Holes and Goals:Everything I Forgot to Remember about Poetry by Greg Robison
Course RationaleI dont know much about poetryI will need to teach poetryThis is a bad combination
Essential Questions-What are the defining characteristics of various poeticmovements?-How are form and function related in poetry?-What social and historical factors have contributed tochanges in poetic form and content over time?-How do various literary traditions overlap and diverge fromone another?
Enduring Understandings-Various poetic schools and forms arose throughout time tospeak to the concerns of the age.-The form and function of poetry are often interrelated inways that enhance the meaning of the poem or play againstit.-Literary traditions have both built on and rebelled againstprior traditions.
Course Goals-IWBAT identify and use regular poetic forms.-IWBAT describe various poetic schools and thecharacteristics that define them.-IWBAT provide historical context for various poeticmovements and forms.
Products!Poems!Letter from W.H. Auden to T.S. EliotScansion!Lord Byrons Facebook Or a soundtrack if I cant work out the kinks. "Byrons Beatz"
What I Learned: ContentFormsRhythm and MeterRhymeMovements
What I Learned: Self as LearnerI can teach myself better than my teachers taught meI like to make my own funCross-curriculuar connections help
What Comes Next?How do I teach poetry?How can I use poetry in culturally relevant pedagogy?How is hip-hop related to traditional poetry?
Making It Accessible to StudentsHave students create their own poemsTeach formal aspects topicallyDiscuss the history behind poetic movements or form jigsawgroups based on interestDifferentiating with choice and interest
SourcesAuden, W.H. (1991). Collected poems. New York, New York: Vintage.Christensen, L. (2009). Teaching for joy and justice. Milwaukee, Wisconsin: Rethinking Schools.Cooney, Seamus. (2000). Bad poetry. Accessed 14 November 2011 from http://homepages.wmich.edu/~cooneys/poems/bad/.Friedman, N. (1965). Three views of poetic form. College English, 26(7), 493-500.Gilbert, R. (2003). Contemporary American poetry. In Roberts, N. (ed.), A companion to twentieth- century poetry. Oxford, England: Blackwell.Government of Saskatchewan. Poetry. Accessed November 14 2011 from http://www.sasked.gov.sk.ca/branches/elearning/tsl/resources/subject_area/ELA/ELARR/Poetry.shtmlGreenblatt, S. (ed.). (2006). The Norton anthology of English literature. New York, NY: Norton.Harris, P. (Ed.). (1999). Zen poems. New York, New York: Knopf.Johnson, W.S. (1955). Some functions of poetic form. The journal of aesthetics and art criticism, 13(4),496-506Jones, P. (Ed.). (2001). Imagist poetry. New York, New York: Penguin Classics.Milner, J.O., & Milner, L.F. (2008). Bridging English. Upper Saddle River, New Jersey: Merrill PrenticeHall.Paglia, Camille. (2005). Break, blow, burn: Camille Paglia reads forty-three of the worlds best poems.New York, New York: Pantheon.
Sources (continued)Poets.org. (2011). Poetic schools & movements. Retrieved 4 October 2011 fromhttp://www.poets.org/page.php/prmID/193Polonsky, Marc. (2001). The poetry readers toolkit: A guide to reading and understanding poetry. NewYork, New York: Glencoe / McGraw-Hill.Sansom, Peter. (1994). Writing Poems. Bloodaxe Books, Newcastle upon Tyne, England.Snodgrass, W.D., Barrington, J., Patterson, R.R., Hodge, J.D., Kennedy, X.J., Ali, A.S., … Kumin, M.(2002). Received forms. In Finch, A., & Varnes, K. (eds.), An exultation of forms: Contemporary poetscelebrate the diversity of their art. Ann Arbor, Michigan: University of Michigan Press.Strand, M., & Boland, E. (2001). The making of a poem. New York, NY: Norton.Turco, Lewis. (1986). The new book of forms. University Press of New England, Hanover, NH.World of Poets. (2011). Poetry movements. Retrieved 4 October 2011 fromhttp://www.worldofpoets.com/poetry_movement.phpYeats, W.B. (1996). The collected poems of W.B. Yeats. Finneran, R.J. (Ed.). New York, New York:Scribner.