Search

This collaboratively authored piece highlights Poetry Inside Out, a poetry translation program that creates new pathways for culturally and linguistically sustaining literacy education. In Poetry Inside Out, students collaborate to translate world-class poems from their original language (e.g., Spanish, Chinese) into English. Informing PIO's design is the view of translation as an interpretive and creative act and a form of close reading. Drawing on their own and each other's linguistic and cultural repertoires and using a carefully scaffolded translation tool, students come to a deeper understanding of how languages and literacies work, paying keen attention to vocabulary, poetic form, syntax, grammar, rhythm, sound, and other nuances of the source and target language. Highlighted are two 5th-grade teachers', Erica Darken and Lisa Yuk Kuen Yau, and their multilingual students' engagement with Poetry Inside Out. Also highlighted are the teacher's use of allied practices such as Accordion Books and dialogic talk.

The evolving linguistic landscape in 21st century classrooms necessitates a re-evaluation of pedagogical approaches, exploring the potential of multilingual writing techniques within TESOL settings. This article draws on my self-study as a TESOL educator navigating contexts and shifting from an English-only approach in the classroom to an openness of language(s) approach (Ortega, 2019). Following Hamilton's (2018) case study approach, I investigate the feasibility of implementing a multilingual pedagogy in an international school in Toronto and explore its influence on students, teachers, and the learning process across the domains of (CMLA) (Prasad & Lory, 2020). For this paper, I focus on data that highlight and reflect the impact of multilingual pedagogy on students, teachers, and the teaching/learning process. I performed a qualitative thematic analysis and found that multilingual pedagogies benefited students on many levels. I conclude with a personal reflection on both the affordances and challenges of implementing multilingual pedagogies.

A cancer diagnosis enlivens the question of what it means to live well with the Earth and its multidimensional beings, including the children I teach. A cancer diagnosis provides a necessary push to step out from the confines of a self and toward and into the wild fray of this life. I interpret my lived experiences through the practical philosophy of hermeneutics. Hermeneutics has helped me perform and write my lived experience, which I hope will draw in readers and listeners to a recognition of their inescapable ecological interdependence. Cultivating an ability to listen and interpret the world and the human and more-than-human kinships is important to me. Listening to words that children speak helps me learn to be open to the fullness of life, how life is lived, how life can be remembered and suffered and let go. I am gathering sense of being in the world and of understanding the offering that arrives when I nurture a commitment to care for the Earth.

In this article we explore the work of two after-school programs in Toronto, Ontario. Our Youth Success (OYS) is a community-based mentoring program dedicated to lowering the push-out rates of students of Spanish and/or Portuguese-speaking descent. In the Youth Speak Program (YSP), community activists use spoken word poetry and rapping as a vehicle for Black students to express their emotional lives. The data we present come from two separate studies which both used ethnographic approaches, focusing on observation and interviews with participants (Hammersley & Atkinson, 2019). Using Critical Race Theory (CRT), we examine interview data on how the pedagogical relationships developed in these spaces promote the wellbeing of Latinx and Black youth beyond academic outcomes. We argue that these spaces provide insight into the transformative possibilities of critical pedagogies for the wellbeing and healing of communities who have long been marginalized from mainstream institutions.

Chinese Gu Shi Ci art songs are a genre that combines ancient Chinese poetry with music, reflecting profound emotional depth and cultural ethos. The primary objective is to investigate the integration of vocal techniques and musical literacy in the performance of Chinese Gu Shi Ci art songs. The study conducted at Nanchang University and the China Conservatory of Music involved interviews and observations with five key informants: professors, vocal coaches, professional singers, music educators, and opera performers. Data analysis included transcribing interviews, coding for recurring themes, and cross-referencing observational data. The findings reveal that precise vocal techniques, such as breath control and tone modulation, and a deep understanding of the poems' contexts significantly enhance performance authenticity and emotional resonance. The study underscores the need for an integrated curriculum in music education that combines technical skills with cultural and literary education. It suggests incorporating historical context modules, technical workshops, interdisciplinary approaches, performance analysis, and practical opportunities to foster a comprehensive understanding of Gu Shi Ci art songs. This approach can deepen students' appreciation and ensure the rich cultural heritage of these songs continues to resonate with contemporary audiences.

This article captures lessons learned while coaching a team of writing teachers across a poetry writing unit of study. Because of the heightened pressure of successful implementation of curricular programs, coaching can become focused solely on implementation of resources with fidelity, which can neglect the art of teaching. This article captures coaching techniques used to shift away from conformity and towards transformation in teaching.

This research aims to: 1) synthesize knowledge regarding environmental management through the cultural introduction to Tha Poetry by the indigenous Pga K'nyau people in Chiang Mai province; 2) develop a manual for the cultural restoration participatory learning process to promote environmental sustainability conservation of ethnic students in Chiang Mai province; and 3) study the satisfaction towards the manual for the cultural restoration participatory learning process to promote environmental sustainability conservation of ethnic students in Chiang Mai province. This research is a Participatory Action Research (PAR) study. The samples used in the research consist of 1) a knowledge-providing group on Tha poetry, comprising 5 local Pga K'nyau scholars; 2) a manual assessment group consisting of 5 Pga K'nyau environmental knowledge experts; and 3) a trial group for the learning process, comprising 30 Pga K'nyau ethnic student teachers. The tools used in the research include 1) unstructured interviews; 2) a manual quality assessment form for Tha poetry of Pga K'nyau to promote environmental conservation; and 3) a satisfaction questionnaire. The qualitative data were analyzed using content analysis, and the quantitative data were analyzed by finding the mean and standard deviation. The research found that: 1) The synthesis of knowledge concerning environmental management through the cultural introduction on Tha Poetry among the indigenous Pga K'nyau people in Chiang Mai province revealed that Tha serves as a poetic introduction reflecting the life and existence of the Pga K'nyau. "Tha" holds significance for everyone, acting as a medium for transmitting knowledge and wisdom. It is a poetic introduction that melds life, experiences, teachings, and memories from the older generation, being recited in every ceremony from weddings, pre-marital counseling, gender role socialization, New Year celebrations, guest receptions, blessings requests, illnesses, to funerals. The content of Tha thus encapsulates the relationships between individuals, between humans and nature, and between humans and supernatural forces. The Pga K'nyau people emphasize environmental conservation, believing that nature has local deities who protect and look after the area. Furthermore, there's a tradition of transmitting knowledge through Tha Poetry for environmental conservation to achieve sustainability. This document has been created to revive the knowledge embedded in the cultural introduction of Tha, a heritage of wisdom passed down through generations, for the training and education of descendants, delving deeply into the conservation of natural resources and the environment. This ensures that individuals studying this will gain understanding from the teachings of the Pga K'nyau community. Currently, the practice of reciting Tha Poetry has been diminished, necessitating adaptation and conservation to preserve Tha in the culture of the Pga K'nyau people. 2) The development of a manual for the cultural restoration participatory learning process on Tha Poetry to promote environmental sustainability conservation of ethnic students in Chiang Mai province revealed that the manual comprises the meaning of Tha, Tha poetry sections for promoting environmental conservation through synthesis, and activity sheets for learning Tha poetry to promote the environmental sustainability conservation. The manual has a highly appropriate learning standard level. 3) The study on satisfaction towards the manual for the cultural restoration participatory learning process on Tha Poetry to promote environmental sustainability conservation of ethnic students in Chiang Mai province found that the majority of the students expressed satisfaction towards the manual, indicating that it is clear and highly beneficial for learning, rating it from high to the highest level.

In this paper, the authors explore the conditions that support belonging in remote VU Block Model® teaching. They examine the role of arts-based, embodied pedagogy in promoting engagement in learning, connection between students, and between students and teachers, and in an environment in which vulnerability and risk-taking in learning is valued. A discussion of belonging in higher education and the practice of embodied learning is followed by the reflections of seven participants. These participants were students in a remotely taught, arts-based higher education block unit, which had been mindfully adapted to retain the embodied nature of delivery during the COVID-19 pandemic. After students' participation in focus group interviews, the lead author constructed found poetry from their comments and reflections. This found poetry forms the dataset through which the questions of belonging are explored. The researchers found that when explored through the lens of the Community of Inquiry Framework, embodied and arts-based practices provided opportunities for students to develop a sense of belonging, deepen understanding of lived experiences, and realise higher education and career goals. This study elevates the voices of students, providing opportunities for higher education teachers to consider the importance of belonging for student success in remote, intensive, and on-campus modes of delivery.

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's well-known poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one ofhis statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art.

It is important for instructors to reflect on and develop their teaching practices and pedagogy. Using a poetic inquiry method, this article offers an alternative model for reflecting on academic writing and teaching practices using a found poetry cluster. My example focuses on graduate academic writing instruction. I create found poems from my own written reflections and literature on graduate writing and organize them into a cluster to identify connections and dissonances. I finish with a discussion of my critical analysis of the poetry cluster and how using poetic inquiry as a reflective method helped me to develop both my writing process and teaching pedagogy.

In this case study which focuses on secondary school students (5th, 6th, and 7th grades), the goal was to investigate students' preferences in poetry. In this study, the singular research designs have been employed. The context of the study was Trabzon city, and the participants were students in secondary schools in Ortahisar, Akcaabat and Yomra provinces in 2018-2019 academic year. The study was conducted with 490 students. Frequency and percentage calculations were made on the data obtained from opinion surveys and the results were analyzed. The study showed that in all three levels, three themes stood out: War of Independence and Ataturk, National Culture, and Reading Culture. Based on the findings, it was concluded that secondary school students like these three themes more and therefore prefer them more. Students prefer poems with 19-22 lines, both with rhythm and free verse and they prefer mostly rhyming poems. Also, title was found to be an important factor in poem preference and that students love and prefer poems with words they know, and lastly knowing the poet and that they know the poem beforehand also affected their preference positively.

The objectives of this research were to study (1) the development of knowledge on the aesthetics of Lam in Ubon Style, and (2) the process of transferring knowledge to inherit the performing arts of Molam Morlam-Ruang-Tor-Klon in Ubon style. Data from documents and fieldwork were analyzed and presented using descriptive analysis. The results showed that there are developments and changes according to the eras, divided into the old era before 1937, a few numbers of performers; the changing era into theatrical performance; the modern Morlam era brought popular musical instruments to play; and the current Morlam era, in which light and sound technology is used to help in the performance of three aspects of aesthetics: melody, poetry, and aesthetics of singing techniques. Regarding the process of transferring knowledge, the results indicated that two national artists have provided knowledge by practicing the performing arts in singing, dancing, and poetic gestures. Improvements are made in each area to enhance learners' skills development. The study provides significant insight and implications for developing learners' skills in performing arts at home.

Online and blended learning over the years have brought great challenges and opportunities. At the beginning of this project, we asked: How do educators reflect on teaching online in particular? And how do we articulate our reflections in creative ways? With these questions in mind, the authors took on the challenge of the artistic expression of writing and reading poetry to reflect critically and creatively on our experiences of teaching online in higher education. By drawing connections between theory and our poetry we provide insight into our lessons learned from teaching online. We conclude with encouragement to use creative writing to foster a collective and reflective environment in higher education and for personal awareness and growth. [Articles in this journal were presented at the University of Calgary Conference on Postsecondary Learning and Teaching.]

Background: Poetry predates all other genres of literature, and it has been argued that the relationship between poetry and language is inextricable. The ability of African people to articulate their own stories was largely silenced by colonialism. Poems and lyrics have been known to create a bridge between individuals in meaningful words and songs. Aim: This article explores Grade 3 teachers' experiences of teaching poetry and their utilisation of play pedagogies to enhance learning and make it pleasurable. Setting: Three schools in KwaZulu-Natal, South Africa, were purposively selected because of their rural location. The sample comprised six Grade 3 teachers who worked in these three rural primary schools. The learners in the study were using isiZulu as a language of learning and teaching. Methods: Semi-structured interviews, document analysis and non-participant observations were employed to generate the data. Results: Regardless, Grade 1 teachers know their knowledge of the value of play pedagogies in the development of young children. Conclusion: Researchers suggest that Grade 3 teachers need to align their practice and lesson plans with Curriculum and Assessment Policy Statement (CAPS) proposals and guidelines. Moreover, play pedagogies need to be implemented and these need to be realistically aligned with allocated time frames and available resources to mitigate the severe restraints that impede effective poetry teaching as a tool for facilitating learning. Contribution: To ensure the success of all Grade 3 learners in the realm of poetry understanding and writing, it is imperative that Foundation Phase (FP) teachers align their teaching to the CAPS pedagogies to expose learners to various forms of poetry.

Haiku is the world's shortest form of poetry, describing nature and ordinary everyday life. Previous studies and quotes from professional haiku poets suggest that haiku can foster self-transcendent emotions, such as gratitude and awe. This study compares how those who did and did not create at least one haiku in the past month experience self-transcendent emotions. A total of 192 haiku writers and 177 non-writers responded to scales related to self-transcendent emotions, such as gratitude for serenity, gratitude trait, and trait awe. The results of the Bayesian implementation of Generalized Linear Mixed models revealed that haiku writing increased the frequency of gratitude for serenity and awe, rather than general gratitude. These effects persisted even after controlling for interest in art and educational level, indicating that haiku writing has unique characteristics, including encouragement of attention to nature and a different perspective on daily life. Even in the absence of special events, a change in perspective toward everyday life occurs through creating haiku, and people appreciate and feel awe toward ordinary, everyday things. These novel findings contribute to the study of creativity and emotion.

This study considers the relative benefits for vocabulary learning of exposure to two types of texts--literary or nonliterary--used with two teaching approaches. These approaches were termed "functional and creative", respectively. In the former, learners' attention was drawn to factual information and linguistic features in order to develop their linguistic knowledge. In the latter, the aim was to stimulate learners' personal and emotional response, by drawing their attention to the text's emotional content and how language was used to express meaning. We analyzed data from 160 learners of French in eight schools in England. Learners in four schools studied French poems and those in another four studied French factual texts. Teachers in each text condition employed functional and creative methods of exploitation within a counterbalanced design. We assessed two types of vocabulary knowledge at pre- and posttest: meaning recall of vocabulary contained in the texts, and learners' general vocabulary size. Our results indicated learning gains across both text types. There were, however, important interactions between text type and teaching approach and between text type and the order in which the teaching approaches were used. Finally, we consider the implications of these findings for understanding of vocabulary learning through literature and for classroom practice.

This article highlights how mentors in spoken word poetry workshops drew on culturally sustaining pedagogy, modeled their own creativity and vulnerability through their poetry, and amplified the voices of youth poets by encouraging them to explore their identities and grapple with inequities in their own lives. Situated in western Sydney, one of the most culturally and linguistically diverse communities within Australia, the article focuses on the Real Talk program, a 6-week school-based spoken word poetry workshop organized by the Bankstown Poetry Slam, the largest slam in the southern hemisphere. It examines the critical role that mentor poets play in supporting young people's storytelling through spoken word poetry.

The study reports how an ESOL teacher engaged in translanguaging shifts in a content and language integrated learning classroom in the United States. The study findings, from ethnographic methods and conversation analysis, indicated that the teacher engaged in translanguaging shifts centring on the students' learning needs. She created a co-learning environment in which she and the students co-developed a poem in an English and a bilingual version. In the process of co-creation, not only did the students learn new content, but their identities were valued and affirmed. With her strong translanguaging stance, the teacher let go of control and learnt from the students instead. Based on the findings, I provide recommendations and practical suggestions for teachers, teacher educators, and school leaders. I argue that translanguaging shifts play a crucial role in translanguaging pedagogy. However, teachers cannot work alone in their implementation; it requires different stakeholders to work together--"juntos" to ensure student success.

Using multimedia elements to present poetry can help make it more accessible and understandable to a broader audience. In the context of China, where poetry is important in culture and art, interpreting the poems of Chinese poets in contemporary music can help popularize their work among young audiences. The study aimed to explore the possibilities of using various multimedia tools to promote poetry in online educational blogs and to study the effectiveness of various multimedia tools in attracting audience attention to poetry. The survey results reveal the popularity of contemporary songs in China among the youth, who draw inspiration from poetry. "Green Light" ([foreign characters omitted]) received the highest percentage of votes, at 38%. This song centres on the theme of love and expresses the desire to be reunited with a loved one. "Raindrops on Banana Leaves" ([foreign characters omitted]) garnered 26% of the votes and conveys the beauty of nature after rain, emphasizing the appreciation of the world's beauty. "Nebula" ([foreign characters omitted]) was mentioned by 9% of the students, and this song includes lines from the poem "Love in the Sky" by Jiang Zhiqun. It explores themes of love and self-reflection, reflecting the desire to be with a loved one. "Crazy Heartbeats" ([foreign characters omitted]) received 18% of the votes, and the song uses phrases from the poem "Strong Feelings" by Junjian Lu. It portrays intense emotions, highlighting love and passion. "I Am by Your Side" ([foreign characters omitted]), a song containing lines from the eponymous poem by Zhongsan Lu, was chosen by 9% of the students. It revolves around the theme of love and the longing to be with someone special. These findings illustrate how contemporary music in China often intertwines with classical poetry, bridging the gap between traditional literary heritage and modern forms of cultural self-expression. The results of the statistical analysis indicate a statistically significant difference between the control and experimental groups regarding the impact of multimedia technologies on learning outcomes. The experiment has shown that these technologies contribute to better comprehension of the material and the attainment of higher scores compared to students who employed traditional teaching methods. Based on the study, conclusions can be drawn about the prospects of other processes related to this topic, namely the importance of using multimedia technologies to present poetry in online educational blogs, especially for interpreting poems by Chinese poets in modern Chinese music, such technologies will help to attract a wider audience and develop a person's creativity, linguistic culture, and sensual and aesthetic spheres. For further research, it will be essential to study the impact of multimedia technologies on the understanding and appreciation of Chinese poetry by students of different age groups and cultural backgrounds and to conduct a comparative analysis of various methods of interpreting Chinese poetry in multimedia format. The present findings can also be used to develop recommendations and practices for using multimedia technologies in education and cultural activities related to Chinese poetry and methods for applying multimedia technologies as the presentation of poetry in online blogs.

Using case study methodology, this article analyzes the collaborative writing of three adolescent girls, one Latina and two Black, composing a group poem in an after-school spoken word poetry team. Drawing from literature on distributed cognition and embodiment, we found that participants utilized a system of writing techniques "on the page," as well as a variety of embodied and social practices "off the page" in their team meetings to collaboratively compose this poem. We argue that focusing on the intersection of distributed cognition and embodiment in collaborative writing allows writing researchers to more fully attend to the collaborative sociality of all writing and allows teachers to support youth writers in recognizing and gaining collaborative writing skills for professional and creative writing contexts.

In considering how to bring joy back to education and the curriculum in England, I argue that it is also necessary to bring the joy of teaching back to classroom practitioners. A fundamental contribution to this may be leadership typologies employed by schools' senior leadership. As an experienced secondary English teacher, over the last 20 years I taught at schools in which my experiences of being led -- just prior to, and then under, the education reforms introduced to promote the 'knowledge-rich' approach1 -- were very different. This article reflects on my experiences of contrasting leadership-styles, and of educational leadership on a national scale, through the metaphorical lens of one of the poems I taught for GCSE English literature. My aim is to consider how leadership can be successful, sustainable and inspiring of joy.

This paper explores children's encounters with migration in global contexts through storytelling. Children from two primary schools in Manchester, UK and Cape Town, South Africa, developed stories of self through object elicitation, poetry and self-made artefacts. The children had either directly or indirectly experienced migration across borders. We combined objects that were brought from home, drawings and annotations in exploring the significance of children's ordinary everyday encounters. While the children's story work captures their individual perceptions of self, the collections of objects, drawings and artefacts reflect ideas about what it means to be a child in a world of mobility where human and more-than-human are entangled together. We explore children's stories in relation to mobility, belonging and more-than-human connections. However, we acknowledge that the interpretation of the 'final' stories is incomplete as they continue to change in a process of becoming.

Social emotional learning (SEL) is an important topic in education and a desired area of professional development for teachers. This conceptual essay offers a creative approach in promoting and discussing SEL through the use of haiku poetry. The tenets from the Collaborative for Academic, Social, and Emotional Learning (CASEL) framework were synthesized into key concepts and presented as haiku poems as a pedagogical exercise to increase awareness on SEL.

In conventional ancient Chinese poetry learning, students tend to be under-motivated and fail to understand many aspects of poetry. As generative artificial intelligence (GAI) has been applied to education, image-GAI (iGAI) provides great opportunities for students to generate visualized images based on their descriptions of poems, and to situate students in a context similar to what a poem describes. In addition, the progressive prompt is a strategy that can progressively provide students with clues and guidance in technology-enhanced learning environments. Hence, this study proposed a progressive prompts-based image-GAI (PP-iGAI) approach to support students' ancient Chinese poetry learning. To evaluate its effectiveness, the present study employed a quasi-experiment design and recruited 80 fifth-grade elementary school students to engage in one of two conditions: one class was assigned as the experimental group and adopted the PP-iGAI approach, while the other class was assigned as the control group and used the conventional prompt-based iGAI (C-iGAI) approach. The results revealed that the PP-iGAI approach could better promote students' learning achievement, extrinsic motivation, problem-solving awareness, critical thinking, and learning performance. In addition, no significant differences were found in the two groups' cognitive load. Moreover, the results of the interview disclosed the learning perceptions and experiences of both groups. Accordingly, the present study can provide a reference not only for ancient Chinese poetry learning but also for the application of GAI in educational fields for future research.

Engaging the methodology of poetic inquiry, this paper explores both the teaching and learning of poetry. Through a combination of interpretation and reflection, the reader embarks on a journey from the author's childhood experiences with poetry to the experiences of her students in an ELA class. Pinar's method of currere provides a lens to explore the ideas of understanding through unlearning. Weaving original, found, and fusion poetry into a conversation with relevant literature, the author hopes to inspire other teachers to approach poetry in their lives and their classrooms with a sense of wonder and curiosity.

According to the Turkish Language Teaching Program prepared by the Ministry of National Education in Turkey, poetry texts should be included in Turkish textbooks taught in primary and secondary schools. Students encounter poetry texts in reading and writing activities in Turkish textbooks. It is thought that determining how students perceive the type of poetry they encounter in Turkish textbooks is important for Turkish education. The aim of this study is to determine the perceptions of secondary school students about the concept of poetry through metaphors. Since the study aims to determine the perceptions of secondary school students towards the concept of "poetry" and the meanings they attribute to these perceptions, phenomenology design, one of the qualitative research designs, was preferred. The study group consisted of 148 secondary school students studying in a public school. In order to determine the metaphorical perceptions of the participants about the concept of "poetry", they completed the sentence, "Poetry is like…because…". The data obtained were analyzed by content analysis method. At this stage, firstly, the invalid ones were eliminated from the data obtained and then these data were coded and divided into eight different categories. Afterwards, the information was presented descriptively in tables. As a result, it was determined that secondary school students' metaphors related to the concept of "poetry" did not change and differentiate according to the grade level, and it was determined that all of the students attributed positive meanings to poetry. In addition, it was observed that the majority of the students tried to explain the concept of "poetry" with concrete metaphors and attributed very different meanings to "poetry" based on reasoned metaphors. In addition, it has been determined that most of the students see poetry as the interpreter of emotions and the source of life.

Decentralized from decision-making processes, women have been placed at the periphery. Their silencing has been fundamental and intentional on the part of patriarchal institutions, for the sake of keeping them behind the discursive scene. To this effect, this paper examines the rebirth of women from prior states whereby they used to be denied the right to sprout the wings towards language within a 'logocentric' society. A deep dive into Helen Cixous's "The Laugh of the Medusa" provides grassroots for allowing a woman to transform silence into articulation. The poetry of Anne Sexton is a case study to witness the drastic change from a crippling fear of speaking into an audacity of a number of speakers in "Lullaby", "Music Swims Back to Me" and "The Exorcists" to acquire language with which every female orator will be equipped to conquer the masculinist world without anxiety.

Starting at the school level, language education develops comprehension and expression skills. It is important to develop literacy skills as it is the basic way of acquiring information. Native language textbooks created with a text-based approach are an integral part of this process. Accurate, qualified, and purposefully selected texts help achieve the objectives of language education, especially comprehension. In Turkey, the Turkish language courses offered in secondary schools to develop comprehension and expression skills aim to develop both the students' native language competencies and their higher-level cognitive skills such as critical thinking, analysis, synthesis, and evaluation along with their language skills. Since its inception in 2019, the Turkish Curriculum limits the selection of texts for textbooks to a framework that represents informative, narrative, and poetic structures. Due to the scarcity of studies on poetry and its teaching process, this study aims to determine the general view of the teaching process of poems in secondary school Turkish textbooks. Additionally, the study examines all the textbooks to be used in secondary schools in Turkey in the 2022-2023 academic year. The research model is a basic qualitative research design, and data were collected through document analysis. The analysis concluded that course books attempted to make students understand the poems in middle school Turkish textbooks, especially with open-ended questions in the process of comprehension education, and were limited to investigating the meanings of unknown words, explaining the content, determining the subject and main emotion, and trying to recognize some figures of speech.

Drawing from six-months of action research with spectacle theatre-makers in Chicago, this study explores multimodal, expeditionary practice of teaching artists who apprenticed girls through Redmoon Theatre's Dramagirls program. Concepts of new literacy design and aesthetic experience illustrate teaching in socio-semiotic and material worldcraft, set in motion via intermedial, expeditionary platforms: Imaging, Games, and Dramatizing with Objects. Ethnographic, arts-based analysis of discourse scenarios reveal an emerging aesthetic playground, where teaching artists afford girls imaginative schema to construct socio-semiotic material, felt realities and cultural affinities for a girls' utopia. As this hybrid form of theatre is seldom explored as an aesthetic literacy context, Dramagirls' worldcraft offers pedagogical models for significant youth designs and inquiries.

This article delineates my place attachment and sense of home in my Epsom campus, University of Auckland, in Aotearoa New Zealand, where I studied for my PhD in two periods of time: during the first year of my PhD programme, when my sense of home was established; and when I returned to Vietnam for my six-month research trip and was stranded due to the COVID-19 pandemic, leading to my sense of home in my campus being weakened and disrupted. Using poetic autoethnography as the methodology, I recount my personal experiences of how I grew attached to my university campus as a physical place, and social spaces of cultural diversity, friendship, and academic and PhD student identity development. The article offers an analysis of my unique emotional experience of being on and off campus involuntarily, which is hardly found in extant literature on international student mobility and students' lived experiences.

In this article the authors, a Mathematics education professor and two English education professors, describe how we used poetic inquiry in peer-led professional development workshops for field supervisors who observe and evaluate teacher candidates. Poetic inquiry was taken up to better understand our shared experiences of mentoring teacher candidates and to deepen our thinking about our own pedagogical practices. The experience of writing and sharing these poems in our monthly workshops highlighted commonalities in our values and approaches to mentoring teacher candidates and allowed us to reflect on our own identities and how they influence our practices.

In this article, we illustrate the experience of three literacy educators who harnessed online, collaborative platforms to cultivate community within their classrooms and with their colleagues. Through the use of creative practices including digital poetry, selfie collage, and curriculum sharing through video conferencing, the authors invited their students and professional peers to reflect on their perspectives and experiences related to social issues through the use of multimodal and media resources for composing. This article includes examples of creations from this context, including mentor text work, as well as implications for creativity and collaboration with students and colleagues.

Content and Language Integrated Learning (CLIL) is a relatively novel approach to L2 learning. Designed under this approach, this paper proposes a set of three activities that seek to foster secondary level students' critical thinking, creativity, and intrapersonal skills. English language learning is integrated with the specific subjects of Literature, by analyzing and creating poetry, and History, discussing poems by Marcelo Gelman, Osvaldo Balbi, and Joaquín Enrique Areta, who were victims of the final Argentina's military dictatorship (1976-1983).

This research paper aimed to study the transformation of Being in Mahmoud Darwish's last poem "The Dice Player" through a Heideggerian framework analysis. It took Heidegger's famous quote "The poets are in the vanguard of a changed conception of Being" as a point of departure in investigating and unveiling the assumed transformation in the Darwishian Being in the poem. By employing a descriptive-interpretative qualitative research method, the paper argued that "The Dice Player" depicted Darwish's implicit and explicit changed conception of his own Being which Heidegger called 'minemess' particularly in relation to his amour propre, his perception of Death and the 'Other'. The findings reveal that the Darwishian changed conception of Being, which was driven by his anxiety and submission to death, gave rise to a new Darwishian Being. The new Darwishian Being developed a different perception of himself ("amour propre"), death and others in "The Dice Player" when compared to his previous poems. Therefore, the paper concluded that Darwish seemingly joined "the vanguard of a changed conception of Being" by showing a transformation in his Being at three different levels.

This article describes lessons learned from the implementation of an instructional strategy that was conducted with preservice teachers enrolled in an undergraduate literacy course highlighting reading and writing as instructional tools to teach content area material across the curriculum. One requirement in the course was a Poetry Project. This project invited students to explore and use different poetic formats to write and illustrate two different poems across two different content areas. This article focuses specifically on one poetic format, namely, Golden Shovel Poetry (GSP). It describes the origin and purpose of GSP and shares student samples of Golden Shovel poems across four different content areas: English/Language Arts, Social Studies, Mathematics, and Science. It ends with lessons learned from the whole experience and suggested considerations for K-12 teachers who wish to develop their own poetry project in their respective classrooms.

In this reflective poetic narrative inquiry, I explore a possibility, or rather a search, for dialogic pedagogy with a focus on more-than-human beings in my teacher education classroom. I am curious to learn from my students' lived experience with my experimental and environmental dialogic activity and ask: What does a dialogue with more-than-human others mean to teacher candidates? My inquiry reveals that these dialogues emerge from the unique, ontological place of being as the poetic and reflective encounter with nature. Yet the concept of nature remains a mystery that resists definitions. More specifically, students' notes reveal two main themes of their experiences and generative meanings: their "new ways of seeing" and "peacefulness." These new ways of seeing are about their "intentional attention" to the natural world and its diverse communities as more-than-human beings and speaking subjects. In these peaceful encounters, teacher candidates transform their taken-for-granted view or perception of nature as an object to nature as a miracle (Evernden, 1985). Consequently, almost all students experience their encounters as a peaceful and free learning process that enhances their sense of well-being in the classroom.

Arts-based pedagogy has the potential to reimagine "traditional" research to engage learners in expanded and innovative methods, while also creating space for student voices. Grounded in a Deweyan experiential framework informed by arts-based pedagogy, this reflective dialogue revolves around a pedagogical reframing of a data analysis unit in a qualitative research course with specific focus on the incorporation of creative analysis. We came together as three participants (instructor, student, and scholar) within this experience to collaboratively share insights on the pedagogical approach, particularly as experienced through the eyes of the learner. Implications include how arts-based experiential inquiry can empower novice researchers to explore new avenues for sense-making while also extending across disciplines to support the inclusion of arts-based reflective practices in higher education.

Asian American Rhetoric and Representation was a graduate-level course taught at Virginia Tech in 2019. The course overviewed disciplinary conversations and concerns in and around Asian American rhetorical studies over time, with a focus on the affordances of Asian American rhetorical theory for the study of rhetoric and writing more broadly. Understanding that established disciplinary and formal/genre divisions within academia are often the result of Eurowestern canonical and institutional histories, the course included readings from varied fields. Jennifer Sano-Franchini and her students e discussed academic scholarship in ancient and contemporary rhetoric and writing studies, Asian American studies, Asian American literature, and Asian philosophy alongside literary and artistic works. In addition, students dialogued with virtual guest speakers in the field. This article describes the course and reflects of what Asian American rhetoric can contribute to the study of rhetoric and writing.

The traditional face-to-face learning approach, which has been practiced for centuries, is gradually being replaced by a new learning approach. Today's technology and research in the field of educational sciences show that the use of the Internet and information technologies in the field of education will have a direct impact on students' achievement and attitudes. Within this context, this study aims to examine the effect of online teaching approach on the achievement, attitude towards poetry and learning retention of university students on the subject of 'Abai Qunanbaiuly Poems' in Kazakh Language Literature course. For this purpose, pretest-posttest model with control group from quasi-experimental models was used in the study. In the study, the subject of 'Abai Qunanbaiuly Poems' in the experimental group was taught by online teaching method and the same subject in the control group was taught according to the instructions of the existing curriculum. The study was conducted on a total of 60 students in the Kazakh Language and Literature department of a university in Almaty. Academic Achievement Test and Attitude Scale towards Poetry were used to collect data. According to the findings of the study, it was found that the online teaching approach increased students' achievement, attitudes towards poetry and learning retention at a high level compared to the current curriculum-based education. Therefore, as a result of the research, it was revealed that online learning positively affects students' academic achievement, attitudes and learning retention in Kazakh Language Literature course and recommendations were developed in this context.

The great economic power of the United States of America allowed its attitude towards the African American population living on its land to be ignored for a long time. However, the lives of the African Americans and the time they have lived have started to manifest itself in music as well as various visual arts. Protest music is written and performed with the aim of encouraging cultural and political change to be a part of the movement. The emergence of protest music in the United States coincides with the period of the Civil Rights' Movement of the 1954's. The protest music, which started with the aim of drawing attention to the elements of war and slavery, was composed and performed with the aim of drawing attention to the racist attacks against black people in South America, shedding light on violence and oppression, and helping the white people face this situation. The jazz style song "Strange Fruit" sung by African American female singer Billie Holiday, which addresses these issues and is considered as one of the first original example of protest music, started a change by creating the intended effect on the white people and African American people living in the United States. The song/poem "Strange Fruit", the photograph that inspired the composition, the photograph and video of Billie Holiday singing the song will be analyzed with Roland Barthes' semiotic theories. The result of this study shows that protest music, performed in the best possible way, is an important and effective element of communication to draw attention to the efforts of African-Americans involved in the construction of a great piece of labor.

The aim of this research is to examine the effect of poems read by using chorus reading, repeated reading and echo (echoing) reading strategies, which are one of the fluent reading strategies, on the reading comprehension ability of primary school third grade students with and without gifted diagnosis. In accordance with this purpose, the study, which was carried out according to the experimental design with pretest-post-test control group, was carried out with a total of 39 students who attended the third grade, who were (18) gifted students and those who were not (21) as gifted. A total of 60 sessions of experimental applications lasting 20 minutes were carried out separately for both students with a diagnosis as gifted and for students without a diagnosis of as gifted. The False Analysis Inventory was used as a data collection tool. The obtained data were analysed in accordance with the Wrong Analysis Inventory evaluation criteria; Wilcoxon Signed Rank Test analysis was performed to decipher the significant difference between the pretest-post-test scores. As a result of the study, it was seen that reading poetry by using choir reading, repetitive reading and echo/echoing reading strategies from fluent reading strategies improved the reading comprehension skills of both students with a gifted and primary school third grade students without a diagnosis as gifted. This development was higher in students with a diagnosis as gifted than in students without a diagnosis as gifted.

Schools are becoming increasingly diverse, and teachers must recognize the social, cultural, and personal experiences that students bring to the classroom and must leverage this knowledge to develop curriculum and instructional strategies to meet the needs of a growing, diverse student population. The author uses Winn and Johnson's (2011) framework to plan and facilitate culturally relevant poetry instruction with a focus on building students' poetry writing capacity. The findings reveal that culturally relevant poetry writing has the potential to amplify students' voices, increase their writing self-efficacy, and support them in exploring their cultural backgrounds and the backgrounds of others.

Studies on the role of digital technology in teaching and learning English tend to focus on secondary or higher education contexts and/or with literate or educated students. The recent global pandemic has highlighted the urgent need to advance digital equity and inclusion for adult learners with limited education and literacy. Despite their basic digital, language and literacy skills, classroom observations and studies have challenged stereotypes of this cohort of students' limited capacity for online learning (Pobega, 2020; Tour et al., 2021). This paper will discuss a digital literacy project which involved poetry writing using an online book creator app with adult learners with limited English print literacy skills. Moving beyond merely mastering the mechanics of digital technologies (Kern, 2015), this project was an exploration of how language classrooms can be set up as supportive spaces where adult English learners perform "social acts of meaning mediated by the creation of texts" (Bhatt, 2012). Drawing on their personal histories, the learners made connections with the people, events, and spaces, from their past and present, emphasising the need to focus on human connections in language learning and the development of digital literacy skills (Guillén et al., 2020). Through poetry as a familiar literary form, the project serves to expand and strengthen the epistemic contribution capability (Fricker, 2015) of English learners with limited education and print literacy skills.

This paper examined two poems: 'Winter' by Anne Hunter and 'Against Winter' by Charles Simic from a stylistic perspective. It conducted a stylistic analysis to elucidate how the poets' intended meanings are constructed in an effective manner through the principles of 'foregrounding': linguistic deviation, linguistic parallelism, and informality, in ways that reflect these poets' distinctive style. This study argues that informality is complementary to the other principles; that is, while linguistic deviation and parallelism contribute to content, informality contributes to form (how content is delivered). Altogether they create the poet's distinct style. In spite of enormous stylistic analysis studies, there is a dearth of research that has conducted a comparative stylistic analysis of poems sharing the same perspectives. Employing a qualitative approach, the two poems were compared with regard to how each poet described the winter, and thus how linguistic tools were used to construct messages about this season. The analysis enhances students' literary awareness of stylistic analysis as an effective tool to better understand texts and write with their style. The study concluded with important pedagogical implications.

This study explores the complexities of caring for students in a music studio lesson. In this study, we engaged four experienced string teachers in in-depth semi-structured interviews to explore their understandings of caring for their students in studio music lessons. Caring and compassion are concepts that have received greater attention in music education literature in recent years. A critical turn in music education has accompanied this attention. We connect these two discourses through a theoretical framework of mature care as transformative practice. This framework is situated in Pettersen's concept of mature care. We applied the listening guide method of qualitative research and the gateway approach to analysis to create four found poems based on semi-structured interviews held with four experienced South African string teachers. This article illustrates the complex nature of the meanings of care, and advocates for instrumental music teacher preparation that ensures instrumental music education is infused with an ethic of care.

Generative AI has prompted educators to reevaluate traditional teaching and assessment methods. This study examines AI's ability to write essays analysing Old English poetry; human markers assessed and attempted to distinguish them from authentic analyses of poetry by first-year undergraduate students in English at the University of Oxford. Using the standard UK University grading system, AI-written essays averaged a score of 60.46, whilst human essays achieved 63.57, a margin of difference not statistically significant (p = 0.10). Notably, student submissions applied a nuanced understanding of cultural context and secondary criticism to their close reading, while AI essays often described rather than analysed, lacking depth in the evaluation of poetic features, and sometimes failing to properly recognise key aspects of passages. Distinguishing features of human essays included detailed and sustained analysis of poetic style, as well as spelling errors and lack of structural cohesion. AI essays, on the other hand, exhibited a more formal structure and tone but sometimes fell short in incisive critique of poetic form and effect. Human markers correctly identified the origin of essays 79.41% of the time. Additionally, we compare three purported AI detectors, finding that the best, 'Quillbot', correctly identified the origin of essays 95.59% of the time. However, given the high threshold for academic misconduct, conclusively determining origin remains challenging. The research also highlights the potential benefits of generative AI's ability to advise on structuring essays and suggesting avenues for research. We advocate for transparency regarding AI's capabilities and limitations, and this study underscores the importance of human critical engagement in teaching and learning in Higher Education. As AI's proficiency grows, educators must reevaluate what authentic assessment is, and consider implementing dynamic, holistic methods to ensure academic integrity.

This paper discusses the experience of four refugee and asylum seekers seeking access to Higher Education. The methodological framework intersects applied ethnopoetic analysis and poetic inquiry, underpinned by Freirean, Translanguaging dialogue. The approach foregrounds participants' voices to address a structural refusal to recognise the repertoires of multilingual marginalised participants. The paper deals with two types of vulnerability: vulnerability imposed on participants and vulnerability practiced by the researcher. A practice of vulnerability disrupts traditional power dynamics through 'an attitude of not knowing, discovery, critical self-dialogue' with an emphasis on co-creation.

This study conducts a stylo-linguistic analysis of Niyi Osundare's poem "The Rainsong," examining the language, form, and structure used to convey meaning and impact. Through a detailed analysis of graphological, phonological, syntactic, and lexico-semantic features, the study reveals the poet's deliberate choices in crafting a powerful and impactful work of poetry. It highlights the use of repetition, personification, imagery, and defamiliarization to create a sense of urgency, hope, and optimism, demonstrating how the poet's use of language and form shapes our understanding of the world. Employing Halliday's Systemic Functional Language as its theoretical underpinning and adopting the methodology of close reading and text analysis, this study contributes to the field of literary analysis. It demonstrates the value of stylo-linguistic analysis in uncovering the intricacies of poetic language and informing teaching and learning practices to better appreciate the complexities of poetry.

Inspired by academic thinking and practice-based work on creativity and education, and creative approaches in language education, this article is based on outcomes of the project 'Creating Welcoming Learning Environments: Disseminating Arts-Based Approaches to Including All Learners', funded by the UK Arts & Humanities Research Council. The project brought together creative artists specializing in filmmaking, drama, crafting, poetry and the spoken word, textiles and music with teachers in the south-west of England, who collaborated on integrating arts-based practices into language teaching, learning and assessment. The focus of the project was to generate new ways of teaching a) children developing English as an Additional Language (EAL) in mainstream primary, secondary and special schools and b) all children in schools where there is a commitment to building an ethos of inclusion and diversity in relation to languages and cultures. The article reports on how co-operative, collaborative workshops were used to bring teachers, creative artists and researchers together in a way which valued everyone's knowledge and expertise. A thematic analysis of data from evaluation interviews undertaken with the participating teachers is provided and the potential for workshop-based professional development opportunities as a way of achieving creative collaboration in schools is discussed.

In young adults and adolescents, dyslexia typically is characterized by slow or laborious reading. These reading difficulties are underpinned at least partly by a phonological deficit that disrupts cognitive connections between spoken and written language. Prosodic stress is a phonological property of spoken language reflecting differences in syllable stress, for example, between the noun REC.ord and the verb re.CORD. Prosodic stress is not reflected in the written form "record," but evidence suggests that knowledge of prosodic stress is relatively weak in people with dyslexia. The present study examines the abilities of young adults with and without a history of dyslexia to identify stressed syllables in poems. In our main analysis, there was no significant difference for marking stressed syllables between the participants with and without dyslexia. However, accuracy for marking stress correlated with a measure of nonword reading, consistent with previous findings of overlapping segmental and prosodic deficits in dyslexia. Additional correlations of the task to both reading and language measures raise questions about the overlap between dyslexia and other disorders, particularly developmental language disorder. We also discuss how the poetry task could be used as an instructional intervention or treatment activity for people with limited awareness of prosodic stress.