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This article examines collective dialogues surrounding the confrontation of microaggressions through a unique combination of autoethnographic poetry and found poetry. Focused on my personal encounters as an Asian woman in academia, a mother of three young children, and an international employee residing in the United States, the autoethnographic poems serve as a platform for shared reflection and exploration. Following the sharing of these poems to undergraduate students, I invited their anonymous responses via a Padlet page, from which I crafted found poetry. By juxtaposing these two forms of poetic inquiry, this study aims to challenge dominant narratives, restore agency, and underscore the humanity and dignity of marginalized individuals. Furthermore, this article delves into methodological insights regarding the use of poetic inquiry as a catalyst for collective dialogic healing and transformative action. I seek to foster empathy, understanding, healing, and actionable change in the face of microaggressions. [ABSTRACT FROM AUTHOR]

This article utilizes the form of a creative writer's craft interview – a popular example is The Paris Review's "Art of Fiction" series – to explore the interview as a tool in creative writing practice. The mock interview – the author is both interviewee and interlocutor – allows the author to interrogate how interviewing functions as a means of exploring identity and so reorients them to another subject's pain and experience. In addition, the author examines Muriel Rukeyser's use of collaged fragments of interviews in her The Book of the Dead and includes a discussion of the poet Philip Metres's writings on documentary poetics as a means of thinking through new ways for them – and any creative writer – to incorporate the interview as a tool. The article ends with the importance of the collage-interview, in the age of ChatGPT, for preserving language complexity and of representing experiences beyond the author's imagination and experience. [ABSTRACT FROM AUTHOR]

In this study, we explore how three Asian high school girls from poor/working-class families construct their identity in relation to their experiences with school punishment and anti-Asian sexism rooted in model minority and perpetual foreigner stereotypes. Using found poetry as a method, along with intersectionality and Asian feminist frameworks, we analyze sister circle and kitchen table focus group interviews and diagramming data. We find that, despite their different ethnicities and geographic locations, participants shared significant experiences and perspectives that centered their resistance to anti-Asian sexism, agency and personhood, and familial responsibilities as a source of motivation to excel academically.

This research uses the arts-based research method of found poetry, the creation of poem-like prose from existing text, to share the lived experience of the 2009 Black Saturday bushfire disaster in Australia which killed 173 people. After outlining the processes, this paper applies found poetry to an existing text: Peg Fraser’s book, Black Saturday. Five found poems are shared, each conveying a different element of the disaster experience: “Armageddon,” “Go – GET OUT,” “Bushfire Chook,” “Resisting the Poetry Tree,” and “Lucky”. Compared to normal prose, there is an authentic and vulnerable vibrancy to the language of these found poems, which offer unexpected visceral insight into the bushfire experience – the fear, the heat, the confusion, the anger, and the loss. Poetry, which resonates and draws people in emotionally, has significant potential as arts-based knowledge translation in disaster risk and climate change communication. [ABSTRACT FROM AUTHOR]

In pivotal moments of history like the COVID-19 pandemic, it is critical to attend to and preserve the stories of different people experiencing the same phenomenon in their own ways. This project analyzed the public's emotional experiences during the pandemic using methods of narrative and poetic inquiry. After reading 105 entries from the Pandemic Journaling Project, an online platform where people anonymously published journal entries reflecting on their pandemic experiences, narratives were categorized based on ten prominent emotional themes: anger, anxiety, fatigue, fear, loneliness, longing, loss, loss of control, stress, and uncertainty. Found poems were constructed for each emotion using words and phrases from the entries listed under each category, inserting poetic elements of structure, shape, and rhythm. By framing the project around emotion, the feelings aroused by the pandemic are brought forth in an evocative manner for consideration, interrogation, and presentation. [ABSTRACT FROM AUTHOR]

My research-creation examines how colonial language and words inspire the logic behind resource extraction, appropriation, and exploitation. Through found poetry—a creative and analytical process of using different (“found”) sources and various methods to critique and view the world—I create a collection of poems responding to Daniel Macfarlane’s Fixing Niagara Falls: Environment, Energy, and Engineers at the World’s Most Famous Waterfall (2020). Macfarlane claims that the “result” of Niagara Falls is a “compromise between scenic beauty and electricity generation” (208). However, I argue that Niagara Falls is not a “compromised” space but a hub of ecosystems coming into being. My poetic techniques emphasize the arbitrariness of colonial practices that classify beings as successful, political, and economic gains or progress. As such, I use various found methods to think with water and Indigenous modes of healing with Niagara Falls. By redacting, cutting, and layering the found words, I create an ethos of confusion, apprehension, unease, and responsibility in order to call into question the colonial logic that defines how settlers position themselves on Indigenous lands and in order to offer the possibility to listen otherwise.

Abstract Background The fourth section of the 1967 Abortion Act states that individuals (including health care practitioners) do not have to participate in an abortion if they have a conscientious objection. A conscientious objection is a refusal to participate in abortion on the grounds of conscience. This may be informed by religious, moral, philosophical, ethical, or personal beliefs. Currently, there is very little investigation into the impact of conscientious objection on service users in Britain. The perspectives of service users are imperative in understanding the real-world consequences and potential impact of conscientious objection and should be considered when creating and reviewing policies and guidelines. This research provided a platform for women and those who can become pregnant to share their experiences and opinions at a time when these voices are largely excluded in the great tradition of Western political philosophy and law-making processes. Method Five service users were interviewed using a narrative interview approach to uncover their abortion journeys and experiences of conscientious objection. Findings The findings were presented as found poems and uncovered that doctors are not always: informing service users that they have a conscientious objection to abortion, giving service users enough information to access abortion (indirect referral), treating them non-judgmentally, and providing medically correct information. Service users did not experience burdens such as long waiting times and were still able to access legal abortion. However, service users did experience negative emotional effects, as they were often left feeling scared, angry, and hopeless when they were not referred and/or were mistreated. Conclusions Findings indicate that conscientious objection could work in practice. However, it is currently failing some individuals on an emotional level, as not all doctors are adhering to guidelines. Conscientious objection in Britain needs to be addressed, to ensure service users receive fair, impartial, non-judgmental care.

This arts-based research considers creativity in the professional lives of English teachers in a school in England within the context of a progressively performative education system. In addition, it explores how found poetry can represent participants' voices in an illuminating and authentic manner. The teachers who participated in the study were able to scrutinise, reflect and comment upon the content of poems created from the words found in an initial interview transcript. This recursive process supports a credible way of seeing and knowing the teachers' voices in a representation that gives a deeper understanding of the participants' creative experiences. The construction, interrogation, and presentation of the found poems reveal that the teachers of English believe they have reduced freedom to be creative or to act with agency in their professional lives. The reduced freedom to be creative stems from the normalising practices of working within a culture of performance. The restrictions are both tangible and self-imposed by the participants. [ABSTRACT FROM AUTHOR]

This article is a narrative and conceptual exploration of the journey towards practicing Indigenous allyship in an academic context. I begin by tracing a trajectory of coming to work with Indigenous peoples as a non-Indigenous, multiple migrant, and queer person of color situated as a therapist and educator in a Canadian academic institution's Faculty of Medicine and Health Sciences. Anti-racist and de/postcolonial theories and concepts abound to label my experiences of tokenization, yet they invariably fall short of the nuanced and complex ways that both reconciliation and oppression unfold in the everyday. Beyond critical theories that speak with certainty of structural violence, I trace my trajectory of coming to understand my work with Indigenous peoples within and for healthcare curricula and community development. I describe an intertextual practice of echopoetics that is trying to make sense of a world where both historical trauma and daily aggressions continually reproduce inequities, in order to reveal spaces of possible hope and healing. Yet, what seems to be happening in this echopoetics is a process of unbelonging from the multiple cultural and institutional narratives in my surround—at times including those that intend to liberate. Focusing on the negation—" non "—as a non-Indigenous/non-White person, I provide a reflection on how this practice cultivates an unbelonging that becomes both a political stance at the point of invisibility, as well as a lonely yet definite healing. [ABSTRACT FROM AUTHOR]

Background: The fourth section of the 1967 Abortion Act states that individuals (including health care practitioners) do not have to participate in an abortion if they have a conscientious objection. A conscientious objection is a refusal to participate in abortion on the grounds of conscience. This may be informed by religious, moral, philosophical, ethical, or personal beliefs. Currently, there is very little investigation into the impact of conscientious objection on service users in Britain. The perspectives of service users are imperative in understanding the real-world consequences and potential impact of conscientious objection and should be considered when creating and reviewing policies and guidelines. This research provided a platform for women and those who can become pregnant to share their experiences and opinions at a time when these voices are largely excluded in the great tradition of Western political philosophy and law-making processes. Method: Five service users were interviewed using a narrative interview approach to uncover their abortion journeys and experiences of conscientious objection. Findings: The findings were presented as found poems and uncovered that doctors are not always: informing service users that they have a conscientious objection to abortion, giving service users enough information to access abortion (indirect referral), treating them non-judgmentally, and providing medically correct information. Service users did not experience burdens such as long waiting times and were still able to access legal abortion. However, service users did experience negative emotional effects, as they were often left feeling scared, angry, and hopeless when they were not referred and/or were mistreated. Conclusions: Findings indicate that conscientious objection could work in practice. However, it is currently failing some individuals on an emotional level, as not all doctors are adhering to guidelines. Conscientious objection in Britain needs to be addressed, to ensure service users receive fair, impartial, non-judgmental care. [ABSTRACT FROM AUTHOR]

In recent years, suicide and nonsuicidal self-injury researchers and practitioners have identified the need to amplify the lived experiences of individuals who experience and engage in self-injurious thoughts and behaviors in research and clinical practice (hereinafter referred to as "self-harm" to honor the words used by the youth who participated in this study). In the present study, we sought the wisdom and perspectives of youth who engage in self-harm in response to the following questions: What do you think needs to be done to address self-harm? What would you say to parents of youth who engage in self-harm? What would you say to other youth who are engaging in self-harm? Utilizing data from in-depth interviews (N = 59), we constructed a series of three found research poems to center their words and perspectives in answer to each of the research questions. [ABSTRACT FROM AUTHOR]

It has been increasingly acknowledged that universities need to include and support students with disabilities in order to benefit these individuals. Yet, university students with disabilities often face significant barriers that impact their ability to succeed. Traditional higher education practices and belief systems have been identified as problematic, in how they influence students' feelings and attitudes towards disability, and their self identity construction. Our qualitative research study was thus originally designed to understand how higher education students engaged with medical and social constructions of disability. The study findings prioritise these students' perspectives and voices through interpretative phenomenological analysis and poetic interpretations. The findings are further nuanced in terms of how several students took up positions of identity that reflect social relational and affirmative disability conceptions. Aside from individuals with disabilities, this study has implications for university staff, medical and human services professionals, and disability researchers focused on higher education. Despite increased enrollments of students with disabilities in higher education, concerns have been raised about these students' university achievement and completion. There is a gap in research when it comes to examining the views and experiences of university students with disabilities, from their own perspectives and voices. Research was carried out with university students with different disabilities in order to gauge the impact of the social and medical models on their perspectives. The research found that there was no single model that dominated their individual identities, as various life experiences resulted in complex and multifaceted understandings of disability. This research is important not only for the service providers who work with individuals with disabilities, but also family members, researchers, and other university staff. [ABSTRACT FROM AUTHOR]

This paper offers a collection of found poems offering insights into representative worlds of children living with dis/abilities, chronic hospitalizations, and the ethical dilemmas surrounding their perioperative care. The collection represents the sum tota poetic crystallization of a multiyear ethnography focused on the ethical experiences of the childhood osteogenesis imperfecta community as encountered in a specialized North American pediatric OI clinic. The collection deliberately bridges multiple separate (yet deeply connected) worlds of children, clinicians, and family members to reveal their interdependence and yet preserve each individual's distinct viewpoints. [ABSTRACT FROM AUTHOR]

The Nurse‐Family Partnership is a targeted parenting intervention designed to improve maternal and child health. In Canada it is delivered exclusively by public health nurses who provide complex care to adolescent girls and young women. A process evaluation was conducted to better understand the experiences of public health nurses delivering the Nurse‐Family Partnership program in Canada. Although the traditional qualitative data analysis led to the creation of significant findings and clinical implications, it lacked the "heart" of public health nursing practice. Through a reflective process, and to present an evocative account of the multifaceted nursing care provided by the study participants, direct quotes were used to create a poetic display of nurses' experiences. Through the power of found poetry, the complexities of clients' lives, as well as the challenges and joys of home‐visitation nursing, were illuminated. [ABSTRACT FROM AUTHOR]

James Joyce's neologism "debths" (Finnegans Wake) that Susan Howe elects for the title of her 2017 volume of poetry points to at least three semantic coordinates of "obligation," "trespass," and "demise," never--due to its implied transaction between the sound and the spelling--fully yielding to or being appropriated by any stable signification. In Debths, the end of life, writing, and, perhaps, literature are palpable, if overtly manifested, currents of poetic discourse. In my article, I advance the idea of recognizing this tripartite taxonomy as a variant of what Divya Victor calls "extremity." Within this context, I demonstrate the emergence of a dialogic, intertextual, and appropriative subjectivity of the poet. [ABSTRACT FROM AUTHOR]

This arts-based research explores the place of creativity in the lives of a focus group of teachers of English in an English secondary school who work within an increasingly performative educational system. As well as interrogating the place of creativity in their lives, the study explores how found poetry can be used as a research method to collate, analyse and then represent data. The poems are produced from semi-structured individual interviews. The participants were able to scrutinise and reflect upon the poems before returning for a second interview. This process helped strengthen the findings and gave a deeper understanding of their experiences regarding creativity. The findings suggest that the participants have limited space to be creative, or to think differently in their teaching practice. The limited space to be creative comes from normalising practices of a performance culture, but the restrictions are extrinsic and internally imposed by the participants. [ABSTRACT FROM AUTHOR]

This paper argues for engaging in unconventional/artistic representations in psychological research and presents step-by-step instructions to make use of a specific form of artistic representation, namely found poetry. Found poetry is a form of poetic inquiry that has been used in a variety of social science disciplines, primarily to amplify meaning making possibilities in qualitative research and to make research more accessible to the reader in various ways. Accessibility of research to the general public can be greatly enhanced by artful representations, particularly poetry, because of its immense socio-epistemic potential. The paper thus attempts to provide a guide on fashioning a found poem out of qualitative data. There are 5 steps in all, represented by the acronym BEST-M. These steps consist of the following: beginning data analysis, excavating evocative data nuggets, scooping out the data, tying the thread, and member checking. As an exemplar, an interview of a young adult participant and their experience of navigating lockdown imposed during the COVID-19 pandemic is used for demonstrating the implementation of the five steps that the paper puts forward. [ABSTRACT FROM AUTHOR]

This arts-based submission reflects the perspectives of David, who identifies himself as a person living with an "understanding disability and mental health challenges", his mom Shari, and Stephen, David's formal caregiver in a "family type resource". Our poem explores the idea of family as a concept and an experience. We created our poem through a combination of discussion and reflection on how our understanding of family has been shaped by our journey together. We pulled meaningful statements from recorded conversations, discussed our choices, and created our poem. Over the course of 5 years our connection has resulted in what we call a "found family"; bound by shared values and experiences in which hope has become possible. In creating this poem, we explore our experiences of "recovery to discovery". Our poem reveals the possibilities for, and challenges in, creating a sense of belonging akin to family within a group home setting. We share, in our own words (using different fonts to identify our unique voices), our thoughts about key factors such as trust, comfort and belonging that reveal pathways to emotional and spiritual growth as individuals and together. We've got each other's backs is a celebration of "found family". [ABSTRACT FROM AUTHOR]

In academic and political spaces, as well as in the dominant culture in the United States, sex workers are granted little authority, and their lived experiences are not privileged as a form of valuable knowledge. As feminist scholars, we seek to counter this pattern by highlighting the situated knowledges and agency of sex workers in the United States. To do so, we share the words of sex workers through I-poems. I-poems are a form of poetic inquiry and a method for qualitative research analysis. As a form of found poetry, these poems are constructed using only the words of the participants. Unlike prior scholars, we use focus groups that capture conversation about people involved in street-based sex work rather than individual interviews. By centering the participants' own words, we hope to moderate our influence as researchers on the presentation of data. [ABSTRACT FROM AUTHOR]

A Humument (1966-2016), Tom Phillips’s masterwork, is an artist's book which falls under the category of found text by virtue of its compositional strategies. The book indeed consists in a revisitation and a détournement of every single page of a Victorian novel entitled A Human Document, published in 1892 by a certain William H. Mallock. Each page of A Humument constitutes a verbo-iconic complex in which the words isolated by Phillips and the various visual elements with which he covers the source text come into interaction, in often very elaborate configurations. The hybrid constellations patiently developed by Phillips are usually grounded in a very broad intertextual network which incorporates the established arts (literature, painting, music, etc.) alongside other artistic forms considered minor, including comics. The aim of our essay is to study as closely as possible Phillips’s re-appropriations of codes specific to comics, which he mobilizes in ways which alternate between the parodic and the poetic. Our analysis will thus focus on the formal hybridizations that Phillips operates on several pages of his work; it will also give us the opportunity to interrogate the necessarily problematic relationships which potentially unite comics and avant-gardist practices at the intersection of verbal and iconic registers.

Copyright of Journal of the Canadian Association for Curriculum Studies is the property of Journal of the Canadian Association for Curriculum Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay, developed around a series of childhood autoethnographic reflections and a selection of archival and other materials rearranged as found poetry, I consider the emotional valences of the mixed-race body archive (and the mixed-race body as archive), considering the role, function, and effect of emotions on identity. Moving through imagination, dreams, shame, longing, resistance, desire, violence, and rage, I ultimately end on a more enigmatic note, offering an unfinished, ragged reading of a life lived in the spaces between. In this essay, the autobiographical 'I' emerges in third and first person, as the lens shifts between childhood and adulthood. As the essay progresses, the two collapse into one another. [ABSTRACT FROM AUTHOR]

Poetic inquirers immerse themselves in the flow of life, listening for art in the ordinary world, offering a response through voice and written word. The biennial International Symposium on Poetic Inquiry, which draws poet-scholars from across disciplines and the world, showcases the artful use of poetry in research as a method of inquiry. In this article, the Fifth Symposium on Poetic Inquiry is relived by two attendees who interrogate found poems they each created from presentations and performances. The poems are brought together as a means of researching each author’s respective approaches to creating found poetry. In this article, the authors converse about their methodological frameworks: phenomenology and metaphor/ narrative. Central to this dialogue is how the found poem is listened for, and how artful responses are made to the pull of words. The authors conclude by considering the ethics of rehousing others’ words and the challenge this inquiry presents to our own private sense-making in academic conferences.

The initial purpose of this research sought to explore the following: What does it mean and what does it look, function, and feel like for an educational activist of color to fight for the liberation of others, but to also fight for the liberation of themselves? I also questioned and explored how one shares the spirit, metaphysics, and operationalization of liberatory pedagogy without jeopardizing its proliferation in spaces of plausible and probable oppression. In this article, found poetry was developed from participants' responses and surfaced as a cryptographic method that coded the kinetics of liberatory pedagogy across disciplines. [ABSTRACT FROM AUTHOR]

The author offers to use the creative activities of blackout poetry and found poetry to interpret works dealing with the subject of the Holocaust. She presents a detailed scheme of applying this form of work during lessons with students. She argues that such a solution can be an enrichment of traditional interpretation, it also allows to stimulate the creativity of students and engage them in the didactic process.

In this article, Cian Dennan conducts a language experiment to explore how the divisive narrative of feminist 'waves' fails to enact the experimental feminine aesthetic. Using found poetry as her creative methodology, she demonstrates how revisioning the wave metaphor as radio waves rather than oceanic waves can help to develop a new understanding of the feminist literary canon. With this new metaphorical understanding of feminist waves, the canon becomes a concurrent event instead of individually occurring moments of impact that happen by random chance. Dennan's experiment leads to her creation of ten found poems, which are shared at the end of the article. [ABSTRACT FROM AUTHOR]

This paper explores the use of found poetry as interpretive and aesthetic inquiry into the meaning and experience of reproductive tourism. The context is an ethnographic study of transnational egg donation, focusing upon the fertility services industry in Cancun, Mexico. Our source is an audio-recorded interview conducted with Maria, a young Mexican woman who struggles to maintain her integrity as a single mother donating eggs to a fertility clinic. Drawing upon Maria’s story, we experiment with three forms of found poetry as a method for listening deeply to her voice. In this paper, we share our research process, poems, and reflections.

The visual poem, “The loom,” is an ekphrastic response to Ilona Pappne Demecs’s article “Woven Narratives: A Craft Encounter with Tapestry Weaving in a Residential Ages Care Facility.” By drawing words and phrases from Demec’s article, the author wove a word tapestry, in a technique learnt from a child in a South Auckland primary school in New Zealand.

Social media has kept us connected in many ways but for Black adults, it can be a harrowing reminder of the treatment of Black bodies. This poem was crafted from focus group data on a study of the effects of vicarious racism on the mental health of Black adults in the wake of George Floyd's death in 2020. This poem uses elements of found poetry and incorporates texts from the narrative (re)telling of Black adults' emotional impact of seeing racially and police-involved killings of Black men. Participants expressed feelings of anger, powerlessness, and sadness and how watching these videos has led to avoidance behavior for the sake of coping. In this poem titled "He Looks like My Father," the participant shares a memory of the last video that they watched on social media in 2014 and why they continue to avoid this type of content. It's traumatizing. It is important to fully reflect on these stories as Black Americans struggle with staying informed and preserving their mental health while being inundated by a continuous feedback loop of Black death. The elements of this poem incorporate repetition and the bolded words are verbatim text from the participant transcript. I acknowledge that my positionality being a Black American woman, with a Black father, and having shared the embodied experience of witnessing Black death via social media influenced the meaning of this poem. As we continue to see a focus on naming racism as a public health threat, this form of vicarious racism is salient and should be explored as health professionals dig deeper into understanding the many ways racism permeates the lives of Black, is a daily stressor, and is a social determinant of mental health equity. These are the narratives from muted lips to unveil your eyes. To view the original version of this poem, see the supplemental material section of this article online. [ABSTRACT FROM AUTHOR]

In this article, we propose "autopsychography" as a form of self-narrative inquiry. Autopsychography seeks to track the shaping of creative paths when reflecting on lived experience as opposed to simply reporting what happened. We illustrate three major theoretical implications underpinning this concept: its rootedness in humanistic psychology that frames the human subject as the "whole person"; its emphasis on "change" and "growth," core to educative experience; and its arts-informed features. We situate our discussions of autopsychography in the context of self-narrative approaches and we underscore its distinctiveness through comparisons with autoethnography as an already well-recognized methodology. We then present an autopsychographic study into Yanyue's experience after submitting the softbound copy of her PhD thesis in which she experimented with an "oral diary" and the use of "found poetry" as ways of presenting data. [ABSTRACT FROM AUTHOR]

This paper illuminates some of the journey taken by me, the researcher, whilst completing my doctoral research into the lived experience of epiphanies. The research journey is conceptualised as one of the discoveries into the task of qualitative research to "carry forward" the meaning of human experience, that is, considered "more than words can say." Six participants took part in an unstructured interview aimed at exploring how they made sense of their epiphanic experiences. Following the application of an interpretative phenomenological analysis, an arts‐based representation of the research findings, in the form of found poetry, was chosen to supplement the emerging interpretation. Six found poems are dispersed throughout the paper. The aim is to offer the reader the crucial opportunity to simultaneously engage responsively and rationally with an exploration of the value of found poetry. Moreover, this style of presentation may offer the reader more space and time to notice, observe and reflect on the impact of research poetry as they move through the paper. An evaluation of the utility of found poetry is also offered. By providing an insight into the process of constructing found poetry, it is intended that the merits of its integration within qualitative enquiry are highlighted as successfully being able to bring the meaning of exceptional human experience alive to the reader. Furthermore, the experiential knowledge offered here is considered particularly relevant to professionals working in caring or therapeutic roles. [ABSTRACT FROM AUTHOR]

The writing becomes a limbed extension – a dance – inked on shore and paper by a body moving in these artist pages. The author poetically captures the process of engaging in the 22nd annual Kokoro Dance Theatre Society's Wreck Beach Butoh Intensive: a nine-day in-studio period, followed by three outdoor performances: on the shores and in the waters of Vancouver, Canada's Pacific Ocean. Preece captures the days in a poem, synthesizing felt experience with elements of the daily choreography and context, offering palpable, personal and sensual tellings of one woman moving through process, practice and performance. Although specific, the poems remain accessible – interpretable and relatable to the reader – as fresh offerings, as movements themselves. [ABSTRACT FROM AUTHOR]

The author offers to use the creative activities of blackout poetry and found poetry to interpret works dealing with the subject of the Holocaust. She presents a detailed scheme of applying this form of work during lessons with students. She argues that such a solution can be an enrichment of traditional interpretation, it also allows to stimulate the creativity of students and engage them in the didactic process. [ABSTRACT FROM AUTHOR]

Copyright of Anthropology & Education Quarterly is the property of Wiley-Blackwell and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)