Other cultures poetry essays

Even earlier, the beat poets of the s sometimes employed drums in their readings. Watch this video on YouTube Some of the most famous historical poems have been turned into movies or inspired episodes of television shows. Beowulf , for example, is an Anglo-Saxon epic poem that has spawned at least 8 film adaptations, most recently a animated film starring Angelina Jolie and Anthony Hopkins.

Nearly all poems are written in verse — that is, they have line breaks and meter rhythm. But verse is also used in other areas of literature. Their dialogue is separated into rhythmic lines just like a song, but they are supposed to be speaking normally. Beowulf — Trailer. List of Terms Action. Ad Hominem. Alter Ego. APA Citation. Comic Relief.

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Deus ex machina. Double Entendre. Dramatic irony. Extended Metaphor. Fairy Tale. Figures of Speech. Boston : Heinle , — McGovern , J. Understanding poetry. Language Awareness 2. McLemee , S. Americans found to read less literature than ever. The Chronicle of Higher Education Melin , C. German poetry in transition — Foreign languages and higher education: New structures for a changed world. Profession , — Moore , J.

Practicing poetry: Teaching to learn and learning to teach.

Compare contrast poetry from different cultures by cooksley | Teaching Resources

The English Journal Nicholls , D. Introduction to scholarship in modern languages and literatures 3rd edn. Paesani , K. Literary texts and grammar instruction: Revisiting the inductive presentation. Paran , A. Literature in language teaching and learning. The role of literature in instructed foreign language learning and teaching: An evidence-based survey.

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Peskin , J. Constructing meaning when reading poetry: An expert-novice study. Cognition and Instruction Rhetorical and aesthetic form: poetry as textual art. In Astington , J.

Official site for poet and critic Dana Gioia

Oxford : Blackwell , 80 — Reinartz T. Tech Trends Rosenblatt , L. The reader, the text, the poem: The transactional theory of the literary work. Rosenkjar , P. Learning and teaching how a poem means: Literary stylistics for EFL undergraduates and languages teachers in Japan. Schneider , E. Linguistic intervention techniques for at-risk English language learners. Short , M. Exploring the language of poems, plays and prose. London : Longman.

Simpson , P. Language through literature: An introduction. Spinner , K. Umgang mit Lyrik in der Sekundarstufe I. Spiro , J. Creative poetry writing. Crossing the bridge from appreciative reader to reflective writer: The assessment of creative process. In Paran , A.

Clevedon : Multilingual Matters , — Stewart , S. Poetry and the fate of the senses. Chicago : University of Chicago Press. Swaffar , J.

Remapping the foreign language curriculum. Thalmayr , A.



Lyrik nervt! University of Portsmouth Tonguefreed: Creative writing in a foreign language. University of Portsmouth. Walther , I. Ecological perspectives on language and literacy: Implications for foreign language instruction at the collegiate level. ADFL Bulletin Widdowson , H.

The poem goes from being a static object to being an action. The poem of the mind has to be alternative and listening; it is experimental. The poem resists and refuses transcendentalism , but remains within the conceptual limits of the mind and the poem. With the publication of The Waste Land , modernist poetry appeared to have made a breakthrough into wider critical discourse and a broader readership. However, the economic collapse of the late s and early s had a serious negative impact on the new writing. For American writers, living in Europe became more difficult as their incomes lost a great deal of their relative value.

While Gertrude Stein , Barney and Joyce remained in the French city, much of the scene they had presided over scattered. Pound was in Italy, Eliot in London, H. The economic depression, combined with the impact of the Spanish Civil War , also saw the emergence, in the Britain of the s, of a more overtly political poetry, as represented by such writers as W. Auden and Stephen Spender.

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  • Although nominally admirers of Eliot, these poets tended towards a poetry of radical content but formal conservativeness. For example, they rarely wrote free verse, preferring rhyme and regular stanza patterns in much of their work. Consequently, modernism in English remained in the role of an avant garde movement, depending on little presses and magazines and a small but dedicated readership.

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    Thanks to his influence, Zukofsky was asked to edit a special Objectivist issue of the Chicago-based journal Poetry in to launch the group. The basic tenets of Objectivist poetics were to treat the poem as an object and to emphasise sincerity, intelligence, and the poet's ability to look clearly at the world, and in this they can be viewed as direct descendants of the Imagists. Continuing a tradition established in Paris, Zukofsky, Reznikoff, and Oppen went on to form the Objectivist Press to publish books by themselves and by Williams.

    In his later work, Zukofsky developed his view of the poem as object to include experimenting with mathematical models for creating poems, producing effects similar to the creation of a Bach fugue or a piece of serial music.