Academic literature on the topic 'Learned poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Learned poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Learned poetry"
1
Vardell, Sylvia, and Janet Wong. "The Poetry of Science: Lessons Learned." Science and Children 60, no. 4 (2023): 11. http://dx.doi.org/10.1080/00368148.2023.12291863.
Full text
2
Hille, Almut. "Slam Poetry and Poetry Slams im Fremdsprachen- unterricht: Erleben, Analysieren, selbst Verfassen und Präsentieren." Fremdsprachen Lehren und Lernen 52, no. 1 (2023): 73–87. http://dx.doi.org/10.24053/flul-2023-0006.
Full textAbstract:
Slam poetry and poetry slams position a performative act at the forefront of the foreign language classroom, and thereby present numerous possibilities for linguistic, cultural and artistic teaching and learning. This allows for a form of applied language to be learned and experimented with that draws attention to the receptive and interpretive possibilities of the utterances as well as to the aesthetic dimensions of texts and the media of their presentation. Slam poetry in the foreign language classroom can enable immediate impressions and interactions, most typically among young slammers, and encourage closer analysis of texts, their performance, and the media involved in their performance. Slam poetry can also encourage students to create and perform their own texts. Such assignments promote basic communicative competencies as well as individual skill sets. This contribution will articulate these aspects on the basis of recent research on slam poetry and poetry slams in the foreign language classroom. It will also cover newer empirical studies of the successes of performative pedagogies, of poetic practice with spoken poems, and of learning to recite poetry in a foreign language. An example of such a praxis will show how learners can compose their own slam poetry and present their poems in (public) poetry slams that they organize themselves or in self-produced poetry videos.
3
Seo, Hyowon, and Taesoo Kim. "A Case Study of Korean Language Education Utilizing Poetry Recitation." Korean Association for Literacy 14, no. 5 (2023): 415–47. http://dx.doi.org/10.37736/kjlr.2023.10.14.5.15.
Full textAbstract:
This study aims to introduce a case of Korean language education using poetry recitation in literature and examine its educational implications. The study initially establishes that recitation and memorization have been traditional methods in foreign language education in South Korea and subsequently argues for the importance of memorization in Korean language education using literary works. Following the design of an educational program, classes were conducted from June 27th to July 25th, 2023. After completing the classes, the educational effects of using poetry recitation in Korean language education were examined among six participants who agreed to take part in the study. The educational implications of this research are as follows: Firstly, Korean language learners showed a high level of satisfaction in vocabulary, pronunciation, and intonation through the use of poetry recitation in Korean language education. Secondly, learners developed an increased interest in Korean literature and culture. Thirdly, learners experienced emotional stability and healing effects. Fourthly, learners gained confidence in learning the Korean language through this education. Lastly, participating in a ‘poetry recitation competition’ provided learners with an opportunity to showcase their abilities. This study is significant in focusing on the educational implications of poetry recitation in Korean language education using literary works. Furthermore, it differentiates itself by suggesting the potential of a new learning activity, poetry recitation, while most existing activities have been limited to imitation writing activities. Additionally, by providing real classroom examples, it offers immediate applicability in the field of Korean language education. Moreover, it extends beyond classroom education by offering opportunities for learners to apply the educational content they have learned through participation in 'poetry recitation competitions.'
4
Janeczko, Paul B. "Eight things I've learned about kids and poetry." Publishing Research Quarterly 8, no. 1 (1992): 55–63. http://dx.doi.org/10.1007/bf02680521.
Full text
5
Rizal, Sarif Syamsu. "Instructional Materials Design and Development of English Poetry Class." English Focus: Journal of English Language Education 1, no. 1 (2017): 30–31. http://dx.doi.org/10.24905/efj.v1i1.18.
Full textAbstract:
The inspiring issue to share this paper is to increase teachers’ responsibilities as more than just transferring knowledge, distributing scientific facts, and becoming a useful model for learners but teachers have to be able to design and develop learners through engaging in any learning opportunities, search out and construct meaningful educational experiences that allow them to solve real-world problems and show that they have learned big ideas, powerful skills, and habits of mind also heart that meet educational standards as being stated at ELT Today in Global Community, 2017.This paper entitles “Instructional Materials Design and Development of English Poetry Class” revealing what to prepare and what to conduct, that later on being called as Two-Whats- To-Do, in teaching English poetry. To implement it in learning process; learners are going to recognize and practice how to analyse poetry to develop intellectual skill and how to write poetry to motivate creativity skill. By achieving these skills, the learners are able to apply capabilities; those are literary research and creative writing especially on English poetry.In composing this paper, the writer used qualitative descriptive in what factors have to be prepared in teaching English poetry to learners. The result of the study describes the factors namely planning and conducting in teaching-learning process based on the Revised Bloom’s Taxonomy. To develop and implement the Two-Whats- To-Do in teaching English poetry are expected to be the objectives after finishing the process such as learners understand the importance of literary work for life, learners are interested in poetic interpreting and creative writing in all part of excitement and mystery of learning English poetry, and learners express their thoughts, ideas, questions while attempting to interpret a poem. The benefit of the paper is that the Two-Whats- To-Do in teaching English poetry can be a usefulmodel to English literature teacher, learners, devotees, observers, and translators.
6
Samanik, Samanik. "Teaching English Using Poetry: An Alternative to Implement Contextual Teaching and Learning." Journal of ELT Research 3, no. 1 (2018): 21. http://dx.doi.org/10.22236/jer_vol3issue1pp21-28.
Full textAbstract:
This paper describes poetry as an alternative to implement Contextual Teaching and Learning (CTL). CTL places learning and learning activities in a real-life context, incorporating not only what is learned but also why students should learn it. Meanwhile, poetry is chosen for its authenticity, in which, all nations have their own record on poetry. The classroom activities which involve poetry are poetry production (writing), poetry performance (reading), and poetry appreciation (speaking). By using poetry, learning processes are expected to meet the seven main components of effective learning: constructivism, questioning, inquiry, learning community, modeling, and authentic assessment. Moreover, the learning process can develop not only language skills but also critical thinking skill.
 Keywords: Contextual Teaching and Learning (CTL), poetry, components of ideal teaching and learning
7
Smith, Andrea. "Listening to Whispered Voices and Heart Melodies." Language Arts 83, no. 5 (2006): 1–5. http://dx.doi.org/10.58680/la20064899.
Full textAbstract:
This article describes a first grade study of the poetry of Langston Hughes and creation of poems reflecting the children’s dreams. It details how the project went beyond writing poetry to becoming a community building experience in which the children learned the power of sharing their dreams.
8
Dethier, Brock. "Becoming a Beginner Again." Teaching English in the Two-Year College 29, no. 3 (2002): 273–82. http://dx.doi.org/10.58680/tetyc20022008.
Full textAbstract:
Describes how a veteran writer and English teacher who only recently began writing poetry encourages others to invigorate their teaching by taking up a new writing genre. Details the lessons he has learned from poetry and passed on to his own students. Outlines six problems he encountered and presents solutions for each.
9
Dickson, Randi. "Quiet Times: Ninth Graders Teach Poetry Writing in Nursing Homes." English Journal 88, no. 5 (1999): 73–80. http://dx.doi.org/10.58680/ej1999447.
Full textAbstract:
Describes a community project (based on Kenneth Koch’s book “I Never Told Anybody”) in which students in a ninth-grade English class paired up with nursing home residents, making regular visits to encourage them to write poetry. Discusses finding a place, getting ready, working together, and what students learned about writing poetry and about life and aging.
10
Azizi, Mahmoud, Neshat Azizi, Elwira Lewandowska, Yulia Nickolaevna Gosteva, and Peter Majda. "Cultivating Critical Thinking in Literature Classroom Through Poetry." Journal of Education Culture and Society 13, no. 1 (2022): 285–98. http://dx.doi.org/10.15503/jecs2022.1.285.298.
Full textAbstract:
Aim. The development of learners' CT is considered to be one of the most important skills in today’s fast pacing world. It has also been regarded as the mainstay of and an important component of literature teaching. However, this is one of those areas that was overlooked mainly in eastern culture in general and in the EFL classrooms in particular. 
 Methods. To this end, to foster learners' critical thinking skills, a poetry program was specifically designed to draw learners’ attention towards the significance of CT. Through a case study approach, a poetry program with a focus on culture-specific information was incorporated into the course. Four female students were engaged in a number of tasks in which they gradually learned to think critically through reflecting on and evaluating the assigned poems. A checklist was generated and used to observe and rate students’ CT before and after the intervention through teacher diaries. 
 Results and conclusion. Analysis of the case study data indicated that students’ CT had improved and they developed good critical habits as a result of their involvement in the intervention. Thus, it was concluded that poetry could be regarded as a useful and effective source for developing critical thinking skills among students.
Dissertations / Theses on the topic "Learned poetry"
1
Landon, Sydney Ann. ""Sundry pithie and learned inventions" : the Paradise of Dainty Devices and sixteenth century poetic traditions /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/15485.
Full text
2
Fontaine-Weisse, Marlia E. ""Learned Gem Tactics": Exploring Value through Gemstones and Other Precious Materials in Emily Dickinson's Poetry." University of Akron / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=akron1353271001.
Full text
3
Margelidon, Cécile. "Les jeux étymologiques dans la poésie latine préclassique et classique (IIIe s. av. J.-C. -Ier s. ap. J.-C)." Electronic Thesis or Diss., Tours, 2024. http://www.theses.fr/2024TOUR2016.
Full textAbstract:
Cette thèse rassemble toute la matière des « jeux étymologiques » dans la poésie latine, depuis les débuts de la littérature latine jusqu'à l'époque augustéenne, pour analyser ces procédés poétiques tirant un effet plaisant de l'origine des mots, présents dans des genres divers (comédie et tragédie, satire, épopée, élégie…). Le travail est complété par une annexe répertoriant près de mille cinq cents jeux étymologiques dans le corpus d'étude. Dans un premier temps, une présentation synthétique permet de proposer, à partir d'exemples caractéristiques, relevés dès l'Antiquité ou décelés récemment, une typologie des jeux étymologiques, selon une gradation qui va de l'explication la plus claire à l'allusion la plus cryptée, et où l'éponymie occupe une place centrale. Ensuite, une approche historique et générique montre l'évolution et les enjeux de ces procédés dans la poésie latine, et où interviennent à divers degrés les modèles de la poésie grecque, l'influence de l'érudition hellénistique et, chez Virgile, Properce et Ovide, l'inspiration étiologique bien marquée. Enfin, la dimension du jeu dans ces procédés poétiques est examinée sous deux aspects : son rapport à trois domaines d'application spécifiques (droit romain, allégorie et philologie alexandrine) et la relation qu'il implique entre le poète et ses lecteurs<br>This thesis brings together all the material on “etymological games” in Latin poetry, from the beginnings of Latin literature to the Augustan period, to analyze these poetic devices, which draw a pleasing effect from the origin of words, present in various genres (comedy and tragedy, satire, epic, elegy...). The work is complemented by an appendix listing some fifteen hundred etymological games in the corpus studied.The first part is an overview of etymological games, based on characteristic examples from Antiquity and more recent times. The gradation ranges from the clearest explanation to the most cryptic allusion, where eponymy is playing a central role. Next, a historical and generic approach shows the evolution and significance of these devices in Latin poetry, in which the models of Greek poetry, the influence of Hellenistic erudition and, in Virgil, Propertius and Ovid, the clearly etiological inspiration, play a role to varying degrees. Finally, the dimension of play in these poetic procedures is examined from two angles: its relationship to three specific fields of application (Roman law, allegory and Alexandrian philology) and the relationship it implies between the poet and his readers
4
Törnqvist, Sara. "Speaking through poetry- Using spoken word poetry to lower speaking anxiety among Swedish EFL learners." Thesis, Örebro universitet, Institutionen för humaniora, utbildnings- och samhällsvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-76300.
Full textAbstract:
This paper presents a qualitative study investigating whether exercises inspired by spoken word poetry can be used as anxiety-lowering speaking exercises for Grade 9 students in Swedish secondary school and increase their motivation for speaking English in class. My initial hypothesis was that the students would feel less anxious to speak English in class when performing spoken word than when doing oral presentations. I also thought that the students would feel less anxious performing found poems, where the words in poems are taken from a model poem. To test my hypothesis, I conducted a lesson study consisting of three research lessons and interviews with an in-service teacher and three case students. The findings show that while some students did feel less anxious speaking English when performing spoken word poetry, most of the students’ motivation to perform was unaffected by the exercises used in the research lessons. Instead, the research showed that giving the students the opportunity to choose between writing and performing in groups or alone had the most impact on their motivation to perform. Understanding the poems was another factor with great impact on the students’ motivation to perform. These findings are discussed, and it is proposed that teachers who want to use spoken word poetry in their classroom practice should focus on accommodating their teaching practice to the students’ needs, and that more lesson time should be spent on analyzing the poems than on writing them.
5
Brown, Stanley Wayne. "Using poetry and metaphor to learn across the curriculum." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1534.
Full text
6
Mirkin, Philip Joshua. "The effect of holistic artistic devices on learner interest in Grade 9 Chemistry." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65445.
Full textAbstract:
The practice of science requires careful observation, experimentation and rational thinking accompanied by imaginative and intuitive insights to thrive in a mood of cutting edge exploration. South African Grade 9 Chemistry deals with established facts, usually devoid of artistic stimuli for capturing the imagination or awakening the intuitions of most learners. Many previous attempts to use the arts in the teaching of Chemistry are limited to the use of pictures, and less often, music and drama which are often superficial or even distracting from the real content. Most research into Science education has its focus on improving academic results with almost no research being conducted in the use of holistic, artistic devices to improve learner interest. Child-centred, holistic education indicates that the integration of rational logic with personal, intuitive knowing through story and the arts is a seed to sustained learner interest. This study used video-recorded experiments and a poem with holistic use of story, metaphor, rhythm and rhyme to characterise the behaviour of acids, bases and salts, to awaken greater learner interest. Class discussion centred on inquiry-based learning which challenged the validity of the characterisations used in the poem, completed the holistically integrated intervention. Changes in learner interest levels were determined by matched pairs in the pre-test and post-test. The research was undertaken with 222 learners from four schools in the greater Tshwane region. The results show that such holistically integrated devices, or stimuli, significantly increased learner interest through good engagement in the lesson as well as an improved perception of their grasp of the content, feelings towards Chemistry and relevance of Chemistry for their lives. As a first-of-its-kind research, further research in the use of appropriate holistic, artistic devices in Science education is recommended. Research into the longer-term use of such devices as well as the effects on learner academic results should be tested. This research indicates that teachers should consider providing a greater context and characterisation, with a broader range of stimuli, when presenting Chemistry to Grade 9 learners to allow them to relate to the experimental and academic content in a more imaginative, intuitive and personally meaningful way. The presentation of this dissertation will follow the courses of a dinner feast in the hope that the reader will be nourished holistically on multiple levels.<br>Dissertation (MEd)--University of Pretoria, 2017.<br>Humanities Education<br>MEd<br>Unrestricted
7
Jiang, Qianhong. "Development of metalinguistic abilities : young learners learning a foreign language by using poetry." Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20079/document.
Full textAbstract:
La thèse actuelle propose un modèle interactif de capacité métalinguistique, de poésie et d'apprentissage des langues étrangères. Elle vise à examiner l'influence du cours d'anglais langue étrangère basé sur la poésie sur la capacité métaphonologique des élèves, et à explorer des relations entre leur capacité métaphonologique et les facteurs d'apprentissage tels que la pédagogie des enseignants, les stratégies d'apprentissage des langues des apprenants, l'exposition linguistique à l’anglais en dehors de la classe et les commentaires des élèves sur le cours d’anglais auquel on a intégré de la poésie. Deux études de cas visent à enquêter sur le développement de la capacité métaphonologique des élèves dans le cours d’anglais avec poésie, ainsi que les relations mentionnées ci-dessus. Une combinaison de méthodes quantitatives et de méthodes qualitatives est utilisée dans cette thèse. Les résultats de la quasi-expérience indiquent que la classe d'anglais prenant appui sur la poésie facilite le développement de la capacité métaphonologique des élèves dans une certaine mesure. La théorie de Bialystok (2001, 2012), la « noticing hypothesis » de Schmidt (Schmidt, 2010) et la poétique cognitive de Tsur (2008) sont utilisées pour analyser et expliquer les résultats des tests de capacité métaphonologique<br>The present study proposes an interactive model of metalinguistic awareness, poetry and foreign language learning. It aims at examining the influence from poetry-embedded class of English as a foreign language on pupils’ phonological awareness, with considering the relations between their phonological awareness and the factors in ecological learning environment that includes teacher’s instruction, learners’ language learning strategies, linguistic exposure to English that learners receive outside of classroom, and pupils’ feedback on the poetry sequence. Two case studies are conducted to probe into the development of pupils’ phonological awareness in the context of poetry-embedment English class, as well as the relations mentioned above. A combination of quantitative methods and qualitative methods are employed in the current study. The results of quasi-experiment of phonological awareness indicate poetry-embedment English class globally facilitates the development of pupils’ phonological awareness to some extent. Bialystok’s theory (2001, 2012) Schmidt’s noticing hypothesis (Schmidt,2010), and Tsur’s cognitive poetics (2008) are employed to interpret the results of phonological awareness tests
8
Pinnock, William. ""To learn how to speak": a study of Jeremy Cronin's poetry." Thesis, Nelson Mandela Metropolitan University, 2014. http://hdl.handle.net/10948/d1021038.
Full textAbstract:
In the chapters that follow, the porous boundary between the public and the private in Jeremy Cronin’s poetry is investigated in his three collections, Inside (1983), Even the Dead: Poems, Parables and a Jeremiad (1996) and More Than a Casual Contact (2006). I argue two particular Marxist theorists are central to reading Cronin’s poetry: Bertolt Brecht, and his notion of the Verfremdungseffekt, and Walter Benjamin and his work on historical materialism, primarily the essay On the Concept of History / Theses on the Philosophy of History (1940). Both theorists focus on the work of art in a historically contextualized manner, which extends the challenge to the boundary between the public and the private. Their work is underpinned by the desire to draw out hidden narratives occluded under the grand narratives of history and capitalist ideas of progress. I argue that these are the major preoccupations in Cronin’s oeuvre as well. As such Cronin’s poetry may be seen to write against a perspective that proposes a linear conceptualisation of history. The poetry therefore challenges the notion that art speaks of ‘universal truths.’ Such ideas of History and Truth, if viewed uncritically, allow for a tendency to conceive of the past as unchanging, which subconsciously promotes the idea that social and political realities are merely logical evolutionary steps. I argue that Cronin’s poetry is thus purposefully interruptive in the way that it confronts the damaging consequences of the linear conceptualisation of history and the universal truth it promotes. His work attempts to find new ways of connection and expression through learning from South Africa’s violent past. The significance of understanding each other and the historical environment as opposed to imposing perspectives that underwrite the symbolic order requires the transformation rather than the simple transferral of power, and is a central focus throughout Cronin’s oeuvre. This position suggests that while the struggle for political freedom may be over, the necessity to rethink how South Africans relate to each other is only beginning. Chapter One will focus on positioning Cronin, the poet and public figure, in South African literature and literary criticism. In this regard, two general trends have operated as critical paradigms in the study of South African poetry, namely Formalism (or ‘prac crit’) and a Marxist inflected materialism, which have in many ways perpetuated the division between the private and the public. This has resulted in poetry being read with an exclusive focus on either one of these two aspects, overlooking the possibilities of dialogue that may take place between them. Cronin’s perspective on these polarised responses will be discussed, which will illustrate the similarity of his position to Ndebele’s notion of the ‘ordinary’ which suggests a way beyond these binaries. This will lead to a discussion of how South African poets responded to the transition phase, suggesting that the elements of the polarisation still remained. Considering the major influences and paradigms when reading Cronin’s oeuvre provides a foundation for the following three chapters. These include Cronin’s use of Romanticism, Bertolt Brecht and the V-Effekt and Walter Benjamin’s perspectives on historical materialism. In addition to these three theoretical paradigms, the relevance of Pablo Neruda’s poetry to Cronin’s work is also foregrounded. In Chapter Two, the focus will be on Cronin’s first collection of poetry, Inside, concentrating on Cronin’s use of language as a way of constructing poetry in the sparseness of the prison experience. This will show an abiding preoccupation of learning to speak in a language that considers the material context out of which it emerges. In this regard, the poems “Poem-Shrike” “Prologue” and “Cave-site” are analysed. In addition, one of the central poems in Cronin’s oeuvre, “To learn how to speak […],” will be examined in order to illustrate how the poet extends this project on a meta-poetic level, asking for South African poets to ‘learn how to speak’ in the voices of South African experience and histories. I will show how this is linked to Cronin’s “Walking on Air” which illustrates how the V-Effeckt recovers the small private histories through re-telling the life story of James Matthews, a fellow prisoner incarcerated for his anti-apartheid activism, revealing how this story is intimately connected to the public sphere. In Chapter Three, Cronin’s second collection: Even the Dead: Poems, Parables and a Jeremiad will be examined. In the poem “Three Reasons for a Mixed, Umrabulo, Round-the-Corner Poetry” Cronin resists inherited Western poetic conventions by incorporating and subverting versions of the Romantic aesthetic, arguing for poetry to be immersed in South African multi-lingual and multi-cultural experiences. “Even the Dead” reveals how Cronin uses Walter Benjamin’s perspectives on historical materialism to confront amnesia. In terms of the themes established in “To learn how to speak […]”, the poem “Moorage” demonstrates how the public and private can never be separated in Cronin’s work. The final section of this chapter will examine how Cronin responds to Pablo Neruda’s poems “I am explaining a few things” and “The Education of a Chieftain,” and how these poems challenge narratives that privilege the ‘great leader’ instead of the so-called smaller individuals’ stories. Chapter Four examines selections from Cronin’s third collection, focusing on Cronin’s use of the automobile, charting an ambiguous trajectory through the ‘new’ South Africa. The examination of the poems “Where to begin?”, “Switchback” and “End of the century - which is why wipers,” all attempt to include individuals left on the margins of the narrative of global freeways and neo-liberal capitalist progress. The poems present an interrogation of how ‘vision’ is constructed. This will show that the poetry responds to the experiences of the marginalised under these grand narratives in a primarily fragmentary and interruptive manner. This in effect constitutes the culmination of Cronin’s poetic journey and the search for new ways of envisaging South Africa’s future and finding a new language with which to speak it.
9
Zonglin, Chang. "Schemata, metaphor and literary readings : a case study of Chinese EFL learners reading poems." Thesis, University of Nottingham, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.391430.
Full text
10
Piper, Susan Nicole Whyte Alyson Isabel. "Poetry centers for the purpose of lowering inhibitions of English language learners in the constructivist English language arts classroom." Auburn, Ala, 2009. http://hdl.handle.net/10415/1833.
Full textBooks on the topic "Learned poetry"
2
F, Walsh Thomas, ed. More favourite poems we learned in school. Mercier Press, 1994.
Find full text
3
Ellis, Linda M. Simple truths of life: A collection of lessons learned. Simple Truths, 2009.
Find full text
4
James, Sharon L. Learned girls and male persuasion: Gender and reading in Roman love elegy. University of California Press, 2002.
Find full text
5
Hübner, Wolfgang. Die Dodekatropos des Manilius (MANIL.2, 856-970). Akademie der Wissenschaften und der Literatur, 1995.
Find full text
6
Muʼassasat Jāʼizat ʻAbd al-ʻAzīz Saʻūd al-Bābaṭīn lil-Ibdāʻ al-Shiʻrī. Sanawāt min al-ʻaṭāʼ al-thaqāfī, 1989-2008: Al-iṣdār al-sādis. Muʼassasat Jāʼizat ʻAbd al-ʻAzīz Saʻūd al-Bābṭīn lil-Ibdāʻ al-Shiʻrī, 2008.
Find full text
7
Whitman, Walt. When I heard the learn'd astronomer. Simon & Schuster Books for Young Readers, 2004.
Find full text
8
Cecil, Nancy Lee. For the love of language: Poetry for every learner. Peguis, 1994.
Find full text
9
Ewart, Gavin. The learnèd hippopotamus: Poems conveying useful information about animals, ordinary and extraordinary. Hutchinson, 1986.
Find full text
10
Malaspina, Elisabetta Fiocchi. L'eterno ritorno del Droit des gens di Emer de Vattel: L'impatto sulla cultura giuridica in prospettiva globale. Max Planck Institute for European Legal History, 2017.
Find full textBook chapters on the topic "Learned poetry"
1
DuBois, Thomas A. "Kalevalasta opittu (“Learned from the Kalevala”): Folk Appropriations of Lönnrot's Epic." In Finnish Folk Poetry and the Kalevala. Routledge, 2022. http://dx.doi.org/10.4324/9781315861531-5.
Full text
2
Iversen, Gunilla. "From Jubilus to Learned Exegesis: New Liturgical Poetry in Twelfth-Century Nevers." In Sapientia et eloquentia. Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.disput-eb.3.464.
Full text
3
Meyer, Marcy. "Conclusion and New Beginnings." In Iconographic Research Poetry. Springer Nature Singapore, 2024. http://dx.doi.org/10.1007/978-981-97-2375-1_5.
Full textAbstract:
AbstractIn this chapter, the author offers a summary of the book, as well as a critical discussion about the strengths and limitations of iconographic research poetry. Next, she generates directions for future research, citing digital concrete poetic forms and installation art and poetry as inspiration for future experiments in iconographic research poetry. Finally, the author initiates a self-reflexive discussion about how she has been changed by this exercise in poetic inquiry—the process of writing a book about iconographic research poetry. She encourages readers to nurture the spirit of curiosity and playfulness that is inherent in us all by developing a regular writing practice, engaging in creative writing exercises, experimenting with poetic inquiry and iconographic research poetry in their scholarship, and integrating poetry-centered exercises in their teaching. The author concludes this chapter with a list of additional resources, including videos, digital archives, museum websites, and children’s books that readers can consult to learn more about concrete and digital poetry, as well as poetic inquiry.
4
Anyango, Leonora. "Portrayals of Language Learning Through Poetry." In Advances in Religious and Cultural Studies. IGI Global, 2022. http://dx.doi.org/10.4018/978-1-6684-3738-4.ch011.
Full textAbstract:
Learning a language can be, and is, a challenging experience, but also a joyous one. Language learners talk about their journeys in multiple ways. In this chapter, the author portrays her learning of Japanese language though poetry. In her early life as a little child, she learned three languages at once. She was therefore trilingual from an early age. She, however, learned Japanese as an adult. This experience remained vivid in her life as she took the challenges and accomplished her goals. This is an autoethnographic journey of learning Japanese language, and her poetry shows that a student of language can have many paths of expressing the journey of learning a language, including poetry. In this chapter, she seeks to explore the question: How does a learner characterize the experiences of learning a language with a different culture and orthography through poetic data?
5
McDowell, Nicholas. "Cavalier Poetry." In The Oxford History of Poetry in English. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198930259.003.0034.
Full textAbstract:
Abstract ‘The Cavalier poets’ remains the short-hand phrase for those mid-seventeenth-century poets seen as central to the Caroline lyric tradition, in particular, Robert Herrick, Thomas Carew, Sir John Suckling, and Richard Lovelace. ‘Cavalier’ identifies a school of writing largely by allegiance to the royalist cause in the English Civil Wars rather than by a distinguishing literary attribute. Yet none of these four writers ever fought in the Civil Wars, and, apart from Lovelace, they wrote their poetry mostly before the wars even began. This chapter shifts the critical focus towards the recovery of the distinctive literary features of a poetic tradition shaped by a vibrant and learned engagement with European literary culture. While Carew, Suckling, Lovelace, and Herrick remain the central figures in this reconfiguring of the ‘Cavalier mode’, they are regarded from the alternative perspective of a cosmopolitan culture of poetic experimentation encouraged by continental travel and involvement in inventive literary communities, both before and after the outbreak of civil war.
6
"Songs and sonnets – popular and learned poetry." In The Cambridge Introduction to Spanish Poetry. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511606328.007.
Full text
7
Howard, Ben. "Action and Repose." In The Fire That Breaks. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.003.0004.
Full textAbstract:
Elizabeth Bishop, who believed poetry should communicate through action rather than stasis, learned this dynamism from Gerard Manley Hopkins. From “Dear Hopkins,” as she called him, Bishop learned about rhythmic variation and verbal energy, and these informed her own belief that poetry should give the impression of a mind thinking rather than of conveying settled thought. Bishop first developed these ideas in an undergraduate paper she wrote about Hopkins, which formed the foundation of her own poetic philosophy and also refined her poetic sensibilities. Like Hopkins, Bishop was also drawn to Ignatius of Loyola’s Spiritual Exercises as a means to self, and poetic, discipline, and her mature poems continue to echo her earliest poetic mentor.
8
Sistakou, Evina. "Mythography in Alexandrian Verse." In The Oxford Handbook of Greek and Roman Mythography. Oxford University Press, 2022. http://dx.doi.org/10.1093/oxfordhb/9780190648312.013.7.
Full textAbstract:
Abstract The chapter explores how the Alexandrian learned poets worked mythography into poetic form. This cultural and aesthetic trend is exemplified by catalog poems with mythological content, usually arranged around a common theme (e.g., metamorphosis, catasterism, or love). Mythography, stemming from archaic and classical poetic and prose sources, found its way into Alexandrian poetry in various ways. The emblematic Aetia by Callimachus, the blending of mythological cycles in Apollonius’s Argonautica, and the mythological enigmas in Lycophron’s Alexandra clearly reflect the aesthetics of collecting and rewriting rare, curious, or obscure stories as avant-garde poetry. Historical and literary sources exploited by the scholar-poets, principles of collection and arrangement, the authority of the collector-narrator, the fragmentation of mythological narratives and the aesthetics of mythography in poetic form are among the issues addressed.
9
Lindow, John. "Old Norse Mythology and Learned Medieval Speculation." In Old Norse Mythology. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190852252.003.0004.
Full textAbstract:
This chapter argues that the myths survived the conversion to Christianity primarily because of two medieval intellectual theories, demonization (the gods had just been minions of Satan) and euhemerism (the gods had originally been actual human beings whom later generations had come to venerate, thus making them into historical figures acting in a “learned prehistory”). I trace the operation of these notions, especially the latter, in the Gesta Danorum of Saxo Grammaticus and the Edda of Snorri Sturluson. In addition, I consider other factors that might have helped the myths to survive: their entertainment value; ties to artefacts and the physical landscape; their value as intellectual paradigms; and especially their value in enabling scholars and poets to understand the tropes of the older poetry.
10
Zeitlin, Steve. "Kindred Spirits." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0002.
Full textAbstract:
In this chapter, the author shares the wisdom and wit of some extraordinary people, the “kindred spirits,” as well as the lessons he has learned from each of them, such as Tony Butler, who made his home in the tunnels of the New York City subway; the photographer Margaret Morton, who took pictures of the structures where many homeless people live in the tunnels and under the bridges of Manhattan; Ethel Mohamed, a seamstress who began to embroider her memories after the death of her Lebanese husband; Moishe Sacks, a retired baker and the unofficial rabbi of the Intervale Jewish Center in the South Bronx; Kewulay Kamara, from whom he learned about how an ancient mythology can shape a way of life far from its indigenous roots; former medicine show doc Fred Bloodgood; the young subway graffiti writer Skeme; and Mae Noell, from whom he learned about publishing, finding your voice, and sticking to your guns. The author concludes by recounting some wonderful expressions he has picked up from his travels.
Conference papers on the topic "Learned poetry"
1
Hackett, Jennifer. "Compositional computational constructive critique: or, how my computer learned to appreciate poetry." In ICFP '18: 23nd ACM SIGPLAN International Conference on Functional Programming. ACM, 2018. http://dx.doi.org/10.1145/3242903.3242904.
Full text
2
Yang, Xiaopeng, Xiaowen Lin, Shunda Suo, and Ming Li. "Generating Thematic Chinese Poetry using Conditional Variational Autoencoders with Hybrid Decoders." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/631.
Full textAbstract:
Computer poetry generation is our first step towards computer writing. Writing must have a theme. The current approaches of using sequence-to-sequence models with attention often produce non-thematic poems. We present a novel conditional variational autoencoder with a hybrid decoder adding the deconvolutional neural networks to the general recurrent neural networks to fully learn topic information via latent variables. This approach significantly improves the relevance of the generated poems by representing each line of the poem not only in a context-sensitive manner but also in a holistic way that is highly related to the given keyword and the learned topic. A proposed augmented word2vec model further improves the rhythm and symmetry. Tests show that the generated poems by our approach are mostly satisfying with regulated rules and consistent themes, and 73.42% of them receive an Overall score no less than 3 (the highest score is 5).
3
Toichkina, Alexandra V. "KULISH AND BYRON (TO THE HISTORY OF DON JUAN’S TRANSLATIONS INTO UKRAINIAN)." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.19.
Full textAbstract:
Translations of Byron’s works occupy a special place in the work of P. A. Kulish (1819– 1897). They can be divided into three parts: nine poems included in the poetry collection Borrowed kobza; Don Juan, first canto; Childe Harold’s Pilgrimage. As far as we know, Kulish was the first to attempt to translate Byron’s last, unfinished poem into Ukrainian. He chose not the “learned” type of translation, but “rehash”, which allowed more free experimentation in the field of vocabulary and rhythm. The edition was published as a separate reprint in 1891. Kulish saw his task in providing a translation of Byron’s poem Don Juan to help the younger generation of Ukrainians as a kind of textbook of life, as a means of protecting oneself from spiritual passions, from human egoism. In addition, the translation of the poem was important for Kulish in terms of developing a lyrical narrative style, which he applied in his last poem Kulish in Hell. Byron developed his own style of narration and used a confidential tone in the poem, referring to the direct experience of the reader. Kulish’s translation into Ukrainian of such a complex and rich work in terms of vocabulary, intonation, and rhyme was a rather difficult experiment. This translation is important both for the study of the creativity of Kulish and the processes of formation of the Ukrainian literary language and Ukrainian poetry. Refs 10.
4
Peng, Nanyun (Violet). "Controllable Text Generation for Open-Domain Creativity and Fairness." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/818.
Full textAbstract:
Recent advances in large pre-trained language models have demonstrated strong results in generating natural languages and significantly improved performances for many natural language generation (NLG) applications such as machine translation and text summarization. However, when the generation tasks are more open-ended and the content is under-specified, existing techniques struggle to generate long-term coherent and creative content. Moreover, the models exhibit and even amplify social biases that are learned from the training corpora. This happens because the generation models are trained to capture the surface patterns (i.e. sequences of words), instead of capturing underlying semantics and discourse structures, as well as background knowledge including social norms. In this paper, I introduce our recent works on controllable text generation to enhance the creativity and fairness of language generation models. We explore hierarchical generation and constrained decoding, with applications to creative language generation including story, poetry, and figurative languages, and bias mitigation for generation models.
5
Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.
Full textAbstract:
"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."
6
Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.
Full textAbstract:
Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
7
Rizal, Sarif Syamsu. "Alternative Development and Implementation Of Teaching English Poetry to Young Learners." In The 2nd International Conference 2017 on Teaching English for Young Learners (TEYLIN). Badan Penerbit Universitas Muria Kudus, 2017. http://dx.doi.org/10.24176/03.3201.21.
Full text
8
Yi, Xiaoyuan, Maosong Sun, Ruoyu Li, and Zonghan Yang. "Chinese Poetry Generation with a Working Memory Model." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/633.
Full textAbstract:
As an exquisite and concise literary form, poetry is a gem of human culture. Automatic poetry generation is an essential step towards computer creativity. In recent years, several neural models have been designed for this task. However, among lines of a whole poem, the coherence in meaning and topics still remains a big challenge. In this paper, inspired by the theoretical concept in cognitive psychology, we propose a novel Working Memory model for poetry generation. Different from previous methods, our model explicitly maintains topics and informative limited history in a neural memory. During the generation process, our model reads the most relevant parts from memory slots to generate the current line. After each line is generated, it writes the most salient parts of the previous line into memory slots. By dynamic manipulation of the memory, our model keeps a coherent information flow and learns to express each topic flexibly and naturally. We experiment on three different genres of Chinese poetry: quatrain, iambic and chinoiserie lyric. Both automatic and human evaluation results show that our model outperforms current state-of-the-art methods.
9
Kerr, Vicki. "Performing nature unnaturally: Musique concrète and the performance of knowledge - one seabird at a time." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.129.
Full textAbstract:
Migratory seabirds are an unseen conduit between marine and terrestrial systems, carrying the nutrients they consume at sea into the forests where they breed. Acting as environmental sentinels, their health and reproductive success provide early warning signals of deteriorating marine eco-systems as the climate changes, and fish stocks decrease. Aotearoa New Zealand is the seabird capital of the world, with ~25% of all species breeding here and ~10% exclusively so. They play a critical role in maintaining healthy ecosystems, with their long-term well-being is closely interconnected with our own prospects for a sustainable future. Now predominantly restricted to off-shore islands due to predation and habitat destruction, seabirds and their familiar sounds have become less available in an age when the unprecedented global movement and planetary spread of the human population has culminated in unsustainable fishing, predators and habitat destruction. Inspiring mythology, song, poetry and stories, birds have been significant in shaping our understanding of how our natural environment has come to be known and understood. This paper speculates upon how we learn to communicate and cooperate with these precious taonga, and what might be learned from such an exchange through creative practice. Reflecting upon what birds might tell us, musician Matthew Bannister and I, a visual artist, have taken our cue from seabirds sharing our local environment on the west coast of Aotearoa - from the petrel (peera) through to the gannet (tākapu). Working on the premise that bird vocalisation is a performed negotiation that includes defence of territory and mate attraction, a bird’s call is a form of communication that effectively says “Come here” or “Go away”, which arguably is true of music – marking a social space and time to invite or repel. Rather than limiting bird calls to functionalist categories of explanation, we ask whether seabirds can communicate and exchange information about environmental changes using a malleable vocabulary, comprised of unique acoustic units arranged and re-arranged sequentially for greater communicative depth. Granting a high level of agency and creativity to birds as opposed to believing a bird only avails itself of stereotyped ‘speech’ to survive an accident-rich environment, places greater importance on responses that are improvised directly upon environmental stimuli as irritant rather than as a signal. Matthew explores bird calls via musique concrète, sampling recordings of seabirds to abstract the musical values of bird song conventions – a human response to the ‘other’ in jointly formed compositions, reflecting a living evolving relationship between composer and bird. In further developing our research into a multimedia artwork, I shall extend a technique used for electroacoustic composition (granular synthesis) to video portraits of composer/performer and bird. In applying granular synthesis techniques to video, tiny units of image and sampled sound are reassembled within the frames. Through the mixing of existing synthesised sequences, performer/composer and bird become active participants in the making and remaking of a shared environment, articulating the limits of space/territory to find new ways to be heard within it.
10
Dos Reis, Jorge. "Computer mimetics in visible performance: the late work of the Portuguese experimental poet Ernesto Melo e Castro." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.
Full textAbstract:
Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.
Reports on the topic "Learned poetry"
1
Hotsur, Oksana, та Anastasiia Bila. Епістолярна спадщина Олени Теліги як виразник творчої особистості. Ivan Franko National University of Lviv, 2023. http://dx.doi.org/10.30970/vjo.2023.52-53.11723.
Full textAbstract:
The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.