陳光華 = The teaching of poetry in Chinese literature : the application of Parry ... / 據手稿本影印. / Thesis (M.A.)--香港中文大學硏究院敎育學部. / Ju shou gao ben ying yin. / Includes bibliographical references (leaves 135-140). / Chen Guanghua = The teaching of poetry in Chinese literature : the application of Parry ... / Thesis (M.A.)--Xianggang Zhong wen da xue yan jiu yuan jiao yu xue bu. / Chapter 第一章 --- 緒論 --- p.1 / Chapter 一 --- 問題說明 --- p.7 / Chapter 二 --- 研究範圍 --- p.7 / Chapter 1 --- 詩歌 --- p.11 / Chapter 2 --- 中國詩歌教學 --- p.11 / Chapter 3 --- 帕利勞德理論 --- p.13 / Chapter 第二章 --- 文獻評述 --- p.13 / Chapter 一 --- 中大教學書刊 --- p.13 / Chapter 1 --- 香　港 --- p.13 / Chapter 2 --- 台灣 --- p.14 / Chapter 3 --- 中國大陸 --- p.15 / Chapter 二 --- 中文教學專文 --- p.17 / Chapter 三 --- 古代詩歌教學理論 --- p.24 / Chapter 1 --- 專攻 --- p.25 / Chapter 2 --- 立意 --- p.27 / Chapter 3 --- 煉句 --- p.29 / Chapter 4 --- 熟習 --- p.30 / Chapter 5 --- 誦讀 --- p.30 / Chapter 四 --- 文學研究方法專論 --- p.33 / Chapter 五 --- 帕利勞德理論介紹 --- p.38 / Chapter 六 --- 小結 --- p.49 / Chapter 第三章 --- 複 沓 --- p.50 / Chapter 一 --- 複沓之定義 --- p.50 / Chapter 二 --- 詩歌裏的複沓 --- p.56 / Chapter 1 --- 詩經裏的複沓 --- p.56 / Chapter 2 --- 漢魏樂府裏的複沓 --- p.64 / Chapter 3 --- 唐代變文裏的複沓 --- p.69 / Chapter 第四章 --- 討´論´ؤؤ帕利勞德理論之應用 --- p.80 / Chapter 一 --- 關於詩經中複沓的意見 --- p.80 / Chapter 二 --- 關於樂府詩中複沓的意見 --- p.89 / Chapter 三 --- 關於唐代變文的複沓的意見 --- p.107 / Chapter 第五章 --- 結論 --- p.113 / 注釋 --- p.120 / 重要參考書目 --- p.135

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The purposes of the study were: (1) to develop and test a new measure, of appreciation of poetry, and (2) to determine the relationship between appreciation of poetry and (a) creative performance in poetry, (b) silent reading ability, and (c) subjective assessment by a teacher of a student's level of appreciation. Following a review of some of the major attempts this century to define and measure appreciation of literature, the procedures adopted in the study were outlined. Based on the findings of the research, it was decided to employ poetry rather than prose in the new measure, and design it specifically for the junior secondary level. The test, called the Poem Comparison Test, consisted of twelve poems. Each poem was in two versions, the original and an inferior imitation, and the subject was asked to rate each of the two versions. In order to measure creative performance in poetry three other measures were also developed specifically for the study. These measures were: the Rhyme Test, the Rhythm Test, and the Imagery Test. So that the subjects' responses would be as little restricted as possible, all three of these tests employed an open-ended format. Two outside markers were employed to score the Rhythm Test and the Imagery Test. Silent reading ability was measured by the Gates-McGinitie Reading Test, Survey E, Form 2M. The subjective assessment of the students' level of appreciation was measured by a questionnaire, also developed specifically for the study, and given to the teachers of the students involved in the study. The subjects were grade eight and grade ten students in a large metropolitan secondary school in an average socio-economic section of the city. The testing took place in April, 1975, and complete data were obtained for 95 students. The main questions that the study was designed to answer were: (1) Is there a significant, positive correlation between appreciation of poetry and creative performance in poetry? (p>.5) (2) Is there a significant, positive correlation between appreciation of poetry and silent reading ability? (p>.5) (3) Is there a significant, positive correlation between students' appreciation of poetry and their teachers' assessment of their level of appreciation? (p>.5) (4) Do appreciation of poetry and creative performance in poetry increase from grade eight to grade ten? (a=.01) (5) Are girls better than boys in appreciation of poetry and creative performance in poetry? (a=.01) Based on the data obtained, the following conclusions were drawn: (1) There is not a significant, positive correlation between appreciation of poetry and creative performance in poetry (2) There is not a significant, positive correlation between appreciation of poetry and silent reading ability (3) There is not a significant, positive correlation between students' appreciation of poetry and their teachers' assessment of their level of appreciation, (4) Appreciation of poetry increases from grade eight to grade ten, but creative performance in poetry does not. (5) Girls, are better than boys in creative performance in rhyme and rhythm, but not in appreciation of poetry or creative performance in imagery. The overall conclusions for the study were: (1) there is a factor of appreciation of poetry which is distinguishable from both creative performance in poetry and silent reading ability, and (2) that the measure of appreciation of poetry developed specifically for this study could provide a valid tool for both the researcher and the classroom teacher. / Education, Faculty of / Graduate

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This research report is submitted in partial fulfilment of the requirements for the degree of Masters in Education by coursework and research report. School of Education, University of Witwatersrand. Johannesburg, July 2015. / This report explores the ways in which meaning is constructed, adapted or altered as Grade 9 English Home Language learners redesign the meaning of a poem multimodally in the English classroom in a state secondary school in Johannesburg. A unit of poetry work was designed to explore how learners, working together in groups and independently of the teacher, ‘shift’ across and within modes in the process of redesigning meaning. An array of prescribed poems chosen from official sources – one selected per group – which served as a foundation for designing and creating multimodal artefacts and ensembles, was set as primary texts. The main purpose of this report, then, is to determine how meaning is constructed in learners’ responses through their products and presentations in a pedagogic approach that is informed by both multimodality and multiliteracies. The two core concepts in this report – design and modes – are recognised as significant concepts in analysing learners’ multimodal artefacts in this chain of semiosis and compared with the characteristics of the original ‘poem on paper’. A multiliteracies pedagogy and multimodal artefact design are used to provide the Grade 9 learners the support to ‘unlock’ their potential and encourage resources to emerge from which they can construct meaning in innovative ways. Since the learners work collaboratively in groups to redesign the meaning of a poem multimodally, findings suggest that this strategy fostered the interaction of ideas, learner activity and engagement and learner verbalisation of ideas. Learners’ ideas were developed, articulated, clarified and transformed within the groupwork discussion and were made visible in their multimodal artefacts. Learners’ final products in the chain of semiosis were of good quality. In the process of redesign, as agents of meaning making, learners used semiotic resources and the integration of modes to represent their poem multimodally. The words themselves had to be extracted from the poem, redesigned and represented in another form or mode. Finally, this pedagogy demonstrates that it is possible for learners to be active designers of meaning while remaining within the prescriptive parameters of the relatively recent Curriculum and Assessment Policy Statement (CAPS) curriculum. Learners were able to successfully reshape and resemiotise the primary text into other modal artefacts, which one could taste, smell, touch, see or hear.

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This study investigates the reading processes used by nine sixteen-year-old, adolescent reluctant readers as they read and interpret poetry. The study also considers how these reading processes are affected by the students' participation in a one-month study of reading and independently discussing poetry in small groups. Each student's responding-aloud interpretation of poetry gathered before the study (pre-test protocol) is compared with his or her responding-aloud interpretation of poetry gathered after the study (post-test protocol). This is done by analyzing each protocol according to a reading scale which identifies five key-reading processes each of which is qualitatively differentiated across five categories. This reading scale, designed by the researcher, is based on the analysis of over one hundred and twenty responding-aloud protocols of adolescent reluctant readers. / Six of the nine readers refine the processes through which they read and interpret poetry. The most likely cause of this improvement is their having been involved in independent small-group discussion of poetry. The analysis of students' pre-test and post-test protocols reveal the (differing) extents to which each of them use the five key-reading processes.

There is a strong perception among teachers, academics and researchers that English Second Language (L2) black matriculants and black pupils generally do not possess an aptitude for poetry appreciation in English; and therefore have a negative attitude to English poetry. Another perception is that the apparent lack of aptitude by L2 black matriculants / learners for English poetry arises from the wilful neglect by the previous education system to offer an appropriate poetry curriculum for L2 black matriculants and L2 black learners generally. This perception contends that the poetry curriculum of the previous education system ignored the basic principles of TESOL (Teaching English to Speakers of other Languages) in formulating the English poetry curriculum. This dissertation tests these perceptions through a pupil questionnaire and teacher interviews. The L2 black pupils' responses are assessed against their literary background viz. the oral tradition and contemporary black writing, as well as the historical, sociopolitical and economic factors affecting their lives. The dissertation critiques the syllabus used by the Department of Education and Training (D.E.T.):·the prescribed poems, and classroom methodology to see whether it reflects an awareness of the L2 black learners' background, guided by the basic principles of TESOL. The contents of chapters 1-4 are arranged in a sequence that is aimed at testing the validity of the general perceptions of L2 black matriculants' attitudes to poetry mentioned earlier. The research revealed that the attitudes of L2 black matriculants to unjust education system and an inappropriate English poetry curriculum should not be confused with their attitudes to English poetry in general. The dissertation concludes that L2 black matriculants / learners appreciate appropriate English poetry and respond positively to English as a subject. / Thesis (M.Ed.)-University of Natal, Pietermaritzburg, 1998.

This thesis is a study of the problems of teaching poetry to English speaking pupils at South African senior schools. It is a study of what is generally agreed to be 'a peculiarly difficult department of teaching' Reeves 1958. Some would go as far as to suggest that the teaching of poetry is the most difficult aspect of any school subject : "No topic in the school curriculum has so many pitfalls as the teaching of poetry in the classroom: it is easier to go astray in attempting to promote aesthetic responses to a poem than in any other kind of lesson. 'Currey {19S8) p. 126.' If one may judge too by the number of complaints from a large body of teachers (see Chapter Four) about the difficulty of teaching poetry successfully the assessments given by Reeves and Currey appear to be well- founded. Additional weight is given by some of the attitudes of pupils themselves towards poetry and the poetry lesson (see Chapter Three). Further confirmation is evident at Teachers' Conferences and from examiners' reports that examination questions on poetry are often among the most badly answered and the least popular of all questions set. Even more significant, perhaps. were the responses from two separate graduate student teacher groups (U.E.D. English Method classes, Rhodes University 1965, 1967). When asked at the beginning of the course to name the one type of English lesson they felt least confident in handling, 42 of the 64 student teachers answered, 'The poetry lesson'. Into. p. 1.