Why do Poets write Iambic Pentameter? « PoemShape May 14, 2009 Tweaked & corrected some typos. Because it wasn’t there. During the sixteenth century, which culminated in poets like Drayton, Sidney, Spenser, Daniel, and Shakespeare, English was seen as common and vulgar – fit for record keeping. Latin was still considered, by many, to be the language of true literature. Latin was essentially the second language of every educated Elizabethan and many poets, even the much later Milton, wrote poetry in Latin rather than English. Iambic Pentameter originated as an attempt to develop a meter for the English language legitimizing English as an alternative and equal to Latin (as a language also capable of great poetry and literature).
Her Own Society In April of 1862, Emily Dickinson wrote to a stranger, initiating a fervent twenty-four-year correspondence, in the course of which they managed to meet only twice. Thomas Wentworth Higginson, thirty-eight, was a man of letters, a clergyman, a fitness enthusiast, a celebrated abolitionist, and a champion of women’s rights, whose essays on slavery and suffrage, but also on snow, flowers, and calisthenics, appeared in The Atlantic Monthly. “Letter to a Young Contributor,” the article that inspired Dickinson to approach him, was a column addressed to literary débutantes and—despite his deep engagement with the Civil War—a paean to the bookish life: “There may be years of crowded passion in a word, and half a life in a sentence,” he wrote, evoking Dickinson’s poetry without yet having seen it. “Mr. Higginson,” she began, with no endearment. “Are you too deeply occupied to say if my Verse is alive?”
Foreign Language Teaching Methods About the Site Foreign Language Teaching Methods focuses on 12 different aspects of language teaching, each taught by a different expert instructor. The site contains video footage from an actual methods course held at the University of Texas at Austin. This flexible resource is designed to be used by foreign language teachers as a component of a classroom methods course or as a stand-alone course for independent learners. “While I was taking this course, I was already changing what I was doing and I can already see the difference. ” Home Alone With the Ghost of Emily Dickinson AMHERST, Mass. — Does it matter where a writer lived? Can creativity and inspiration insinuate themselves into a physical space, somehow becoming part of the atmosphere? Do you believe in ghosts?
Teaching materials: using literature in the EFL/ ESL classroom By Lindsay Clandfield An article discussing ways to use literature in the EFL/ESL classroom. Literature has been a subject of study in many countries at a secondary or tertiary level, but until recently has not been given much emphasis in the EFL/ESL classroom. North of Boston: Models of Identity, Subjectivity… – Romanticism and Victorianism on the Net Robert Frost might seem an unlikely candidate for a collection of essays concerned with Romantic and post-Romantic models of selfhood and subjectivity. He was a far less flamboyant figure than some of the poets who come readily to mind in the context of “modelling the self”—Byron, Yeats and Pound, for instance. He was not a poet who indulged in grandiose displays of self-fashioning and heroic myth-making.
teaching western literature: Topics by WorldWideScience.org Quality of Literature Review and Discussion of Findings in Selected Papers on Integration of ICT in Teaching, Role of Mentors, and Teaching Science through Science, Technology, Engineering, and Mathematics (STEM) Science.gov (United States) Mudavanhu, Young 2017-01-01 The purposes of this study were to examine the extent to which literature was used to discuss findings in selected papers from Zimbabwe Journal, and to compare the quality of reviews in this journal with other international journals. The study was largely qualitative in nature and used convenient sampling. In the study, the Zimbabwe Journal was… Perspectives: Literature, Language, and Learning--Northrop Frye.
Poeticous: poems, essays, and short stories Abstraction is an old story with the philosophers, but it has been like a new toy in the hands of the artists of our day. Why can’t we have any one quality of poetry we choose by itself? We can have in thought. Then it will go hard if we can’t in practice.
Robert Lowell, The Art of Poetry No. 3 “Nothing good was ever written in a large room,” David McCullough says, and so his own office has been reduced to a windowed shed in the backyard of his Martha’s Vineyard home. Known as “the bookshop,” the shed does not have a telephone or running water. Its primary contents are a Royal typewriter, a green banker’s lamp, and a desk, which McCullough keeps control over by “flushing out” the loose papers after each chapter is finished. The view from inside the bookshop is of a sagging barn surrounded by pasture. To keep from being startled, McCullough asks his family members to whistle as they approach the shed where he is writing.
From Midcentury Confessional Poetry to Reality TV Studies of confession—even offhand remarks on the subject—must, by custom, begin with a few sweeping claims about Confession in the West. No essay on personal poetry, no think-piece on memoir feels complete until someone has lit a candle at the shrine of St. Augustine. Having witnessed a few such acts of historical hand-waving, you could be forgiven for thinking that a council of 13th-century bishops—or was it an 18th-century philosopher?—made the debut of The Real World in 1992 a historical inevitability. There is, however, a serious point to be made on this millennial scale. Why Teaching Poetry Is So Important In an education landscape that dramatically deemphasizes creative expression in favor of expository writing and prioritizes the analysis of non-literary texts, high school literature teachers have to negotiate between their preferences and the way the wind is blowing. That sometimes means sacrifice, and poetry is often the first head to roll. Yet poetry enables teachers to teach their students how to write, read, and understand any text. Poetry can give students a healthy outlet for surging emotions. Reading original poetry aloud in class can foster trust and empathy in the classroom community, while also emphasizing speaking and listening skills that are often neglected in high school literature classes.