Evolution and Contingency: Poetry,Curriculum and Culture in Victoria,Australia

This article explores the changing place of poetry studies in the broader English curriculum of Victoria, Australia. Its focus is on how students learning to become English teachers engage with poetry studies. Setting this problem within the context of pedagogical theory and evidence about the evolving Victorian curriculum, we have interviewed six first‐year students to explore their perspectives on the study of poetry. A clear finding is that exposure to the study of poetry is very limited in Australia’s secondary school system. A more surprising finding is that students do not clearly recognize their exposure to poetry studies as such.     

In Living Memory: The Dying Art of Learning Poetry and a Case for Revival

This article considers the practice of learning poems and the value of poetry in the memory, and emerges from the Cambridge Poetry Teaching Project, a small-scale research study co-ordinated through the Faculty of Education at the University of Cambridge. Drawing on the subset of findings in relation to learning and memory, the essay locates the practice within broader cultural and educational contexts and examines it in relation to some theories of memory and cognition, especially the work of Iain McGilchrist on the divided brain, and to personal experience. The article argues that there is a largely forgotten value in learning poetry and posits five ways in which it may contribute both to our experience and understanding of the poem and to our engagement with the world. Finally, the author considers the learning process itself and suggests a strategy in accordance with the proposed theorisation.     

诗人感物，联类不穷－中英诗歌中感觉通感分类比较

感觉通感，即把视觉，听觉，嗅觉，味觉和触觉等通过艺术的联想和想象而相互移借，融合与贯通，尽管中英之间存在着诸如语言，化传统，价值观念等方面的差异，但中英诗歌中的感觉通感却十分相似，本对中英诗歌艺术中的感觉通感进行了分类并作了相应的比较。     

英汉诗歌中颜色词的运用及其差异对比

英汉诗歌中颜色词所占的比重很小,其喻体取向的差异也不大,但是这些颜色词在不同民族的语言、文化传统和历史背景中,其使用频率、搭配、引申词以及其喻体的意义都是不同的。通过对英汉诗歌中颜色词的收集、展现与对比,我们可以了解到英汉诗歌各自的的文化特点,从而更深层次地领略其不同的文化内涵。     

Taking Poetry off its Pedestal: The Place of Poetry Writing in an Assessment-Driven Curriculum

This paper examines the location and status of poetry writing within an assessment‐driven curriculum. Drawing on the critical perspectives of Carter, Benton, D'Arcy and Driver and the observations of a sample group of secondary English teachers about assessment of their pupils' poetry, it argues for the development of an assessment model that could remove the mystique surrounding poetry and establish it on an equal footing with prose text types in the National Curriculum for English.     

近体诗形式的现代意义

近体诗形式并非内容的被动载体，而且是一种对客观世界和主体情感的概括和升华。近体诗形式的存在价值和现代意义在于，这种形式仍能够涵纳巨大的思想容量并对整个社会历史进程作出富有个性的积极回应和影响，仍能够提供具有永久生命力的东西并为新的时代精神和审美意识所照亮，并通过风格将这一切勾连为一个生气灌注的有机整体而独放异彩。     

毛泽东的诗学观

“诗言志”是中国诗歌的优良传统,也是毛泽东最基本的诗歌观念。毛泽东认为“诗要用形象思维”,而“比”、“兴”与“赋”则是形象思维最主要的表达形式,深刻地揭示了诗歌创作的特殊规律。“诗当然应以新诗为主体,旧诗可以写一些”,摆正了新诗和旧诗的地位和关系,把“五四”以来新旧两种诗体从历史性的对立引向了现实的协调发展,对中国诗坛产生了深远的影响。     

论英语诗歌之美感

英语诗歌是高雅的语言艺术之一,大多是对真、善、美的讴歌,对人类精神文明的礼赞,是光华灿烂的明珠、美妙绝伦的乐曲;是形美、声美、意美的和谐统一：形美以悦目,声美以悦耳,意美以悦心。它可使其习得者心灵深处受到感化,培养其正确的审美观和感受美、鉴赏美、表现美与创造美的能力。     

略论我国古代诗词的悲剧意识

本文认为,中国古代诗词历经时间的洗礼,至今仍然散发出夺目的光华,其内中浓郁的悲剧意识的底蕴绝对是一个重要的因由。本文以唐宋以前的中国古代诗词为案例,认为中国古代诗词中的悲剧意识主要有“姻缘之苦”、“别离之愁”和“亡国之恨”三种样态。     

浅论英国古诗与中国古诗之间的差别

从音、词和句三个方面探讨了英国古诗与中国古诗之间的差别并举例加以说明。     

Black Performance Poetry

Black performance poetry can be a crucial aid in the teaching of English. It encourages a positive view of black language and culture, and illustrates the links between the oral and literary traditions. This study of eight black performance poets looks at their childhood and school experiences (both Caribbean and English), how and when they started writing and performing, their favourite poets, how they write and what they think of publishing. The significance of performance poetry is discussed, along with its great potential for the teaching of English.     

大学英语中诗歌教学的意义及策略研究

在大学英语课堂中,诗歌教学一直被广大师生所忽略。诗歌是一种最纯粹的语言艺术,学习英语诗歌能有效地提高学生的英语水平,文化素养,培养其人文精神。在教学策略上要注重鼓励学生反复朗读,发挥想象,尝试改写简单易懂的诗歌,并且利用现代多媒体技术,培养学生的学习兴趣,调动其学习积极性。     

试探“移情”在英语诗歌中的运用

通过举例和比较的手法探讨了"移情"在英语诗歌中的运用。"移情"在诗歌中有更突出的作用,借助拟人、隐喻、明喻等修辞手法,使自然景物"灵性化"拟人化",增强了语言的表现力和感染力,极大丰富了诗歌的内涵,使得诗中有景,情寓于景,情景交融。     

"陌生化"理论与英语诗歌教学创新

"陌生化"是俄国形式主义文论的一个重要概念。在英语诗歌课堂教学中,适当地以陌生化理论作指导,能有效地避免传统教学模式带来的弊端,促使教师坚持对教与学进行研究,重视诗歌的讲授之道,把对诗歌本质的体会、理解和精神传授给学生,从而激发学生的主动性和创造性,让诗歌教学真正成为文学教育的重要组成部分。     

古诗文教学中几个常见问题的探讨

由于历史和语言环境变迁等原因，中小学乃至大学青年教师在进行古诗文教学时，常常对一些字词、典故在解读上出现失误或错漏。本文列举了“落英”、“南山”、“流火”、“床”、“儿童”、“屠苏”等六事，逐一分析，以求正解。     

“90年代诗歌”:问题与遗产

上世纪90年代的中国诗歌处在复杂的大变局中,既是危机亦是重新清理现代汉语诗歌观念、诗歌功用价值等,以求寻求突破的转机.然因为过度放大经济社会对诗歌的压抑、过度关注诗歌和诗人的"边缘化"现实处境,导致诗歌创作和理论批评界对生长出的诸多诗学本体命题思考不够.关切当下中国诗歌的发展,我们必须重新面对90年代的诗歌遗产,重新审视"边缘化"、"个人性"等命题,处理好诗歌发展的"常"与"变"、"体"与"用"、诗歌创作与理论批评的关系.     

论诗乐融合视野下的诗与乐的审美和意义关系

歌曲是诗乐合璧、词曲交辉的综合性艺术表现形式,具有音乐性与文学性融合的双重艺术价值。歌词与音乐的结合实现了二者在意义上的互文性的建构,拓展了彼此的审美和意义空间。     

浅说译诗的几个问题

诗歌是否可译以及怎样翻译诗歌 ,这是译界长期争论而未达共识的问题。文章坚持“诗歌是可译的”主张。在诗歌翻译中 ,我们应奉行“诗人译诗 ,以诗译诗” ;“形可变而神不可失”等原则     

英诗的语言艺术

诗歌是思维跳跃性很强的一种文体,是文学创作的最高表达形式。诗歌形式简洁、语言精炼,不但能带给人们智慧,更赋予人们美的享受与情的陶冶。文章从意象、修辞和语音三个方面来谈英诗的语言艺术。     

英语诗歌韵的刍议

韵是基础诗法的一种技巧,在英语诗歌中占有很重要的地位。文章研究了英语诗歌的韵的特点,并从韵律学的角度分析韵和不同类型的韵在诗歌中的不同表达效果。