”的不同途径并真正萌生了“新的审美原则”。这两种写作倾向不仅在理论上显出了创新意义,也为具体的诗歌写作开辟了新的领域和可能。遗憾的是,“知识分子写作”在作“形而上”的攀升中,诗意关注和价值立场越来越空疏,语言越来越神秘化;在“关注当下”时,“民间写作”反而被“当下”淹没进而消弭了精神向度和价值立场,语言也越来越嬉戏化。辨析两种写作倾向所昭示的新路和陷阱,有助于把握未来诗歌写作的路途。     

奇幻的消退与元诗宗唐

唐朝社会，神仙怪异流行，对诗人的“好奇”产生了巨大影响。宋代以后，人们对自然的认识日益客观，神异之说急速消退，元人宗唐而好奇，就失去了时代的营养，因而难以成功。     

逸歌长句骏发踔厉 --对顾况诗风的再评价

一般文学史著作都把顾况作为一位现实主义诗人、新乐府的先导者来介绍。从顾况的思想性格、诗歌创作及诗论来分析 ,可以得到一个更全面更真实的顾况 ,顾况的诗风“骏以踔厉” ,更近于浪漫主义风格     

Children's thinking and poetry

'We didn't do poems.'We used to do it as a punishment when we were talking."Whenever we did something wrong, all the class had to stand up and say two poems, one was about Abu Ben Adam and the other was about a girl who went to a party and fell off her chair.' (First year pupils)     

微型诗略论

微型诗是从短诗、小诗中分离出来的一种新诗体，20世纪80年代末开始有意识的创作实践，并逐步以微型诗的名称取代和统一了原先的小小诗、超短诗等。经过近年的创作实践，微型诗产生了一定的影响，已成为一种新的独立的诗体。