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UNIT 11
UNIT 11 READING ASSIGNMENT
Read in Butler the fable "The Dog and the Shadow" found on pp. 192 and the eight folk rhymes found on pp. 193-194
UNIT 11 LECTURE
Poetry
Definition of Poetry
...the effective combination of sound and sense
...concrete and artistic expression in emotional and rhythmical language
...invention by producing something unexpected, surprises and delights
...a momentary stay against confusion...an arrest of disorder [Robert Frost]
Effects of Poetry
X. J. and Dorothy M. Kennedy:
- makes us laugh (nonsense poems to poems of comedy)
- tell us stories (set scenes, establish characters, convey plots)
- send us messages (points, ideas)
- share feelings with us (from the poet)
- start us wondering (see things in new ways, stretch our imaginations)
On children
- musical rhythm is felt and yields movement
Poetry as a set of tools
- External form* (the stanza)
- Internal sound and imagery
Form* of Poetry
Narrative poetry (a story in verse)
- Ballad
- straightforward; easy to understand; frequently tragic and plaintive setting, character, events with a climax; beginning, middle, end character motivation and possibly character development; underlying theme typically follows a four-line scheme with second and fourth lines rhyming
- Epic poems (The Iliad, The Song of Hiawatha, The Highwayman
Lyric poetry (describes a feeling; intellectual or emotional response to a subject; usually focus on one experience; are usually brief; depend heavily on musical and rhythmical qualities)
- Haiku
- 17 syllables divided into three lines; usually about nature or people's relationship to nature; uses metaphor to look at an ordinary event in a new, imaginative way; Japanese
- Cinquain
- five-line stanza of 2, 4, 6, 8, 2 syllables respectively; medieval origin (5 lines)
- Concrete poetry
- words arranged to form a pictorial representation of the subject of the poem
- Limerick
- six-line humorous poem; first, second, and fifth lines rhyming; and the third and fourth rhyming [AABBA]
- Free verse
- no pre-set rules; may hve rhyming and rhythmical pattern; 20th century
Language of Poetry
...uses strong, vigorous words or evocative, rich words or delicate, precise words that define with accuracy
- Imagery (mental pictures created by the words)
- Direct images--visual (sight), tactile (touch) auditory (sound), olfactory (smell),
gustatory (taste)
- Indirect images--simile (like or as comparison), metaphor (implied or is a
comparison), personification (gives life qualities to inanimate objects, idea, forces
of nature; metaphorical by nature)
- Sound
- Rhythm (pattern of stressed and unstressed syllables in a poem; called meter;
smallest unit called a foot)
- Iamb (two syllables with the emphasis on the second)
- Trochee (two syllables with emphasis on the first)
- Anapest (three syllables with emphasis on the last)
- Dactyl (three syllables with emphasis on the first)
- Rhyme (similarity of sound between two or more words)
- Alliteration--repetition of initial sounds in two or more words
- Assonance--repetition of identical vowel sounds
- Consonance--repetition of consonant sounds within words
POETRY INDEXES
Granger's Index to poetry (also Index to poetry)
[indexes anthologies by first line and title of poems]
SCSU Reference PN1022.G8
The Columbia Granger's index to poetry
[indexes anthologies by first line and title of poems]
SCSU Reference PN1022.H39
Last lines : an index to the last lines of poetry
SCSU Reference PN1022.K55
Master index to poetry: an index to poetry in anthologies & collections
SCSU Reference PN1022 .M37
Spoken poetry on records and tapes: an index of currently available recordings
SCSU Reference Z674.A75
Subject index to poetry; a guide for adult readers
SCSU Reference PN1021.B7
CHILDRENS POETRY INDEXES
Subject index to poetry for children and young people.
SCSU Reference PN1023.A5
Children's poetry index
[indexes anthologies by first line, subject, author, and title of poems]
SCSU Reference PN1023.M25
Index to children's poetry
[indexes anthologies of poems for children and youth by first line, subject, author, and title of poems]
SCSU Reference PN1023.B7
Index to poetry for children and young people
[indexes anthologies of poems for children and young people by first line, subject, author, and title of poems]
SCSU Reference PN1023.B723
UNIT 11 QUIZ ON LECTURE
After reading and reviewing the Unit 11 lecture, please take the quiz in WebCT (SCSU Vista)
UNIT 11 WRITING ASSIGNMENT
Read "Achebe's 'The Flute'" (Butler, pp. 248-251). Summarize, in 10 lines or less, the steps Whelchel tells us Achebe uses to translate folktales from their native language into another (Type 2 writing). Post your writing to the appropriate thread.
HEADS UP:
DUE IN UNITS 13 and 14 (but start on this today)
Type Three/Four:
Masks and Shadows
1. Assignment:
Now that we have finished reading an essay on masks and shadows in children's stories as well as a number of rhymes and stories, your job is to put the information you have to use. This assignment requires you to imagine yourself as a storyteller. Your assignment is to write a 350 to 500 word narration of a children's story (from Butler), explaining what we can discover about masks and shadows from the tale. A local public library has asked you speak during an adult story hour at which the chosen story will be retold. The librarian has reminded you that the purpose of the talk is to give adults solid examples they can understand; therefore, you must utilize examples and language familiar to a general group.
2. Purpose:
Narrative. You are to write clearly, providing examples that will help a general audience, aged 14 and over, to understand how we can discover unstated information (masks and shadows) from between the lines of a tale.
3. The Writer:
You will be writing as if you were a storyteller, explaining the story you have chosen.
4. Audience:
Local patrons, ages 14 and up, at a public library.
5. Form:
Imagination/Narrative (main intent is to tell a story), 350-500 words for Type Three and no more than 500 words for Type Four.
6. FCAs:
- Describe the use of masks and shadows in stories and how it used in the story you selected (40)
- Each paragraph has a main point of focus (20)
- No passive voice and no jargon or jawbreakers (20)
- Use strong verbs and precise words (20)
7. Procedure:
- Review your notes to determine if you feel you have enough information to describe, generally, the use of masks and shadows in children's stories. If you feel you need more information, you can interview classmates and/or do research in the course website or in the library.
- Write and post a Type Three essay.
- After you have entered your Type Three writing, read and edit/comment on the entry of a classmates. Make suggestions for improving the writing, based on the focus correction areas (FCAs). Remember to make comments promptly on classmates' writings so they can be used in rewriting to the Type Four assignment. Type Four writings are expected to be a substantial improvement over the Type Three assignment.
RECALL that a Type Three writing is a writing that has content and focus correction areas. It is read out loud and reviewed by the author who then asks three critical questions: Does it complete the assignment? Is it easy to read? Does it fulfill the requirements set by the focus correction areas? One draft.
A Type Four writing is a Type Three writing that has been read out loud and critiqued by another person. Two drafts.
On this class site, every effort has been made to acknowledge the work of others. Any omission is unintentional. If anyone finds an oversight, please contact me at brownm6@southernct.edu immediately so that any error can be corrected.
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