8.1 SPRING TERM 2: POETRY UNIT SCHEME OF WORK (4 – 4.5 WEEKS, 16 – 18 LESSONS) https://www.poetryarchive.org/articles/links-poetry-resources-teaching-and-learning FORM / POET / POEM(S) CONCEPTUALISATION / FOUNDATION TASK EXERCISE W1 HAIKU / RENGA / RIGHT HERE, RIGHT NOW. NOWNESS. EXPLODED POEM 1 L1 TANKA ‘At the still point of the turning world.’ Poem dismantled in teacher resource, pupils add IMAGISM CONDENSATION / REDUCTION commentary. ‘IN A STATION OF THE COMIC STRIP HAIKU METRO’ EZRA POUND CAPTURING A MOMENT IN TIME From Smoke (1995) https://www.youtube.com/watch?v=JGV_h36uZ5E
TASK
TASK
EXPLODED POEM 2 Pupils to dismantle the poems themselves and provide commentary.
EXTENTION Compose a haiku in response to image resource.
HOMEWORK ‘REAL TIME SHORT STORIES’
from Smoke (1995) Select a spot that you can return to at the same time every day for a week. Take a photo at the same time every day. The photograph should be the same scale and angle each time. Use to inspire a series of Print the photos and add them to your poetry journal. Next, … L2
ACROSTIC ‘LONDON’ WILLIAM BLAKE https://www.youtube. com/watch?v=a3p2ZH Bu9vU
SOCIAL POLITICS Research exercise: context of Blake’s ‘London’ + contemporary social politics – poverty in the UK today https://www.poets.org/poetsorg/text/politics-andsocial-justice-poems-teens French Revolution Child labour Poor living conditions, disease and pollution
ANALYSIS / FOCUS ON STRUCTURE
PLAN STRUCTURE OF OWN BASED ON THEMES AND IMPERATIVE MESSAGE + language of commerce / power, anaphora of ‘In every’, repetition and dual meaning of ‘mark’, use of rhyme and assonance, metaphor of ‘m-f-m’, powerful statements summarising each stanza etc.
DRAFT CONTENT AROUND HIDDEN/EMBEDDED MESSAGES
L3
SHAKESPEAREAN SONNET – 1 of 2 ‘SONNET XXII’ https://interestingliter ature.com/2017/01/2 3/a-short-analysis-ofshakespeares-sonnet22-my-glass-shall-notpersuade-me-i-amold/
W2 L4
SHAKESPEAREAN SONNET – LESSON 2 COMPOSITION
A MIRROR TO BEAUTY / REPRESENTATION / BLACK MIRROR / SOCIAL MEDIA AND SENSE OF SELF
Youth personified, patterns of how youth is dealt with across Shakespeare’s sonnet collection.
SNAP CHAT FILTERS
https://www.everyday health.com/wellness/ united-states-ofstress/what-snapchatdysmorphia-detailedlook-trend/
Declaration that as long as the Youth remains young, so does will the poet. States that ‘glass’ (i.e. his looking-glass or mirror) will not reveal an ageing face to him, as long as the Fair Youth is young. Continues with the follow on statement that when the day comes that Youth has aged – and his face shows it – the poet will long for death to ‘expiate’ or make amends for his own old age and decrepitude. Fair Youth’s beauty is the ‘raiment’ or clothing covering the poet’s heart. What does he mean here? It’s as if the poet’s heart is made more ‘seemly’ or beautiful by the fact that he, Shakespeare, loves someone as beautiful as the Fair Youth.
Option 1: Write cynically about how in ‘the glass’, in the black glass of a mobile device, you seem old but how you will change that. Quatrain 1 Observing self in smartphone front facing camera Quatrain 2 Contemplation of how others perceive you Quatrain 3 Love for personified youth and how you will nurture and maintain its appearance. Couplet Warning against falling into the trap of preserving appearance over spirit of youth
HOMEWORK SHATTERED GLASS PORTRAIT POEMS
https://www.poetryar chive.org/glossary/m etre https://www.poetryar chive.org/content/str ess Boys to bring contrived selfie to the next lesson. Can use filters to augment image.
Option 2: Write about observing the idiosyncrasies of your face that define you as an individual and refusing the opportunity to ‘correct’ your face. Quatrain 1 Observing self in in smartphone front facing camera Quatrain 2 Contemplation of how others perceive you Quatrain 3 Love for personified youth, saved from a uniformed representation of it Couplet Emphatic warning – artifice vs beauty is truth
Re-present own sonnet composition as a ‘shattered portrait’. Use lesson time to cut up and stick down the images the boys bring in whilst they work on their drafts.
MAN RAY, ‘Portrait of Max Ernst’
L5
EPIC – one of four BEOWULF (ANONYMOUS) http://teacher2b.com/ literature/beowlspl.ht m From Michael Alexander, translator of Beowulf (Penguin, 1973): a. Epics involve "inclusiveness of scope, objectivity of treatment, unity of ethos and an ‘action' of significance." b. "The action of an epic, like the action of a myth, should have its own logic and an intrinsic significance."
L6
L7
EPIC TRADITION – FORM, CONTEXT, LITERARY HERITAGE
THE ANGLO-SAXONS PAGAN PRACTICES / CHRISTIAN SENSIBILITIES QUEST / PILGRAMAGE – add some incidental info re Chaucer HEROIC CODE https://ed.ted.com/lessons/a-host-of-heroes-april-gudenrath NARRATOR / HOST + NARRATIVE INTRUSION / INVISIBLE NARRATION NARRATIVE THREAD / DIGRESSIONS / POETS’ SONGS TWO-PART (Young Beowulf / Old Beowulf) or THREE-PART (Grendel / Grendel’s Mother / The Dragon)? FORCES THAT DESTABILISE SOCIAL ORDER
THE FIRST 11 LINES OLD ENGLISH, TRANSLATION / LOST AND GAINED IN TRANSLATION Original v Frances B. Grummere https://blogs.loc.gov/catbird/2015/01/teacherscorner-using-poetry-to-teach-the-importance-ofword-choice/
CONTEXT – RESEARCH – DISCUSSION
EPIC – LESSON 2 BEOWULF (ANONYMOUS) http://www.ajdrake.c om/e211_spr_05/mat erials/guides/med_be owulf_guide.htm
BATTLES AGAINST MONSTERS (IN YOUTH / WHEN OLDER) – WHAT ARE THE DIFFERENCES BETWEEN THE FIRST AND LAST BATTLES? http://artsedge.kennedycenter.org/educators/lessons/grade-912/Monsters.aspx#Instruction
EPIC SONG OF MYSELF (WALT WHITMAN)
https://www.poets.org/poetsorg/poem/song-myself-18
https://www.bl.uk/medievalliterature/articles/monsters-and-heroes-in-beowulf
STORYBOARD A RANGE OF BEOWULF EPISODES (c. 700–1000 BCE (date of story), c. 975–1010 CE (date of manuscript), ALONGSIDE A RANGE OF EPISODES FROM THE ODYSSEY (probably Ionia,
NOTE COMPARATIVE PATTERNS
approximately 700 BCE).
Beowulf v Grendel Odysseus v Polyphemus (Book 9: Fagel, 218 – 229) https://www.youtube.com/watch?v=DPAM-scV320, https://philosophyforchange.wordpress.com/2013/06/11/odysseusand-the-cyclops-mastery-humility-and-fate/
HOMEWORK, NF reading: http://www.nbcnews.com /id/25337041/ns/technolo gy_and_sciencescience/t/odysseus-returntrojan-war-dated/#.XGlCCj7TIU
INVOCATION OF MUSE / SONGS OF SELF Quest carried over to idea of Bildungsroman SELF-MASTERY, HUBRIS Context of Epic episodes and rise to European novel form FIRST SECTIONS FROM EPIC POETRY The Iliad, The Odyssey, The Divine Comedy, Paradise Lost etc. as context of traditions GODS REPLACED WITH NATURE STAGES OF MAN / DISTANCING FROM NATURE
W3 L8
EPIC AUTOBIOGRAPHY OF RED (ANNE CARSON)
Explode Gertrude Stein epigraph. Explode Volcano metaphor.
Explore range of ways that character is developed by Carson. Generate a proto narrative voice using Carson’s techniques.
Writing time
L9
ODE TO A TOMATO (PABLO NERUDA) HOMEWORK: Proof analytical paragraph, write a further two high quality paragraphs.
AMELIE (2001) CLIP, SMALL PLEASURES: https://www.youtube.com/watch?v=mmllotLUU38
READ NERUDA’S ‘ODE TO TOMATOES’
LOOKING CLOSELY AT THE EVERYDAY –
REREAD TO IDENTIFY THE FOLLOWING FEATURES: Time Sense of place Temperature Hyperbole Simile Personification Volta Humour Poetic voice Use of pronouns Paradox Oxymoron Juxtaposition Olfactory lang Gustatory lang Imagery Enjambment
EDWARD WESTON PEPPER PHOTOS, DESCRIBE WITHOUT NAMING THE OBJECT
‘No. 30’
10
FOUND POETRY DADA & ERASURE https://www.moma.org/ex plore/inside_out/2016/04/ 18/freedom-to-createrethink-and-uncoverparticipating-inbroodthaerss-process/
DADA, CONTEXT: ‘Revolted by the butchery of the 1914 World War, we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might.’ Tree of Codes: https://www.youtube.com/watch?v=dsW3Y7EmTlo
DISCUSS CENSORSHIP VS ERASURE. IS THERE A DIFFERENCE? EPHEMORAL TEXTS, ERASURE, SYMBOLIC ACT
Split class to work on particular devices as exploration of how meaning is produced.
Writers/artists have adopted this form both to achieve a range of cognitive or symbolic effects and to focus on the social or political meanings of erasure. Erasure is a way to give an existing piece of writing a new set of meanings, questions, or suggestions. It lessens the trace of authorship but also draws attention to the original text. As with any allusion, interpretive questions are required. READ EXAMPLES, CONSIDER:
What is the attitude to the original work? Does a gesture celebrate, denigrate, subvert, or efface the source completely? What is the process for selecting erasures? One can erase intuitively by focusing on musical and thematic elements or systematically by following a specific process regardless of the outcome.
Model an analytical paragraph. Pupils produce own.
Return to Max’s creation of a new book for Leisel by painting over the pages of Mein Kampf in The Book Thief.
11
SOUND POETRY ‘SCHTZNGRMM’ ERNST JANDL
MECHANISATION / MECHANISED WARFARE Return to Tree of Codes as idea of systematic erasure. Other impacts of mechanisation? https://www.youtube.com/watch?v=r0GcB0PYKjY Buzztracks Foley work Setting and atmosphere Onomatopoeia and neologisms
Listen to a section of film with no moving image, plot imagined action against time signature. Watch back and compare.
Listen to Jandl’s poem, plot action alongside the text. Discuss timing, layering, pace, volume etc.
WK 4 – 8A&B IN PATTERDALE: Emery, McKie, Mehraj, Mellor-Brook, Patel (V), Quereshi W4 PLACE WRITING https://www.poetryarchive.org/lesson-plan/place-my-country-jackie-kay-and-geography-lesson-brian-patten L11 MANCUNIA https://www.literarygeographies.net/index.php/LitGeogs MINDFUL WALKING + TIME TO DRAFT / STRUCTURES PROVIDED TO SUPPORT L10 MASS OBSERVATION L11 PUPIL PERSONAL RANGE OF DIFFERENTIATED TASK SHEETS DRAWN FROM WORK IN WEEKS 1 – 4 L12 SELECTION FROM ANALYTICAL AND EXPRESSIVE RANGE WK 5– 8C&D IN PATTERDALE: Banton, Craig, Dhokia, Laithwaite, Silvester, Weatherly, Weston / EF separate task W5 PLACE WRITING MINDFUL WALKING + TIME TO DRAFT / STRUCTURES PROVIDED TO SUPPORT 13 MANCUNIA MASS OBSERVATION 14 15 PUPIL PERSONAL RANGE OF DIFFERENTIATED TASK SHEETS DRAWN FROM WORK IN WEEKS 1 – 4 SELECTION FROM 16 ANALYTICAL AND EXPRESSIVE RANGE W6 LEC COMP PREP 17 18 LEC COMP PREP 19 LEC COMP PREP 20 LEC COMP PREP
Draft sound response to film clip in poetic form.