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The article focuses on the contributions of Georgia Heard, a renowned poet and educational consultant, particularly her innovative approach to teaching poetry by using the concept of the Heart Map to help students connect with personally relevant topics. Topics include Georgia Heard's impact on poetry education, her encouragement for teachers to explore poetry alongside students, and her insights on intersection of poetry and mindfulness, exemplified by her anthology "My Thoughts Are Clouds."

This article discusses the power of poetry in English education and its ability to foster meaning-making, social-emotional learning, and liberation. The author emphasizes the importance of poetry in building a sense of community and belonging, as well as its role in transforming students' social-emotional skills. The article also highlights the need for an abolitionist praxis in ELA classrooms, particularly for preservice teachers of color, in order to challenge the carceral nature of education. Overall, the article explores the potential of poetry to create a more inclusive and empowering educational experience. [Extracted from the article]

The article reports on the author's innovative approach to teaching poetry collections, using writer Clint Smith's "Counting Descent" as an example. Emphasizing the benefits of reading poems in the order they appear in the collection, the author discusses activities such as analyzing thematic elements, exploring the poet's background, and engaging students in creative projects inspired by the poems.

The article discusses the poetry education that enhanced the career of three youngsters, which includes student voice making it meaningful and empowering. With the help of integrating spoken word poetry, many students have benefited, which can help energize their careers by placing student creativity, professional identity, and voice front and center.

In this article, three middle school educators collaborated to differentiate poetry unit to make it more equitable and inclusive, to determine how to increase student access to curriculum, especially those with disabilities. Topics discussed include tools for class, including poetry reference sheets, picture glossaries, and Spanish-English bilingual poems; focus to guide design of learning environments that are accessible; and equal access for students to begin building narratives as poets.

Through a case study of a seventh-grade ELA teacher, this article examines New Literacies pedagogy and more specifically a digital video project amid high-stakes testing pressures that often place limitations on teaching and learning. [ABSTRACT FROM AUTHOR]

The article demonstrates a step-by-step teaching method that uses a poem, a play, and a short essay to effect mutual support and individual responsibility for learning among students.

The article presents the authors' views on several strategies for helping students familiarize the process of reading and appreciating poetry. These strategies include examining poems thematically and chronologically and approaching poetry mindfully. They examine a poetry class focusing on the work of poet Seamus Heaney, noting that students are intimidated about poetry's elusive nature.

The article presents the author's views on her experience of partnering with members of Chicago, Illinois-based spoken word poetry group, Young Voices Rise (YVR), to create methods to integrate spoken word in school and classroom communities. She offers information on YVR which hosts workshops on poetry during their monthly meetings. She profiles three of YVR's members, discusses a typical poetry workshop, and provides several tips for integrating spoken word poetry into courses.

The article presents the authors' views on the use of poetry for helping students in Malta develop empathy for asylum seekers. Asylum seeking is reportedly a divisive issue in Malta due to its proximity to war-torn North African countries. A definition of the term, empathy is given and examines poetry's potential to increase self-awareness among students.

The article discusses an activity program for secondary education which asks students to use the Animoto movie maker located at Animoto.com to study playwright William Shakespeare's plays "Romeo and Juliet" and "Julius Caesar."

The article presents the author's views on ways to teach poetry effectively. She states that she regarded poetry writing as confusing during the early stages of her career, however, she changed her attitude when she was required to teach creative writing. She argues that teachers should learn to love poetry in order to teach the topic effectively. Other topics include the activity programs she used at her poetry classes which include student surveys.

The article presents the author's views on ancient Greek poetry by Sappho as a tool for teaching Western poetry and poem composition. Teachers are reportedly struggling to connect students to a variety of literature including ancient poetry. She offers several tips for teaching poetry using Sappho's works which includes using rhetorical strategies or devices, being mindful of hermeneutics in poem construction, and providing students the freedom to study any poet.

The article presents the author's views on teaching poetry in the U.S. amid strict guidelines and standards. She states that the reasons that draws her to poetry are the same factors that challenges her in teaching composition. Other topics include ways to teach students to write with craft, using the Absolute brush stroke in crafting poetry, and the relationship between rhyming and poetry. She concludes authors' craft strategies can be used in any writing genre .

The article presents three improvisational theater-based explorations of the poem "Hope" by Emily Dickinson in the English classroom. The authors discuss how they achieved the goal to enable their students converse with the poem. They also describe their use of different methods and tools in the class discussion of the poem, as well as the segments of the lesson such as a play-based activity to explore a big idea.

The article offers the author's insights regarding teaching of haiku poetry at school. The author states that the book "Writing and Enjoying Haiku: A Hands-On Guide," by Jane Reichhold is fundamental tool that could be used in exploring haiku.He mentions that students should be not discouraged of the difficult to understand quality and criticism of poetry so that the teachers can encourage them on poetry writing.

The article discusses the significance of using imitation in teaching poetry. According to the author, imitating contemporary poems can help develop the creative ability and critical thinking skills of students. Several poems are highlighted which include "Relax," by Ellen Bass, "The Sunflowers," by Mary Oliver and "It Is Dangerous to Read Newspapers," by Margaret Atwood. INSETS: GUIDELINES FOR CHOOSING MODEL POEMS;LINKS TO MODEL POEMS.

The article presents an overview of an instructional lesson that integrates parody to help students read and write original poetry in the U.S. It notes that parody is a humorous or satirical imitation of a serious piece of writing or literature and has been a popular form of imitation. It further outlines the beneficial effects of writing parodies including the enhancement of students' writing skills while supporting the author's familiarity, reading comprehension and story structures.

The article presents a design using an aesthetic approach to poetry course to enhance the poetry experiences and dispositions of preservice teachers. It recommends that teacher education should include substantive coursework on poetry, exposure to a diverse poets in and out of the classroom and engaging in poetic living and observation. The article also details that preservice teachers were given access to new poetry experiences where they can explore the poets of their choice.

The article discusses the study on the impact of contemporary poetry to a group of poets. It notes that a method is developed wherein seven poets would be discussing and examining an evaluative criteria on a systematic analysis of its dynamics. It describes and discusses the contexts and methods for the study in which it shows how the study is designed and how poetry is being judged. However, the study is believed to be a most promising one as it presents a technique to further analyses.

The article describes an imaginative strategy that engages students in thinking, writing, and performing poetry. It states that students will use exploratory methods for interacting with poems and develop interesting theater scripts. It details a workshop that develops the imagination of students in creating poems through playful language and emotional resonance.

The article discusses the integration of students on the poem "The Rime of the Ancient Mariner" through art forms. It notes that the poem is about the tale of a sailor who travels to lands and takes any listener from any time and place through a journey of enlightenment about self. A project proposal was suggested out of the said poem which considers several points such as description of the project and the reason behind it, as well as the challenges and problems relative to the project.

A personal narrative is presented which presents the author's experience in teaching poetry.

The article depicts a week-long thematic overview of poetry, essays, and stories, and suggests a variety of proven discussion questions and paper assignments. It proposes a teaching unit which surveys seven works including "My Old Man," by Ernest Hemingway, "Daddy," by Sylvia Plath, and "Father," by Alice Walker. It cites written assignments which also serve as discussion questions emphasizing genre, narrative voice, ambiguity, and connotation. It offers an overview of student feedback to provide instructors an idea what to expect from their classes when students write about the topics.

The article focuses on the advantage of exposing and teaching autobiographical poetry to enhance self-identification among high school girls. It relates the impact of integrating the literary and artistic works of living African American women authors in her course topics and engaging students to create their own poem. It discusses the themes of several autobiographical poems which include "A Short Note to My Very Critical and Well-Beloved Friends and Comrades," by June Jordan. It notes that the students were able to reveal their emotions and views on the discourse over race and sexual identity, culture and school through writing poems. It relates that reading and discussing the poems of women of color demonstrate how poetry can trigger personal and social change.

The article assesses the impact of online literary texts on teaching and learning skills. Based on the depth and range of digitized literary texts that the author discovered when navigating the Internet, he designed an introductory literature class in which students are asked to scan archives, identify poetry and write about those poems and the poets' use of language and imagery. Students were given options to scan various literary Web sites such as the Academy of American Poets, American Verse Projects and Contemporary Poets.

Students' relationships with language are likely to change when they are permitted to play with it, but teachers must construct multiple classroom situations for experimentation, and thus change, to take place. Margo A. Figgins and Jenny Johnson give several ideas for how to foster wordplay among students, describing use of eponyms, word invention, surrealist activities, and a word lottery to "cultivate more excited attitudes toward language study." [ABSTRACT FROM AUTHOR]

The author comments on the so-called close reading for the teaching of reading that was practiced by the New Critics. The author asserts that close reading enables English students to realize that they cannot understand poetry, or literature because they have learned to distrust their initial uptake in order to highlight certain words and build from them some deeper, hidden, and symbolic meanings. Furthermore, the author argues that close reading in its institutionalized new critical instantiation has created the habits and expectations of reading literature that college English needs to resist and reform.

The article discusses methods of teaching poetry that is the language of others who may or may not relate directly to the students' cultural lives, passions and struggles. It is the responsibility of literature and reading teachers to help students understand and connect to text, especially to those who sometimes consider poetry incomprehensible jargon that uses devices of years past with themes removed from contemporary society. One way to engage students in understanding poetry is to let them write poetry before analyzing it as opposed to introducing poetry using intimidating pieces of writing and then asking students to analyze the text.

The author recounts the methods use in teaching students read a poem by giving them just a skeleton of it. He shares a detailed, inductive lesson that can be modified in several ways to help students discover and appreciate the poet's craft. He never ask directly about syllabication in the poem for he believes it always comes up, and would rather let analytic terminology arise naturally, in response to students' ideas and questions.

The article presents information on an assessment tool used by a middle school teacher in evaluating student poetry making it clear to the students that the writing and not the poem's emotion or subject is the target of that grading. It details ways on giving feedback on how students expressed themselves in their poetry and not the subject of their writing. It discusses the role played by rubrics for articulating a fixed standard and the levels of achievement toward that standard. The benefits of using assessment lists in evaluating student poetry is explained.

The author recounts an experience as a language arts teacher reviving his school's poetry elective. He details how he has stimulated poetic discussion and creation across departments and in the community. He shares ways to bring poetry to untouched corners of the school, including the development by students of a Web site where they can publish their poems.

The article explains an extended poetry lesson that connects art and poetry. It discusses an activity where students perform published poems written in response or reaction to paintings as preparation for their visit to an art museum, where they emulate the professional poets in writing original poems about art. It discusses efficient ways on how to expose students to a wide variety of ekphrastic poetry by having pairs focus on one poem and then share their poems in a collective performance. Sample poems are presented to show the effectiveness of this idea.

The author recounts an experience teaching poetry by playing with its rhythm to take away students' intimidation out of scansion for them to see the importance of a poem's rhythm to their reading of that poem. She uses a scansion method that uses Robert Frost's "Stopping By Woods on a Snowy Evening." Her goal in the classroom is to bridge the gap between scholars, critics and poets and students of poetry so that students will understand how poets employ rhythm to enhance, emphasize and reinforce their meanings.

The author recounts her experience teaching poetry. She discusses how the method of encouraging students to write personal shadow poems has been effective in giving them the opportunity to understand common themes in diverse literary works. She used Nicolás Guillén's "Ballad of the Two Grandfathers" to encourage students to resolve and embrace personal conflicts that relate to the conflicts of the authors of other times and spaces.

The article discusses the author's experience teaching poetry in her rural Alaska classroom. She shares several successful lessons and students' examples to show poetry can be an everyday component of teaching. She recalls some of the methods employed in bringing poetry into the classroom and making it a vital and significant part of her teaching.

Focuses on an approach developed by the author to help students and the teacher overcome the fear of poetry. Encouragement of playing with words through found poetry; Ability to bring students to poetry through writing; Ability of poetry to heal the hurts of life.

Presents the results of a teaching experiment that employed Paul Fleischman's style of multiple voices in a high school poetry class. Background of the project; Procedure; Samples of the students' output; Claim that the students' poems mirror personal experiences.

Deals with the strategies in teaching poetry using musical devices. Claim of the author that attentive listening influence students' ability to interpret poems; Reference to several lines from William Shakespeare's "Sonnet 65"; Approaches on the metrical analysis of poems.

Highlights the influence of a well-defined structure in teaching poetry writing to high school students using a traditional poem from the Dinka tribe in Africa. Reference to the poem "The Magnificent Bull"; Overview of the directions for writing Dinka-style poems; Samples of the students' poems after the exercise.

Offers a look at a collection of lessons for teaching poetry from several high school teachers in the U.S. in the run up to the celebration of the National Poetry Month in April 2005. Overview of the five poems that were utilized for all the different approaches; Instructional intent of poetry lessons; Move of several teachers to stimulate student interest or elicit student response in teaching poetry.

Presents an article about teaching lyric poetry to ninth grade students who read only for plot. Introduction of the concept of imagery; Ways to teach students on the effect of musical devices on literature; Importance of paraphrasing poems to encourage students to analyze the effect of figurative language.

Examines the works of poet James Welch. Major considerations for teaching Welch to students in English language arts classes; Key technique for teaching Welch's poems; Overview of his book "Winter in the Blood."

Provides ideas on how to use hip-hip music and spoken word poetry to help urban high school students in the U.S. in the study of literary terms. Case for hip-hop music in instruction; Use of popular culture in a seventh-grade poetry unit; Examples of spoken word poetry. INSET: EXTENSIONS AND RESOURCES.

Describes a workshop on slam poetry and discusses how it can lead students back to the written poem with a renewed sense of connection and understanding. Alternatives to ineffective poetry instruction; Definition of performance poetry; Highlights of the slam poetry workshop.

Discusses the role of imagination in teaching poetry. Elements of good teaching; Information on the process of creating a poem; Method for encouraging imaginative writing.

Offers ideas on teaching the novel 'To Kill a Mockingbird.' Depiction of courage and compassion in the novel; Integration of the novel in teaching poetry; Technique in teaching the theme of courage.

The article discusses the approach in teaching students anthologize their twenty favorite poems. In the method described in this article, students were assigned to gather from the library of their twenty favorite poems. The assignment is an appropriate task for the students on the introduction to literature courses, surveys, specialty courses such as those on women in literature and composition courses with a literature component. The assignment was given one month or more before the due date which allows the student to have time to explore. The benefits of the assignment is honing the interpretive skills of students, breaking the misconceptions about the genre, deepening the capacity of students for personhood and achievement of humanity.