Poetry English Week 5 2013

8/11/2019 Poetry English Week 5 2013

1/34

National Poetry Day Yesterday!English Session Week 5

Timetables for Sandra (5 stillmissing) if in the future you planto go on a school trip, you mustinform Sandra!


2/34

For the debating task (time allowing) We have 4 volunteers for debating they have

prepared around the statement: The house proposes that all poems with

references to violence should be banned fromlessons with anyone under the age of 16

The rest of you have roles


3/34

Reflective Writing Some students need to re-read the criteria and peer/self assess try writing a

draft for one of the themes in Part 1 Wide range of references means not just the set texts, but beyond! Learning theories and individual needs match them up Presentation ensure carriage returns are removed if cutting and pasting from

Word, eradicate lower case i and other tpyos. Don t DESCRIBE events link them. Reflect on the event and how it has shaped

your teaching Stop wasting words: evaluate every sentence for how it helps you meet the

criteria See the webfolio as lab experiment write up so:

theory/experience>planning>practice>reflection>target>theory/experience>planning etc

Stop thinking about submission it is already submitted see it as a livedocument and the implications of that

Share webfolios and get peer review Base it on REAL LIFE PUPILS and REAL LIFE LESSONS anecdotal Be proactive and reactive using theory and wider reading to raise your

standards (What s the difference between you and an unqualified teacher? Youput a lot of effort into being researched and theoretical as well as practical )


4/34


5/34

Get into appropriate skill pairs Confident Fair to good Fair to average Need to revisit

Confident should sit together Fairs should sit in pairs of good/average Need to revisit should sit together


6/34


7/34

Empathy with the students Undertaking a task that you expect students to

do can help you understand the processes by which they arrive at the finished product

You are then better able to demonstrate thosetools to your students in the same way welooked at modelling the writing process last week

In the next task, keep an eye on the tool kit youuse to undertake the task and overcome thedifficulties inherent within the task

Do not focus on YOUR individual response to the task!


8/34

Ophelia write a stanza of poetry

using Millais painting as inspiration


9/34

Deconstructing the tool kit What processes did you employ to turn the

inspiration into poetry? How did you know what to write at the start? How did you know if it was any good? What criteria did you subconsciously try to

meet? Is you were to write out a sequence of actions

and thoughts for someone else to copy yourroute to a successful stanza, what would you write?


10/34

In pairs Write out a tool kit to help other students

undertake a similar task E.g. writing down rich words associated with the

picture Reversing and adapting the meter

Incorporating thematic content


11/34

Poetry and contradictions

Poetry matters because it is a central example of the use human beings make of words to explore and understandPoetryembodies delight in expression, stretched between thought, feeling

and form.Poetry includes a concept of human creativity and anotion of energy and value..Poets work at the frontier of language. Teaching Poetry in the Secondary School , 1987

Teaching poetry is at the centre of English, and yet it is something you cannot do unless you enjoy poetry. A teacher can only teach

poems he or she likes: there is no joy or value in teaching a poem you loathe out of a sense of duty because you are told it is a classic . You cannot teach a poem under such circumstances. You maybedoing something of value, such as giving children a sense of howdull and exasperating adults can be at times.

English for Maturity , David Holbrook


12/34

In pairs

Analyse and annotate the followingpoems/extracts and give examples of the sort ofanalysis you would expect of each Key Stage


13/34


14/34

What should they be able to do at KS4? Wild, wild the storm, and the sea high running,Steady the roar of the gale, with incessant undertone muttering,Shouts of demoniac laughter fitfully piercing and pealing, Waves, air, midnight, their savagest trinity lashing,Out in the shadows there milk-white combs careering,

On beachy slush and sand spirts of snow fierce slanting, Where through the murk the easterly death-wind breasting,Through cutting swirl and spray watchful and firm advancing,(That in the distance! is that a wreck? is the red signal flaring?)Slush and sand of the beach tireless till daylight wending,

Steadily, slowly, through hoarse roar never remitting, Along the midnight edge by those milk-white combs careering, A group of dim, weird forms, struggling, the night confronting,That savage trinity warily watching.

Walt Whitman

Patrolling Barnegat
http://origin.teachers.tv/video/26978http://www.youtube.com/watch?v=bkMD7JeckkMhttp://www.youtube.com/watch?v=bkMD7JeckkMhttp://origin.teachers.tv/video/26978


15/34

What should they be able to do at KS3? The Highwayman

The wind was a torrent of darkness upon the gusty trees,The moon was a ghostly galleon tossed upon cloudy seas,The road was a ribbon of moonlight looping the purple moor, And the highwayman came riding--Riding--riding--The highwayman came riding, up to the old inn door.

He'd a French cocked hat on his forehead, and a bunch of lace at hischin;He'd a coat of the claret velvet, and breeches of fine doe-skin.

They fitted with never a wrinkle; his boots were up to his thigh! And he rode with a jewelled twinkle--His rapier hilt a-twinkle--His pistol butts a-twinkle, under the jewelled sky.

AlfredNoyles


16/34


17/34

Three sides of poetry Creation of Poetry Verbal Understanding and Appreciation Written Analysis and Comparison

If someone experiences a challenging life event,

what form of writing do they usually use? Which form of creative writing are English

teachers most scared of teaching and assessing?


18/34


19/34

Improved Storm

Lightning crashing down, hailing every angle, Hurricanes curling round, sailing in the tangles, Strangling the bolts of light, evil to the core, A merciless cursing fight, tearing through the war,Wild bright white stallions, canter in the gales,

The clouds charge in battalions, wind chasing their tails,The waves in the deep, whirling in the wind,This blizzard never sleeps; Mother Nature has sinned. Another spear of lightning, bellows in the sky,The storm will not stop frightening, the end of time draws

nigh.


20/34


21/34


22/34

Poetry at GCSE

This is where all students are expected to showstrong familiarity with the conventions of poetryand to be able to write discursive essays on thepoems

Even if you are in a group that has hadLiterature disapplied, you will still have to studypoetry

The rules are strict and can be sometimes quitealienating for weaker students it is imperativethat the teacher is confident in what has to bestudied and how poetry is examined


23/34


24/34

Assessment of poetic analysis Do you have the skills and knowledge needed to

ensure you stretch a G&T Year 11? What about an Oxbridge entrance Year 13? What areas of poetry would you be less confident with?

Let us look at some basic GCSE requirements from AQA Literature


25/34


26/34

Mark Scheme As always the easiest way to work out what is

the minimum that needs to be taught is to lookat the mark scheme


27/34

Analysis of requirements


28/34


29/34


30/34

First choose a topic

The house proposes that all poems withreferences to violence should be banned fromlessons with anyone under the age of 16

Then choose teams of two A timekeeper A host A team of judges An audience


31/34

Rules

Times are strict and rules - if broken will reflect badly on the pair

Stipulate clear times according to the ability of thestudents

Formal Comps 7 mins speeches for all with 4 minsfor one summary speaker

6 th Form usually 4-5 GCSE usually 2-4 KS3 usually 1.5-3.5

Students MAY talk to each other and make notes ifthey are a debating pair and the other pair are makingtheir speeches


32/34

Points of Information

First 30 seconds are protected (more/less ifincreased/reduced times used)

Last 30 seconds are protected Between this time any of the opposing pair may stand

and say Point of Information You may say yes, or no sit down (this is funny!) You should take two POIs in a session less or more

is poor

POIs are 15 seconds max! A bang is sounded at the time junctions The last ten seconds will be knocked out Weak speakers who run out of ideas end up taking too

many POIs


33/34

Format

Person A speaks from Side 1 for 3 mins (or less) Person C speaks from Side 2 (ditto) Person B speaks from Side 1(ditto)

Person D speaks from Side 2 (ditto) The host invites questions from the floor to named sides which MUST be answered in the followingsummaries by the named sides

Person C or D speaks for 2 mins (or less) Person A or B speaks for 2 mins

To call POI, jump up, say Point of Information and see if you are accepted.(Yes, ok. or No, sit down.) There is a 15 second limit for POI.


34/34

Documents

Poetry English Week 5 2013