Poetry Unit
Forms of Poetry
Found Poetry
See examples from the writing book.
Concrete Poetry
While many readers now associate the term "concrete poetry" with poems whose outlines depict a recongnizable shape—John Hollander's collection Types of Shape, for example—the ideas behind concrete poetry are much broader. In essence, works of concrete poetry are as much pieces of visual art made with words as they are poems. Were one to hear a piece of concrete poetry read aloud, a substantial amount of its effect would be lost.
Cinquain
Diamante
Haiku
Tanka
Limericks
Riddles
Free Verse
Abecedarian
Anaphora
The term "anaphora" comes from the Greek for "a carrying up or back," and refers to a type of parallelism created when successive phrases or lines begin with the same words, often resembling a litany. The repetition can be as simple as a single word or as long as an entire phrase. As one of the world’s oldest poetic techniques, anaphora is used in much of the world’s religious and devotional poetry, including numerous Biblical Psalms.
Ode
Oulipo (looks fun and easy)
Although poetry and mathematics often seem to be incompatible areas of study, the philosophy of OULIPO seeks to connect them. Founded in 1960 by French mathematician Francois de Lionnais and writer Raymond Queneau, Ouvroir de Litterature Potentielle (OULIPO), or Workshop of Potential Literature, investigates the possibilities of verse written under a system of structural constraints. Lionnais and Quenuau believed in the profound potential of a poem produced within a framework or formula and that, if done in a playful posture, the outcomes could be endless.
Unit Plan
1. Introduction to many kinds of poetry (Immersion) (Love That Dog lesson plan?)
3. Prewriting
4. Drafts
5. Revisions
6. Writer's Conferences
7. Publish final draft
Found Poetry
Read Write Think
Word Mover Online Interactive App
http://www.readwritethink.org/files/resources/interactives/Word_Mover/
Link to the lesson
http://www.readwritethink.org/classroom-resources/student-interactives/word-mover-b-30964.html
Found Poems/Parallel Poems
http://www.readwritethink.org/classroom-resources/lesson-plans/found-poems-parallel-poems-33.html
Concrete Poetry
While many readers now associate the term "concrete poetry" with poems whose outlines depict a recongnizable shape—John Hollander's collection Types of Shape, for example—the ideas behind concrete poetry are much broader. In essence, works of concrete poetry are as much pieces of visual art made with words as they are poems. Were one to hear a piece of concrete poetry read aloud, a substantial amount of its effect would be lost.
European artists Max Bill and Öyving Fahlström originated the term in the early 1950s, and its early methods were described in the Brazilian group Noigandres' manifesto "Pilot Plan for Concrete Poetry." During this period, concrete poems were intended to be abstract and without allusion to an existing poem or identifiable shape. An interest in ideograms—and the notion that words themselves could be ideograms—accompanied the typographical innovations developed by these artists and by such visual writers as E. E. Cummings and Ezra Pound.
Ode
Ode to Pablo's Tennis Shoes
Ode to a Grecian Urn
Oulipo
Although poetry and mathematics often seem to be incompatible areas of study, the philosophy of OULIPO seeks to connect them. Founded in 1960 by French mathematician Francois de Lionnais and writer Raymond Queneau, Ouvroir de Litterature Potentielle (OULIPO), or Workshop of Potential Literature, investigates the possibilities of verse written under a system of structural constraints. Lionnais and Quenuau believed in the profound potential of a poem produced within a framework or formula and that, if done in a playful posture, the outcomes could be endless.
One of the most popular OULIPO formulas is "N+7," in which the writer takes a poem already in existence and substitutes each of the poem’s substantive nouns with the noun appearing seven nouns away in the dictionary. Care is taken to ensure that the substitution is not just a compound derivative of the original, or shares a similar root, but a wholly different word. Results can vary widely depending on the version of the dictionary one uses.
By applying the N+7 rule to Wallace Stevens’s poem "The Snow Man," you get a new poem called "The Soap Mandible":
One must have a miniature of wisdom
To regard the fruit and the boulders
Of the pinions crusted with soap;
And have been colic a long time
To behold the junkyards shagged with Idaho,
The spun-yarn rough in the distant gloom
Of January surgery; and not to think
Of any mishap in the south of the winter,
In the south of a few lectures,
Which is the south of the language
Full of the same winter
That is blowing in the same bare plague
For the lithographer, who listens in the soap,
And, now himself, beholds
Now that is not thermal and the now that is.
Another OULIPO exercise uses the "snowball" technique, where the first line is one word long, the second line has two words, and so on. A snowball poem can also be made up of lines comprised of progressively longer words, in which two lines might read:
I am far from happy Mother reduced
A no-fly zone using yellow ribbons.
If the results of these formulas are strange, unintelligible, or seem too drastic, the OULIPO artists would argue that for generations poets have set structural constraints on themselves, from the sonnet to the sestina.
Publishing online
http://www.cicadamag.com/theslam (The Slam) from Cricket.
Blabberize www.blabberize.com
http://www.youngpoets.org/
List of Resources
Talking Poetry with Blabberize
http://www.readwritethink.org/classroom-resources/lesson-plans/talking-poetry-with-blabberize-30913.html
Using the book Getting the Knack: Poetry Writing Exercises in the classroom
http://www.readwritethink.org/professional-development/professional-library/getting-knack-poetry-writing-30358.html?tab=1#tabs
What is Poetry? Contrasting Prose and Poetry
4 45 minute lessons
http://www.readwritethink.org/classroom-resources/lesson-plans/what-poetry-contrasting-poetry-30738.html
What Am I? Teaching poetry through riddles. (2 30 minute and 2 60 minute lessons)
http://www.readwritethink.org/classroom-resources/lesson-plans/what-teaching-poetry-through-169.html
Scholastics Writing with Writers for poetry
http://teacher.scholastic.com/writewit/poetry/index.htm
http://www.youngpoets.org/
http://www.poets.org/
http://www.readwritethink.org/
http://www.smoran.ednet.ns.ca/Poetry/Grade_7_poetry_index.htm
http://42explore.com/poetry.htm
http://www.smoran.ednet.ns.ca/
Online Poetry Classroom http://www.poets.org/page.php/prmID/6
Curriculum and Lesson plans from Poetry.org http://www.poets.org/page.php/prmID/87
http://www.scholastic.com/teachers/lesson-plan/writing-writers-poetry
Found Poetry
See examples from the writing book.
Concrete Poetry
While many readers now associate the term "concrete poetry" with poems whose outlines depict a recongnizable shape—John Hollander's collection Types of Shape, for example—the ideas behind concrete poetry are much broader. In essence, works of concrete poetry are as much pieces of visual art made with words as they are poems. Were one to hear a piece of concrete poetry read aloud, a substantial amount of its effect would be lost.
Cinquain
Diamante
Haiku
Tanka
Limericks
Riddles
Free Verse
Abecedarian
Anaphora
The term "anaphora" comes from the Greek for "a carrying up or back," and refers to a type of parallelism created when successive phrases or lines begin with the same words, often resembling a litany. The repetition can be as simple as a single word or as long as an entire phrase. As one of the world’s oldest poetic techniques, anaphora is used in much of the world’s religious and devotional poetry, including numerous Biblical Psalms.
Ode
Oulipo (looks fun and easy)
Although poetry and mathematics often seem to be incompatible areas of study, the philosophy of OULIPO seeks to connect them. Founded in 1960 by French mathematician Francois de Lionnais and writer Raymond Queneau, Ouvroir de Litterature Potentielle (OULIPO), or Workshop of Potential Literature, investigates the possibilities of verse written under a system of structural constraints. Lionnais and Quenuau believed in the profound potential of a poem produced within a framework or formula and that, if done in a playful posture, the outcomes could be endless.
Unit Plan
1. Introduction to many kinds of poetry (Immersion) (Love That Dog lesson plan?)
- Immersion with two examples of each poetry.
- Categorize the poetry using a tree map with evidence to support.
- Define each type of poetry using a circle map.
- Define poetry using a circle map.
3. Prewriting
4. Drafts
5. Revisions
6. Writer's Conferences
7. Publish final draft
Found Poetry
Read Write Think
Word Mover Online Interactive App
http://www.readwritethink.org/files/resources/interactives/Word_Mover/
Link to the lesson
http://www.readwritethink.org/classroom-resources/student-interactives/word-mover-b-30964.html
Found Poems/Parallel Poems
http://www.readwritethink.org/classroom-resources/lesson-plans/found-poems-parallel-poems-33.html
Concrete Poetry
While many readers now associate the term "concrete poetry" with poems whose outlines depict a recongnizable shape—John Hollander's collection Types of Shape, for example—the ideas behind concrete poetry are much broader. In essence, works of concrete poetry are as much pieces of visual art made with words as they are poems. Were one to hear a piece of concrete poetry read aloud, a substantial amount of its effect would be lost.
European artists Max Bill and Öyving Fahlström originated the term in the early 1950s, and its early methods were described in the Brazilian group Noigandres' manifesto "Pilot Plan for Concrete Poetry." During this period, concrete poems were intended to be abstract and without allusion to an existing poem or identifiable shape. An interest in ideograms—and the notion that words themselves could be ideograms—accompanied the typographical innovations developed by these artists and by such visual writers as E. E. Cummings and Ezra Pound.
Ode
Ode to Pablo's Tennis Shoes
Ode to a Grecian Urn
Oulipo
Although poetry and mathematics often seem to be incompatible areas of study, the philosophy of OULIPO seeks to connect them. Founded in 1960 by French mathematician Francois de Lionnais and writer Raymond Queneau, Ouvroir de Litterature Potentielle (OULIPO), or Workshop of Potential Literature, investigates the possibilities of verse written under a system of structural constraints. Lionnais and Quenuau believed in the profound potential of a poem produced within a framework or formula and that, if done in a playful posture, the outcomes could be endless.
One of the most popular OULIPO formulas is "N+7," in which the writer takes a poem already in existence and substitutes each of the poem’s substantive nouns with the noun appearing seven nouns away in the dictionary. Care is taken to ensure that the substitution is not just a compound derivative of the original, or shares a similar root, but a wholly different word. Results can vary widely depending on the version of the dictionary one uses.
By applying the N+7 rule to Wallace Stevens’s poem "The Snow Man," you get a new poem called "The Soap Mandible":
One must have a miniature of wisdom
To regard the fruit and the boulders
Of the pinions crusted with soap;
And have been colic a long time
To behold the junkyards shagged with Idaho,
The spun-yarn rough in the distant gloom
Of January surgery; and not to think
Of any mishap in the south of the winter,
In the south of a few lectures,
Which is the south of the language
Full of the same winter
That is blowing in the same bare plague
For the lithographer, who listens in the soap,
And, now himself, beholds
Now that is not thermal and the now that is.
Another OULIPO exercise uses the "snowball" technique, where the first line is one word long, the second line has two words, and so on. A snowball poem can also be made up of lines comprised of progressively longer words, in which two lines might read:
I am far from happy Mother reduced
A no-fly zone using yellow ribbons.
If the results of these formulas are strange, unintelligible, or seem too drastic, the OULIPO artists would argue that for generations poets have set structural constraints on themselves, from the sonnet to the sestina.
Publishing online
http://www.cicadamag.com/theslam (The Slam) from Cricket.
Blabberize www.blabberize.com
http://www.youngpoets.org/
List of Resources
Talking Poetry with Blabberize
http://www.readwritethink.org/classroom-resources/lesson-plans/talking-poetry-with-blabberize-30913.html
Using the book Getting the Knack: Poetry Writing Exercises in the classroom
http://www.readwritethink.org/professional-development/professional-library/getting-knack-poetry-writing-30358.html?tab=1#tabs
What is Poetry? Contrasting Prose and Poetry
4 45 minute lessons
http://www.readwritethink.org/classroom-resources/lesson-plans/what-poetry-contrasting-poetry-30738.html
What Am I? Teaching poetry through riddles. (2 30 minute and 2 60 minute lessons)
http://www.readwritethink.org/classroom-resources/lesson-plans/what-teaching-poetry-through-169.html
Scholastics Writing with Writers for poetry
http://teacher.scholastic.com/writewit/poetry/index.htm
http://www.youngpoets.org/
http://www.poets.org/
http://www.readwritethink.org/
http://www.smoran.ednet.ns.ca/Poetry/Grade_7_poetry_index.htm
http://42explore.com/poetry.htm
http://www.smoran.ednet.ns.ca/
Online Poetry Classroom http://www.poets.org/page.php/prmID/6
Curriculum and Lesson plans from Poetry.org http://www.poets.org/page.php/prmID/87
http://www.scholastic.com/teachers/lesson-plan/writing-writers-poetry
