Teaching Poetry to Undergraduate Students (original) (raw)

A Demonstration Sample for Poetry Education: Poem under the Light of 'Poetics of the Open Work

International journal of environmental and science education, 2016

The aim of this study is to provide a demonstration sample for the high school stage under the light of "Poetics of the Open Work" that is considered as a step towards comprehending the qualified poem. In this study, has been built in single group pretest-posttest design. Independent variables are applied to a randomly selected group to perform the pretest posttest design There are measures applied both before the test (pre-test) and after the test (post test). The executed demonstration has proven, providing education under the light of Poetics of the Open Work has significant possibilities regarding both the consideration of poem proper to its natureas an art work and improving interpretation skills of students. During demonstration, active participation of students is observed through expressing their personal opinions. The most important difference between 'Secret Love' -based on direct narration as an example of first period of Necatigil poemsand 'Water Li...

Why Teach Poetry? Explications of Contemporary Poems, Part 1

Bulletin of Nagoya University of Foreign Studies, 2024

This paper gives support to the question of whether or not poetry should be taught. In addition, it explores activities for teaching poetry to Japanese university EFL students along with assessment tasks. Explications of three contemporary poems by famous poets are undertaken: Here, in Part 1, Elizabeth Bishop's "At the Fishhouses;" and in a future issue, Part 2, Gwendolyn Brook's "The Lovers of the Poor," and Seamus Heaney's "Digging." The goal of the study is to encourage Japanese university EFL students to learn how to explicate poems and to provide an approach for EFL teachers to teach poetry in their second language classrooms.

TEACHING POETRY IN SECONDARY SCHOOLS

This paper addresses the common diffidence with which students respond to poetry; a diffidence that, in the opinion of the writer, is the result of the inappropriate teaching methods of the subject at the secondary school level. The paper proceeds to offer innovative, interactive approaches that should make poetry lessons as interesting as they should be, consequently improving the attitude to Poetry at the tertiary level also.

Revisiting Existed Syllabus in Poetry Class: An Interactive Approach

ETERNAL (English Teaching Journal)

Poetry has become less and less preferred by the students. Poetry has been viewed as a boring subject. This is because the process of learning and teaching poetry is considered as a routine activity. This article seeks ways to make poetry become an interesting subject to learn by examining the existing poetry syllabus and proposing a more interactive syllabus. Ethnography was used in this study to gather the information. Lecturers and students will have to work together and collaborate in conducting a conducive atmosphere to reduce the anxiety in learning and teaching poetry. By reducing the anxiety, students will find that learning poetry will give them something more than just analyzing poems. Learning poems will contribute to their English development. The result of this study is a proposed syllabus that is more interactive compared to the existing one, especially the class activities; that are employing collage and mirror writing as ways to appreciate poems read. The implication...

Poetry and the Challenge of Understanding: Towards a Deconstructive Hermeneutics

Phainomena. Journal of Phenomenology and Hermeneutics, 2022

The first part of the paper is the author’s contribution to the hermeneutics–deconstruction debate on the status of the literary work and the role of the reader. The author’s considerations head towards a conception of “deconstructive hermeneutics of poetry,” stating that the literary text both requires understanding and guards itself against the violence of its uniformization. The second part of the paper involves deconstructive-hermeneutic interpretations of the works of three Polish poets: Aleksander Wat, Tadeusz Różewicz, and Krystyna Miłobędzka. The author notices their “touching acuteness,” i.e., their refusal of an all-encompassing reading. More important, however, is the way all the poets cultivate their own “deconstructive hermeneutics” of existence. In Wat’s case, it is a hermeneutics of the suffering body. Różewicz is approached from the side of the problem of “the death of poetry.” Miłobędzka turns out to be a poetess who delivers her idea of “releasement.”

An Emergent Sense of the Literary: Doing Children's Poetry Translation in the Literature Classroom

Journal of Literary Education, 2019

This article brings together findings from translation theory, the poetics of children’s poetry, and the pedagogy of translation, in an attempt to theorise the practice of poetry-translation in the literary, first-language classroom. I argue that translating children’s poetry in the context of translation workshops mobilises skills, and encourages ways of thinking about poetry, that espouse particularly well one of the complex challenges of literary education: namely, triggering in learners an emergent sense of the literary. Poetry-translation, I contend, allows for profoundly experiential engagement with some of the most sophisticated, and least easily articulated, aspects of the aesthetics of literature – prominently, the resistance of the literary text to paraphrase, the lack of a clear content-form dichotomy, and the embodied aspects of the literary encounter. Because translating is never just writing, but always already writing one’s reading, the translation of poetry in the literary classroom requires pupils to capture, experience, and take ownership of their encounters with literature, in order to re-express them. I first explain the practice of literary translation in the classroom; I then talk about contemporary poetry translation theory and its deeply phenomenological approach to text. I next show why the particular poetics of children’s poetry situate that kind of text ideally for a pre-semantic, intuitive approach to poetry translation. Finally, I look at the writing process as a way of turning the pupil into what Roland Barthes calls a poéticien, a person whose poetry-writing does theoretical work. Este artículo recoge resultados desde la teoría de la traducción, la poética de la poesía infantil y la pedagogía de la traducción en un intento de teorizar la práctica de la traducción de poesía en el aula de literatura de L1. Se argumenta que la traducción de la poesía infantil en el contexto de los talleres de traducción, activas destrezas e incentivas maneras de pensar acerca de la poesía que apoya especialmente bien uno de los complejos retos de la educación literaria, concretamente desencadenar en los y las aprendices un incipiente sentido de lo literario. La traducción de poesía, se defiende, permite un compromiso experiencial profundo con algunos de los más sofisticados y menos fácilmente articulados, aspectos de la estética de la literatura. De manera prominente, la resistencia del texto literario a la paráfrasis, la falta de una dicotomía clara forma-contenido y los aspectos integrantes del encuentro literario. Porque la traducción nunca es solo escribir sino siempre haber escrito la propia lectura, la traducción de poesía en el aula de literatura requiere que el alumnado capture, experiencie y se apropie de sus encuentros con la literatura para re-expresarlos. Primero se explica la práctica de la traducción literaria en el aula; después se habla sobre la poesía contemporánea y su enfoque profundamente fenomenológico. Después se muestra por qué la particular poética de la poesía infantil sitúa este tipo de texto idealmente para un enfoque presemántico, intuitivo de la traducción de la poesía. Finalmente, se observa el proceso de escritura como una manera de convertir el alumnado en lo que Roland Barthes llama un poéticien, una persona cuya escritura poética realiza un trabajo teórico. Aquest article arreplega troballes des de la teoria de la traducció, la poètica de la poesia infantil i la pedagogia de la traducció en un intent de teoritzar la pràctica de la traducció de poesia en l’aula de literatura de L1. S’argumenta que la traducció de la poesia infantil en el context dels tallers de traducció activa destreses i encoratja maneres de pensar al voltant de la poesia que dona suport especialment bé a un dels complexos reptes de l’educació literària: concretament desencadenar en els/les aprenents un incipient sentit d’allò literari. La traducció de poesia, es defèn, permet un compromís experiencial profund amb alguns dels més sofisticats i menys fàcilment articulats, aspectes de l’estètica de la literatura. De manera prominent, la resistència del text literari a la paràfrasi, la manca d’una dicotomia clara forma-contingut i els aspectes integrants de l’encontre literari. Perquè la traducció mai és només escriure sinó sempre haver escrit la pròpia lectura, la traducció de poesia a l’aula de literatura requereix que l’alumnat capture, experiencie i s’apropie dels seus encontres amb la literatura per tal de re-expressar-los. Primer s’explica la pràctica de la traducció literària a l’aula; després es parla sobre la poesia contemporània i el seu enfocament profundament fenomenològic. Després es mostra per què la particular poètica de la poesia infantil situa aquest tipus de text idealment per a un acostament presemàntic, intuïtiu de la traducció de la poesia. Finalment s’observa el procés d’escriptura com a una manera de convertir l’alumnat en allò que Roland Barthes anomena a poéticien, una persona l’escriptura poètica de la qual fa un treball teòric.