COD 2006 - S190
Poems: Deep and Dangerous (IGCSE Set Text 2006)
Language and Literature Teachers. IGCSE Teachers.
3
sessions, start: 23-May
The course chosen does not allow any new enrolment
Course detail
Year: 2006
Level: Secondary
Language: English
Status: Ended
Lugar: ESSARP - Deheza 3139, CABA
Facilitator/s: Ms. Susana Gullco Groisman
ESSARP Schools
ARS
ARS
Exams Schools
ARS
ARS
Non affiliate
ARS 45.00
ARS 45.00
Sessions
Sessions | Dates | Start | Finish |
---|---|---|---|
1 | 23 May 2006 | 05:30 pm | 08:30 pm |
2 | 30 May 2006 | 05:30 pm | 08:30 pm |
3 | 06 June 2006 | 05:30 pm | 08:30 pm |
Facilitator/s
Susana Gullco Groisman
Language and Literature Teachers. IGCSE Teachers.
- To compare and contrast Sections 1, 2, and 3 in the collection to see the balance between form and meaning.
- To approach the text to encourage an appreciation and enjoyment of the poems.
- To suggest different activities suitable for IGCSE level.
Session 1
Poems:
Wole Soyinka; Telephone Conversation.
Fleur Adcock; Bogyman.
John Keats; La Belle Dame sans Merci.
Sylvia Plath; Balloons.
Session 2
Poems:
Norman MacCaig; Writing a Letter.
Philip Larkin; Essential Beauty.
R.S.Thomas; The Film of God.
Sylvia Kantaris; Snapshotland.
Tony Harrison; Background Material.
Frank Chipasula; Manifesto on Ars Poetica.
Session 3
Poems:
Charlotte Mew; The Trees are Down.
D.H.Lawrence; Mountain Lion.
Thomas Hardy; Fallow Deer at the Lonely House.
Margaret Atwood; A Holiday.
Sujata Bhatt; Kankaria Lake.
See intructions for previosu reading below.
Note: Before the first meeting please take the following guidelines into account and follow the instructions.
- Read each poem aloud twice.
- Jot down your feelings after you've done this. Try to express what or how you feel.
- Look at the title of the poem; then at the lay-out of the poem. Observe if there is a possible connection between these aspects and the poem.
-What's the context of situation? Factual information.
- Is the speaker addressing the reader/listener? If s/he does, what does this do to you?
- Lexical stance (words in themselves). Are there any ambiguities? Symbols? Tropes? (Metaphor-synecdoche-metonymy-allusions-personification)
Images (a single one? - a cluster of images?)
- Syntactical level:
- How is thought organized?
Number of sentences and organization (sometimes a key idea is repeated with variations or expanded. Sometimes there's a question-and-answer pattern)
Are there run-on lines or end-stopped ones?
- Rhetorical figures. (Rhetoric: the art or science of using words effectively in speaking or writing, so as to influence or to persuade): apostrophe - rhetorical question - chiasmus - zeugma - hyperbole - understatement - litotes - anaphora - epiphora - ploce - polysyndeton - asyndeton -hyperbaton.
- Phonological level
Alliteration, rhyme pattern, assonance, consonance, onomatopoeia.
- Rhythm
Meter (iambic, trochaic, etc.)
- Theme and Tone
What does the poem seem to do? Is it describing an emotion, a mood or stressing ideas which offer insight into life, death, the human condition?
What's the literary speaker's attitude to his/her listener?
Light or serious, formal or intimate, outspoken or reticent, simple or abstruse, Loving of angry, serious or ironic, obsequious or condescending.
Methodology: Group and pair work.
See intructions for previosu reading below.
- Birch, D. (1996) Language, Literature and Critical Practice. .London: Routledge.
- Blake, N. (1990). An Introduction to the Language of Literature. London: Macmillan.
- Bradford R. (1997). Stylistics. London & New York: Routledge.
- Carter, R. & McRae, J. (1997) The Routledge History of Literature in English. Britain & Ireland. London & New York: Routledge.
- Ferradas Moi, C. & Pena Lima, B. (2002) Words on Words Teaching Contemporary U.K. Literature. Buenos Aires: British Council Argentina.