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‘A joyous lifeline in a target driven job’: Teachers’ Metaphors of Poetry Writing Instruction...
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Transcript of ‘A joyous lifeline in a target driven job’: Teachers’ Metaphors of Poetry Writing Instruction...
‘A joyous lifeline in a target driven job’: Teachers’ Metaphors
of Poetry Writing Instruction
Anthony Wilson
University of Exeter
Human learning presupposes a specific social nature and a process by which children grow into the intellectual life of those around them…
…thus the notion of a zone of proximal development enables us to propound a new formula, namely that the only ‘good learning’ is that which is in advance of development
Vygotsky, Mind in Society, 88-9 (in Bruner, Actual Minds, Possible Worlds, 1986: 73).
Why Metaphor?
Metaphor ‘joins dissimilar experiences by finding the image or the symbol that unites them at some deeper emotional level of meaning’ (Bruner, 1979: 63).
Langer (1967): metaphor facilitates organising and enhancing of information
Stockwell (2002:107): ‘mapping of properties’Hunt (2006:317): ‘the creative space between what
is personal and what becomes public’ Bruner (1990:29): Values linked to identity and
culture
‘Handbook’ Literature in UK
Hughes (1967),Brownjohn (1994), Pirrie (1994), Rosen (1989)
– Voice– Authenticity– Freedom– Release– Empowerment– Self-acceptance– Lack of ‘restraints’– Grace (Hughes)
Michael and Peter Benton
• Benton, M. (1978:114)– Poetry as a ‘Cinderella’ subject
• Benton, P. (1999)– Poetry as a ‘Rainbow’
• Benton, P. (2000) – ‘The Conveyor Belt Curriculum’
Recent Literature on Poetry Instruction
Journals with special editions on poetry/creativity
• NZ and Canada (Fraser; Mission and Sumara; Morgan; Sumara and Davis: 2006)– theoretical; postmodern; ethnographic
• UK (Obied; Peskin; Spiro; Stevens: 2007)– theoretical/practitioner; qualitative
• US (Griswold; Huie; Leggo; Schwalb; Skelton; Strever; Van Whye; Wilkinson: 2006)– practitioner; non-empirical
Methodology
• Questionnaire survey of teachers’ thinking about poetry writing and their instructional practices was disseminated to an opportunity sample of two separate groups of teachers attending in-service training on poetry writing pedagogy.
• Thirty three teachers, with a range of teaching experience and service, took part in the sample.
• Their responses were coded inductively (Strauss and Corbin, 1990) and ‘selectively’.
Clichéd Metaphors‘Poetry feels different: a breath of fresh air’ [1:Q3]‘any levels are based on a gut feeling. I am not
interested in some sort of detailed poetry by numbers tick box’ [7:Q5]
‘writing poetry reaches the parts that others do not’ [8:Q2]
‘from a teacher’s point of view it sometimes feels like a guilty pleasure’ [21:Q2]
‘no, too personal and potentially soul destroying’ [21:Q5]
‘difficulties are] getting them to take a leap in the dark and start writing’ [33:Q11]
Surprising Metaphors‘trying different expressions for size’ [2:Q3] ‘the uniqueness in a singer’s voice to convey emotion’
[4:Q4]‘a dialogue with oneself which also expresses and speaks
to something shared’ [30:Q1] ‘It teaches us that writing, like travelling, should be a matter
not of habit, but of experiment, if we ever want to go anywhere’ [25:Q2]
‘the writer playing in a kind of ocean, a pool of freedom around a rock’ [4:Q3]
‘poetry as a valuable playground for trying out techniques’ [6:Q2]
‘very important - a way of letting pupils escape the boundaries and suffocation of the curriculum –to explore themselves’ [32:Q2]
‘a joyous lifeline in a target driven job’[3:Q12]
Findings
1. Teachers view poetry writing as a site in which learners can explore their personal creativity.
2. In spite of claiming to use poems as ‘models’ to aid learners, teachers nevertheless reject the notion of ‘formulaic’ poetry writing.
3. Teachers emphasise the freedom which poetry writing allows them from curricular ‘directives’.
Discussion• Do these statements represent a romanticised
view of creativity?
• Is the emphasis on ‘suffocation’ of the curriculum an ‘escape’ model of poetry teaching, based on a lack of trust of testing/levelling?
• How far is this lack of trust also replicated in a lack of coherent theorising of personal creativity?
• Could the results be viewed as defensiveness against more political pressure, curricular change etc?
Discussion• Are these teachers teaching poetry writing for
themselves or their classes?
• Are these teachers pragmatic or frustrated?
Is poetry writing instruction a ‘price worth paying’ to maintain self-identity?
References• Benton, M. (1978), 'Poetry for children: a neglected art', Children's Literature in Education, Vol. 9, No. 3,
111-26.• Benton, P. (1999), ‘Unweaving the Rainbow: poetry teaching in the secondary school I’, Oxford Review
of Education, Vol. 25, No. 4, 521-531.• Benton, P. (2000), ‘The Conveyor Belt Curriculum? Poetry teaching in the secondary school II’, Oxford
Review of Education, Vol. 26, No. 1, 81-93.• Brownjohn, S. (1994), To Rhyme Or Not to Rhyme? London: Hodder and Stoughton.• Bruner, J. S. (1979), On Knowing: Essays for the Left Hand (Expanded Edition). Cambridge, Mass:
Belknap, Harvard University Press.• Bruner, J. S. (1986), Actual Minds, Possible Worlds. Cambridge, Mass: Harvard University Press.• Bruner, J.S. (1990), Acts of Meaning. Cambridge, Mass: Harvard University Press.Fraser, D. (2006),
‘The creative potential of metaphorical writing in the literacy classroom’, English Teaching: Practice and Critique, Vol. 5, No. 2, 93-108.
• Griswold, A. (2006), ‘Assessment Lists: One Solution for Evaluating Student Poetry’, English Journal, Vol. 96, No. 1, 70-75.
• Hughes, T. (1967), Poetry in the Making. London: Faber and Faber.• Huie, M. L. (2006), ‘Writing Personal Shadow Poems to Understand Universal Themes’, English Journal,
Vol. 96, No. 1, 30-33.• Hunt, C. (2006), ‘Travels with a turtle: metaphors and the making of a professional identity’, Reflective
Practice, Vol. 7, No.3, 315-332.• Langer, S. (1967), Mind: An Essay on Human Feeling, Volume 1. Baltimore, Maryland: The Johns
Hopkins Press. • Leggo, C. (2006), ‘End of the line: A poet’s postmodern musings on writing’, English Teaching: Practice
and Critique, Vol. 5, No. 2, 69-72.• Mission, R. and Sumara, D. (2006), ‘Reclaiming the “creative” in the English/Literacy classroom’, English
Teaching: Practice and Critique, Vol. 5, No. 2, 1-5.• Morgan, W. (2006), ‘ “Poetry makes nothing happen”: Creative writing and the English classroom’,
English Teaching: Practice and Critique, Vol. 5, No. 2, 17-33.
• Obied, V. (2007), ‘ ‘Why did I do nothing?’ Poetry and the experiences of bilingual pupils in a mainstream inner-city secondary school. English in Education, Vol. 41, No. 3, 37-52.
• Peskin, J. (2007), ‘The genre of poetry: secondary school students’ conventional expectations and interpretive operations’, English in Education, Vol. 41, No. 3, 20-36.
• Pirrie, J. (1994), On Common Ground: A Programme for Teaching Poetry (Second Edition). Godalming: World Wide Fund For Nature.
• Rosen, M. (1989), Did I Hear You Write?(2nd Edition). Five Leaves Press: Nottingham.• Schwalb, N. (2006), ‘East of the River: Crossing Borders through Poetry in Middle Schools’, English
Journal, Vol. 96, No. 1, 40-45.• Skelton, S. (2006), ‘Finding a Place for Poetry in the Classroom Every Day’, English Journal, Vol. 96,
No. 1, 25-29.• Spiro, J. (2007), ‘Teaching poetry: writing poetry – teaching as a writer’, English in Education, Vol. 41,
No. 3, 78-93.• Stevens, D. (2007), ‘ ‘Draw your own conclusions’: teaching pre-twentieth century poetry in an arts
context’, English in Education, Vol. 41, No. 3, 54-66.• Stockwell, P. (2002), Cognitive Poetics: An Introduction. London: Routledge.• Strever, I. A. (2006), ‘ “Who Makes Much of a Miracle?” The Evolution of a School’s Poetic Culture’,
English Journal, Vol. 96, No. 1, 66-69.• Sumara, D. J. and Davis, B. A. (2006), ‘Correspondence, coherence, complexity: Theories of learning
and their influences on processes of literary composition’, English Teaching: Practice and Critique, Vol. 5, No.2, 34-55.
• Swanson, D. R. (1994), ‘Toward a Psychology of Metaphor’ in Sacks, S. (ed.), On Metaphor. Chicago: University of Chicago Press, 161-164.
• Van Whye, T. L. C. (2006), ‘Remembering What Is Important: The Power of Poetry in My Classroom’, English Journal, Vol. 96, No. 1,15-16.
• Vygotsky, L.S. (1978) Mind in Society: the Development of Higher Mental Processes. Cambridge, Mass: Harvard University Press.
• Wilkinson, R. A. (2006), ‘The Blackbird and the Quest for Meaning’, English Journal, Vol. 96, No. 1, 54-55.
• Wilson, A.C. (2009), ‘Creativity and Constraint: Developing as a Writer of Poetry’. In Beard, R., Myhill, D., Nystrand, M., and Riley, J.(eds.), The Sage Handbook of Writing Development. London: Sage.