NewSmsPunch | Latest Sms Collection | Send Free Sms All Around The World Online Without Registration | New Jokes | Funny Messages | Sms Hindi | Urdu Sms | Love Sms | Love Sms in English | Bangali Sms | Sms Pathan | Poetry Sms

Showing posts with label interpretation. Show all posts

2019 Post #21 -- History Written By the Victors

by Mike Melie

Before students read the poem "Enlightenment" by Natasha Tretheway, have students consider and discuss the following quote from Winston Churchill: “History is written by the victors.”

What does Churchill mean? How has America been a “victor” throughout its history - who has it defeated? What would America’s history look like if its history was told from the point of view of one of the groups that it had “defeated”?

After reading the poem, discuss the title: What is the “enlightenment” referred to in the title? Who is enlightened during the course of this poem, and what is the nature of his/her enlightenment?

Next, choose one or more elements of the poem to explore with greater depth.

Paradox: A paradox is a joining of two things that are seemingly impossible to connect together, which forms a contradiction. Example: “I can resist anything but temptation” -Oscar Wilde OR “All [men] are equal, but some are more equal than others” -George Orwell. What examples of paradox or contradiction do you see in this poem? What is the author’s purpose in including these seeming impossibilities?

Analysis: The speaker states, “For years we debated the distance between word and deed...as if to prove a man’s pursuit of knowledge is greater than his shortcomings, the limits of his vision.” Compare Jefferson to the speaker’s father. What were their “pursuits of knowledge”? What were their “shortcomings”? Does one outweigh the other, and is it fair to judge someone’s legacy in these terms?

Tone: Briefly research Sally Hemings here and here. Consider the speaker’s tone (attitude towards the subject matter) when discussing Hemings in the poem. How would you describe this tone? How would you describe the father’s probable tone when discussing Hemings? Support your answers with evidence from the text.

As a closing activity, ask students to reflect on the poem and to apply Churchill’s quote above. As a “victor” in American history, how is Jefferson traditionally portrayed in elementary and high school history classes? After researching more about Sally Hemings, does her story change your view of Jefferson’s accomplishments? Why or why not?

For a post using another one of Natasha Tretheway's poems, click here.

Further Reading:

Mike Melie is an English Teacher and Instructional Coach at Downers Grove North High School in Downers Grove, IL. He is one half of the Trojan Poetry web series with his friend and colleague, John Waite, in which they make poetry accessible for students through conversation (and laughter). You can find Trojan Poetry on YouTube and Twitter; you can also follow Mike’s blog on equity issues here and contact him at mmelie@csd99.org.

2019 Post #16 -- A New Lens for The Sonnet

by Carol Jago

Teaching the sonnet is a ubiquitous (and too often tedious) poetry lesson focusing on accented syllables and rhyme schemes. Most of us begin with Shakespeare. The next time around, consider starting instead with Terrance Hayes’ “American Sonnet for My Once and Future Assassin.”

In this sonnet Hayes reflects upon the structure and purpose of the form (much as Billy Collins does in his poem “Sonnet.”)

Before handing out copies of the poem, have students listen to the audio recording of the poet reading his sonnet.

1. Draw students’ attention to Hayes’ reference to Jim Crow as “gym and crow.”

2. Give students their own copy of the sonnet and ask them to read it and choose a line that struck them for whatever reason.

3. Have students share the line they chose with a partner explaining why it stood out, puzzled, or otherwise interested them.

4. Read the poem once more to the class.

5. Discuss: Where has Terrance Hayes conformed to the “rules” of the sonnet form? Where has he broken those rules for greater artistic expression, calling the form “part prison / Part panic closet”?

6. What do you think the “beautiful catharsis” entails? Who or what is changing?

Now read one of Shakespeare’s sonnets.

Further Reading:

Carol Jago has taught middle and high school in Santa Monica, CA for many years and served as president of the National Council of Teachers of English. Her latest publication, The Book in Question: Why and How Reading Is in Crisis is now available from Heinemann (2019).

2019 Post #12 -- The Mask

by Trevor Aleo

In a time where our students spend years crafting curated versions of themselves on social media, Paul Laurence Dunbar’s “We Wear the Mask” provides a context to discuss the growing dissonance between our inward and outward facing selves. Though the poem was originally meant to convey the double consciousness originally articulated by W.E.B. DuBois (and re-examined in Jordan Peele’s “Get Out”), the idea of hiding pain behind a veneer of happiness is an increasingly relatable one in our social media driven world. Though the symbol of the mask may not be a subtle one, Dunbar’s sing-song iambic tetrameter, spiritual allusions, and chilling refrain convey the inescapable universality of “the mask.”

After reading the poem, ask students why Dunbar believes people wear masks. Then, ask them which ones they wear and why. Does the anonymity that masks provide empower or isolate us? If we know we’re all in pain, why do we continue to hide it from each other?

To start engaging in some learning transfer fun, ask students to write out three situations in which people “wear masks” to hide their true feelings. Then, ask them to start looking for similarities and differences in each example. What do they notice? What are some emergent patterns that occur across all three examples? Based on the inferences they’ve made about masks, ask them to articulate the relationship between one or more of the following concepts: power, isolation, identity, fear, acceptance, empathy, and anonymity. For example, a group might note that “Anonymity helps people feel powerful and allows them to overcome fear,”

To test the mettle of their statement of conceptual relationship, ask them to provide an additional context that proves their statement to be true. In the group example stated above, students might cite Jack’s evolution once he put on the face paint in Lord of the Flies.

Further Reading:

Trevor Aleo is an English teacher in the DC suburbs. He has a passion for instructional innovation, finding the intersection of pop culture and pedagogy, and incessantly asking his students “Why?” You can find him pontificating on the state of American culture and education on Twitter @MrAleoSays.

2019 Post #1 -- Deleted Scenes from "Famous"

by Brett Vogelsinger

Welcome back teachers, poets, writers, and students to our first post of the 2019 National Poetry Month season! Subscribe now via email so you can catch every post and add new selections to your repertoire of poems to share with students. On this site, you will also find engaging methods, questions, and media to provoke powerful thinking in your classroom.

Naomi Shihab Nye is a familiar name to many teachers who share poetry in their classrooms. Her poems are accessible and profound. They balance provocative, relevant commentary on our world with a sense of joy and possibility that children need to hear in their reading at school.

Her poem "Famous" is one of her best-known poems, but the title is slyly misleading. Instead of celebrating fame in the red-carpet sense of the word, it turns an eye on commonplace things "like a pulley . . . or a buttonhole . . . because it never forgot what it could do."

After reading the poem with students, discuss this question: "What is she doing here with the title and the concept of fame?" Then, in their notebooks, invite students to create an imaginary"deleted scene" from this poem that fits the spirit of the original. They might begin with her refrain "The _______ is famous to the ________" to shine a light on a different sort of fame. The opening lines of the last two stanzas also work well for this prompt: "I want to be famous to _______" or "I want to be famous in the way ________." My students wrote about the "fame" of jeeps, staples, touchscreens, pen caps, and tree trunks in their notebooks, to name a few.

When you visit the link to today's poem, be sure to watch the film adaptation of Nye's poem at the bottom fo the page. The creative pairing of video imagery with lines from the poem could spark a discussion all of its own. In a later post, we will look at another video from the Poetry Foundation's Poem Movie collection.

Further Reading:

Brett Vogelsinger is a ninth-grade English teacher at Holicong Middle School in Bucks County, PA. He has been starting class with a poem each day for the past six years and is the creator of the Go Poems blog to share poetry reading and writing ideas with teachers around the world. Find him on Twitter @theVogelman.

2018 Poem #27 -- Over Our Heads On Purpose

by Brett Vogelsinger

Teens have an complicated relationship with poetry. On one hand, we have some students pouring their hearts out in private, personal journals or publicly alongside the Instapoets without even an invitation from a teacher; on the other hand, we have students who perceive the genre as pretentious and irrelevant, who roll their eyes the first time a teacher mentions the word "poem." How do we bridge that gap and invite students from both ends of this spectrum to learn something new with us?

One trick is finding a poem with just the right level of challenge.

As teachers we are sometimes told to "pitch it where they can hit it," encouraged to give students reading and materials that allow them to experience success. We are also told to "scaffold" so that students can grasp challenging texts and tasks as we gradually reduce our level of intervention and support.

Students can also benefit by pitching a poem where they cannot hit it yet, as long as the poem is a brief one. We can then challenge them to join us in building a scaffold.

One such poem is "Landscape" by Robin Coste Lewis. The poem is approachable in that it is short and none of the words are, in isolation, unfamiliar or intimidating. The poem itself, however, is not completely understandable on the first read. Invite students to ask questions of the poem and determine how they might unlock more meaning.

For example, one of the first questions that arises with this poem for me and my students: Who or what is "Mamere?' Why the references to borders and fires? Is this a poem about an individual or history or a conflict? How might the copyright date of 2018 be significant? How might we find answers to these questions?

We talk about how we might research the meaning of "Mamere" and how the poet's background and biography might influence our reading of the poem. How might we connect this to something else we have read? How can we reach the poet to ask a question? Where is the poet being intentionally ambiguous? Where does she want us to be a little confused?

I will not share my own interpretation or research on the poem here. I invite you instead to explore it with your students and model with your students what it looks like to be a little bemused and perplexed in your reading and the joy of finding your way out of a more challenging poem. Both the natural poets and the skeptics may find this approach engaging in your classroom, especially when your own

2018 Poem #20 -- Pairing Poems

by Michelle Ambrosini

When I have paired a poem with another poem or with an image, my seventh grade students have shared prolific responses. Pairing “Always” and “Hope is the thing with feathers” allows students to enter the discussion of a big idea using both modern and classic text. By inviting students to sketch Dickinson’s “thing with feathers,” I ask students to make meaning through drawing as well as discussion.

Always

There will always be the waves

rushing in, tumbling out;

the moon, the fog, the orange

of the morning sun.

Sadness is not forever.

But let hope be.

Let it sit by seaside towns,

drift among villages,

wander in cities. Let it linger

in schools and shipyards

and factories.

Let it call to you with the scent

of cinnamon, the taste of mint,

the faraway chant, the chime

of the clock.

There will always be the babble

of streams, birdsong,

the whisper of wind.

Sadness is not forever.

But let hope be.

Rebecca Kai Dotlich

Hope is the thing with feathers

Hope is the thing with feathers -
That perches in the soul -
And sings the tune without the words -
And never stops - at all -

And sweetest - in the Gale - is heard -
And sore must be the storm -
That could abash the little Bird
That kept so many warm -

I’ve heard it in the chillest land -
And on the strangest Sea -
Yet - never - in Extremity,
It asked a crumb - of me.

Emily Dickinson

First, students read aloud “Always” by Rebecca Kai Dotlich in pairs -- alternating stanzas or one as the first reader. (I have not yet shared Emily Dickinson’s poem “Hope is the thing with feathers”.) The first question I ask is “What do you notice?”

Students turn and talk and then we share our observations as a whole group.

Students notice the poet’s use of repetition of words: the first and fourth stanzas end with “Sadness is not forever. But let hope be.” They notice the pattern the poet employs in various lines. “There will always be …” starts the first and fourth stanzas. “Let it …” is repeated in the second and third stanzas. Another pattern students notice is the listing of three words or phrases: “the moon, the fog, the orange”; “sit by seaside towns, drift among villages, wander in cities”; “schools and shipyards and factories”; "babble of streams, birdsong, the whisper of wind”. The rhythm the poet creates using repetition demonstrates how rhyming is not needed to create poetry’s mellifluous sounds.

Next, we discuss the poem’s message. If students need prompting, I ask them to consider the title and the repetition. Thanks to the repetition of the final lines of the first and fourth stanzas, students recognize that the poet is contrasting sadness from hope, urging readers to stay hopeful. When students consider the title, they connect this message to the poet’s imploring that remaining hopeful happen “always.” Moreover, as the second and third stanzas describe, staying hopeful happens everywhere and in everything--“by seaside towns... among villages...in cities...schools and shipyards and factories” and “with the scent of cinnamon, the taste of mint, the faraway chant, the chime of the clock.”

Now, I share Dickinson’s ““Hope is the thing with feathers.” Students read it aloud in pairs. Again, I ask students to point out what they notice. Given our recent discussion of Dotlich’s poem, students focus primarily on Dickinson’s metaphor for hope: “the thing with feathers.” They point out the lines that extend the metaphor: “perches,” “sings the tune,” “never stops,” “sweetest… That kept so many warm.” Then, I purposely ask students to sketch a bird in the margins of their paper, thinking about the parallels between a bird and hope as Dickinson describes.

The conversation grows to encompass Dickinson’s message about hope. Students notice the connections between Dotlich’s and Dickinson’s messages. Both promote the beauty of hope and highlight its ubiquity. I introduce the words ubiquity and ubiquitous because both poets show the sentiment that hope is ubiquitous. Dotlich shows this through repetition and pattern and Dickinson shows this through the extended metaphor. Students notice slight differences between the poets’ messages, too. While Dotlich urges readers to remain hopeful despite sadness as “advice” (according to one student), Dickinson “testifies” (again, a student’s observation) that hope is pervasive--in the “chillest land” and “strangest Sea.”

Since students have recently read Pandora’s Box during the Greek mythology unit, they draw connections to the ancient Greeks’ story and how hope remains in the box despite the release of all the world’s evils. We had discussed Greek myths as ancient people’s way of making sense of circumstances they did not understand. Both Dotlich and Dickinson share their understanding of hope in their poems. During a quick write session, I ask students to write about hope--a sketch, a poem, a memory. Students respond in a variety of ways--describing a time they felt hopeful or hopeless, drawing their own metaphor for hope, creating a character who brims with hope.

2018 Poem #6 -- Our Many Worlds

by Rama Janamanchi

One of my favorite poems to teach is Joseph Legaspi’s “Amphibians.”It is a short poem which offers so many avenues for discussion and teaching that we often reference it as we go through our unit. The activity I am sharing below is one that I use when I introduce the poem.

We begin with reading the poem. Each student reads a line until punctuation indicates a significant stop (the period, the semi-colon, or colon). Then we read the poem again chorally. Once we are done with the choral reading, I ask them to list amphibians they know and picture those amphibians, their habitats, and whatever else they know about them.

The students then write down their own habitats: Where do you live? Then they list one activity they most closely identify with. Then we go into identity more broadly. Once they have listed about five or six words they use to identify themselves, we talk about similarities in the room. We begin with activity: all the basketball players stand together, all the gamers gather together and so on. Then they find them moving around the room and shifting groups based on race, hobbies, being the eldest, being adopted and so on. As they position themselves into different groups, they note the people with whom they share these groups.

Once the activity is done (about 7 minutes), we talk about Legaspi’s line: “Immigrants give birth to Americans.” Our many identities converge into the shared experience of the activity, of being students, of being learners. At the close of the activity, we read the poem again. I usually then ask them to reflect on the poem in their journals to give them more time with the poem.

Further Reading:

Rama Janamanchi teaches at a private high school for students with language-based learning differences. Twitter: @MsJanamanchi410

Sms Cattegories

Hindi Shayari

Comments

NewSmsPunch Chat Room