The World by Memory and Conjecture collects thirty poems written and refined over the course of two and a half years. An analytical essay discussing the reading and writing of poetry as a medium, with reference to ancient and contemporary poets, is included.

This collection of poetry, both narrative and lyric, investigates the geographic identity of rural, southern West Virginia. The poems often inhabit the voices of characters from this geography in order to trace themes of drug addiction, death, and the nature of being a descendent of working-class culture.

<p>Abstract</p><p>When I was a child my mother and I wrote a lot of poems, but in school we didn´t write poems at all. As a teacher I want to show the children the joy and happiness of writing poems, stories and fairy tales.</p><p>The purpose of this report was to investigate the work with poetry and creative writing in my class and how the pupils experienced their own work/writing. I began with asking the pupils in my class a few and simple questions about poetry, then we made a diffrent kinds of poetry writing and a finally I repeated the interviews with the children. The poetry writing took place during six weeks under the spring semester.</p><p>I found that as a teacher it is possible to work with creative writing and poetry in diffrent ways. The pupils enjoyed the writing and their opinions were that they had increased their skills in rhyming, writing and spelling, that they had learnt new words and to use their fantasy and that they had learnt a great deal of how to cooperate.</p><p>Keywords</p><p>Creative writing, fantasy, poems.</p>

Abstract When I was a child my mother and I wrote a lot of poems, but in school we didn´t write poems at all. As a teacher I want to show the children the joy and happiness of writing poems, stories and fairy tales. The purpose of this report was to investigate the work with poetry and creative writing in my class and how the pupils experienced their own work/writing. I began with asking the pupils in my class a few and simple questions about poetry, then we made a diffrent kinds of poetry writing and a finally I repeated the interviews with the children. The poetry writing took place during six weeks under the spring semester. I found that as a teacher it is possible to work with creative writing and poetry in diffrent ways. The pupils enjoyed the writing and their opinions were that they had increased their skills in rhyming, writing and spelling, that they had learnt new words and to use their fantasy and that they had learnt a great deal of how to cooperate. Keywords Creative writing, fantasy, poems.

Gaoqi was born in 1336 and died in 1373 at age 39. In the history of literature, he was a poet as famous as Songlian and Liuji in the Ming Dynasty and lived in an extremely unruly time. Only a few theses about him can be found in Taiwan, i.e. the Study of Gaoqi¡¦s Poetry by Liu Long-hsun and the Study of Gaoqinqiu¡¦s Poetry by Tsai Mao-hsiong. More theses have been written in China, but in general, there is not much information about this great poet. Information on the Plum Blossom Poems is similar with all of Gaoqi¡¦s poems, i.e. not much literature can be found. The study took Gaoqi¡¦s Plum Blossom Poems as the main subject, but since its development was continuous, the Plum Blossom Poems from another period are also discussed. The diverse characteristics of the Plum Blossom Poems in different Dynasties were studied, so that the creative thinking characteristics and artistic performance of Gaoqi can be further understood. There are sixteen parts in six chapters in the thesis; its description is as follows: Chapter I: The introduction. It includes a foreword of the study and Gaoqi¡¦s autobiography. The project¡¦s motivation, relevant literature, and study methods are introduced. Gaoqi¡¦s background and his experiences are also described. Chapter II: The development of the Plum Blossom Poems from the South-North Dynasties (420-598) to the Yuan Dynasty. The famous poems are introduced and analyzed. Chapter III: Thoughts on Gaoqi¡¦s poems and inheritance. Discussion regarding the artistic inheritance of the Plum Blossom Poems from past periods and its creative techniques. Chapter IV: Gaoqi¡¦s Plum Blossom Poems (part I). There are a total of 33 poems. The poems, each consisting of eight lines, are discussed. They include nine poems on plum blossoms, five poems of chanting plum blossoms that follow the rhyming word that ends a line of verse written by Yianshi and two poems of chanting plum blossoms that follow the rhyming word that ends a line of verse written by Xiyuangong. Chapter V: Gaoqis¡¦ Plum Blossom Poems (part II). Discusses another poem¡¦s style including ancient poetry and poem of four lines with an analysis of Gaoqi¡¦s poems. Chapter VI: The development of the Plum Blossom Poems in the Ming and Qing Dynasties. Discusses the development of the Plum Blossom Poems after Gaoqi and the conclusion of the study.

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Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium, 2000.

A collection of poetry.

This research explored the views of home-educators and the young people in home-education around their reasons for opting out of school-based education, their level of satisfaction with their decision, what education looks like to them, aspirations for the future and perceived support from the Local Authority (LA). Phase one took the form of a parent/carer questionnaire. The questionnaire was shared nationally and yielded sixty complete responses. Data has been analysed and is displayed in frequency tables and descriptive statistics. Phase two implemented a case-study methodology. Recruitment for this part of the project was extremely difficult and possible reasons for this are explored. I visited five families, speaking to eight young people and either both or one parent. There were some structured arts-based activities which I used as a vehicle to open the dialogue with the young people. These sessions largely took place in the participants’ home, or in another venue of their choosing. With participants aged ten years and over, I adopted a narrative approach, with much guidance taken from Brown and Gilligan’s (1993) “The Listening Guide.” Phrases starting with “I” are taken from the participants’ transcripts and used to create a poem which represents their story, constructs and feelings. These poems were then taken back to the young people in order to check that they were satisfied with the meaning that had been captured. Braun and Clarke’s (2006) framework for analysing qualitative data was implemented as a tool for analysis across cases. Emergent themes included the value that home-educated families place on child-centred learning, allowing children to develop at their own rates and enabling them to pursue topics of interest. Implications for educational psychologists’ (EPs) practice are discussed.