Here you will find poetic ways and poems to teach them all: Poetry K-5 or Poetry 6-12! Students write poems that borrow at least one line from another poem and use the same style and structure. Once you have many, many poems, teach students the step-by-step process described below! Be sure to model the process with one or two poems of your choice. Students will love seeing what you offer! Check out my emulation of Shel Silverstein`s Where the Sidewalk Ends at the end of this article. Once you try, you`ll find that it`s actually quite funny to imitate poems. You will notice in the emulation above that I both followed and broke the patterns and structure of the poem. You can ask students to strictly follow the different structures of the poem (stanzas, rhyme scheme, tone, point of view, poetic means) and simply change the words or allow a little more freedom to play and add to the structure. It`s up to you! Instead, I teach students how to imitate/imitate poetry. It`s really a pretty simple process. Easily give your students access to many poems.
You can choose poems that are structured in a similar way if you want to teach your students the format of a sonnet, for example, or you can leave it wide open and have a variety of structures/formats available. […] For the last invitation to write, we wrote a poem in the style of a particular poet, we finally revised it and turned it into our […] Here is an example. I imitated the poem “Memory of Childhood” by Antonio Machado. Obviously, I have edited and revised this poem since its first draft. It doesn`t even have the same structure as Machado`s poem. I developed it and turned it into my own piece. I`ve always said that I don`t like reading poems, even though I like to write them. But I discovered something: the more poems I read, the different authors with their own unique techniques, the more inspired I feel to write. The same goes for books. For example, Jeff VanderMeer has become a powerful influence on my own writing. What writing do you find so good, so unique, that you have to read everything that person writes? Orson Scott card? Agatha Christie? Shakespeare? Edgar Allen Poe? Sylvia Plath? Why not try to imitate your favorite author while trying this exercise? This will be a great way for you to find out what this author you love so much is doing.
It can be dialogues, descriptions, sets, interactions between characters. It doesn`t matter, but once you figure out what it is, why not give it a try? Once you have developed a good understanding of the form or tone of a poem or script, revise it, develop it and turn it into your own unique piece. In a previous article, “The Reading,” I talked about “stealing” from other poets. This means using what you like or find inspiring in your work to develop your own voice and style. Don`t be afraid to start a poem with the same pattern or use a line (like a quote, of course) to start your own poem. This gives you a starting point. Who knows, maybe you remove that quote or change the structure a bit during your review process. So here`s a model for your algorithms: Start with a sensitive security set, a bold proclamation about the human condition. It is public insurance; A popular connection that is punctuated by everyday existence. That`s how we are, tell yourself: But not quite. No image is enough on its own. Daytime clouds float at each horizon and carry silicon linings.
There is no straw, said the camel behind his back. Hysteresis is a memory that penetrates into the present, analog connections relax. The straw that broke the camel`s back was Ophelia on the water, devoured in forgetting-me-not. We will remember that you were, promised. We will not. Greys are patterns of black and white sewn into nanomosaics. Despair means that hope is already gone. Take what I say and wait, deny it. You will take a snapshot or better, its negative, constantly expected. This is what dreams are made of. These are the stuffs, the ones and the zeros from which the code was born.
Copyright 2009 by Hann-Shuin Yew Review by Jendi Reiter Hann-Shuin Yew`s poem “Emulation” raises gnarled questions about memory, whether personal, cultural or computerized. The creative impulse is associated with the awareness of mortality. We strive to produce something that will outlive us, whether it`s a poem that transports our thoughts into the future when we`re no longer there to speak it, or a machine that mimics the human brain but is made of less perishable materials. However, success implies the possibility of our own obsolescence. Maybe we`re just exchanging one form of suppression for another. Will creation replace the Creator? The poem`s inscription is by Tatsu Hashimoto, a Harvard classmate who studies neuroscience. It shows a fascinating blend of humility and intellectual confidence. “As soon as computers can do metaphysics… Hashimoto says bluntly that this huge jump is inevitable.
Oh, that`s it? Next to this bold prediction, there is the harsh verdict that humanity will be “finished, will be gradually eliminated, replaced. This quote is really a claim to the superiority of one form of memory over another. Ironically, in this manifesto of the triumph of impersonal logic over personal feeling, we see the all-too-human rivalry of scientists with artists over how best to describe, preserve, and improve our civilization. And what is this poetry that computer scientists might assume to imitate? Do they define the qualities and purpose of poetry as a poet herself would? Yew takes this question as a starting point. A scientist could subsume poetry into the category of “data.” Yew re-integrates science into poetry by taking scientists` own statements as raw material, a poetic “algorithm” that their imaginary computer could follow: “Start/with a set of sensitive assurances, a bold proclamation/about the human condition.” She draws attention to the fact that the philosophy of science is produced by humans and not by computers and that people have emotions that distort data: arrogance, optimism, the desire for proper solutions to disordered problems. “There is no straw,” says the camel on his back – a neat epigram about the dangers of abstract thinking without self-confidence. “That`s how we are,” you say – “But not quite. No photo stands/alone.
Unlike the ones and zeros of code, words never exist in isolation. They have auras of word associations that are different for each person and are not included in the narrow definitions that a computer might use. At least, that`s the image I got of the phrase “Tag-Clouds drift on every horizon,/bearing silicon linings”. A word “tags” or links to another, but in a nebulous and conducted way. A poem on the theme of cultural memory invites the reader to hear echoes of other literary works. For me, “No image stands/Alone” was reminiscent of John Donne`s phrase “No man is an island”. Language is a collective enterprise. Scientists may need poets and vice versa to complete the picture.
The isolated computer that generates texts from its algorithms is a poor substitute for interpersonal creative exchange. However, “emulation” does not fully recognize the victory of art over science. According to Wikipedia, the term hysteresis describes a system whose output cannot be predicted solely from its current input. When Yew says “hysteresis is/memory seeps into the present, analogues/connections relax,” I think she is referring to the imperfections of non-computerized memory. We are affected by the past, but we forget how we got to where we are; We pass on our ideas to future generations without being able to control how they are received. Even Shakespeare, the poet of poets, is not exempt from decadence: “The straw that broke the camel`s back: `Ophelia above the water, intertwined in forgetfulness-me-not./We will remember that it was you, I promise. We will not. These lines are poignant and remind us that the greatest art and personal affection still cannot truly make us immortal. So why not try artificial intelligence? Eibe ends the poem with an opening note to new ways of thinking: “Take what I say/and swap it, deny it. You will take a snapshot / or better, it is negative, constantly expecting. Anyone who seeks truth, in science or in the arts, must accept that their own achievements may be rendered obsolete by those who rely on them. Perhaps the endurance of data in memory is less important than the persistence of hope.
The “thing whose dreams are made” paraphrases a famous phrase from Prospero`s speech in the fourth act of “The Tempest,” a play that ends with the sorcerer throwing away his magic books to return to human society.