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POETRY UNIT

The Bedouins of ancient Arabia and Persia made poetry a conversational art form. Several poetic forms developed from the participatory nature of tribal poetry. Today in most Arabic cultures, you may still experience public storytelling and spontaneous poetry challenges in the streets. The art of turning a rhyme into sly verbal sparring is considered a mark of intelligence and a badge of honor.

The project is assembling an electronic archive of volumes of American poetry prior to 1920. The full text of each volume of poetry is being converted into digital form and coded in Standard Generalized Mark-up Language (SGML) using the TEI Guidelines, with various forms of access provided through the WWW.

These are just a very few examples of different types of poetry. Most of the definitions have at least one example of each particular type of poetry for better understanding. All examples were provided by the members of Shadow Poetry or previous Egroup. More definitions for related poetry items may be found in the Shadow Poetry Handbook (link located above). As a bonus, we feature poetry forms created by selected poets as new and challenging writing styles. Try not only the traditional forms, but some of the rewarding invented formats as well!

Successful middle schools engage students in all aspects of their learning. There are many strategies for accomplishing this. One such strategy is student-led conferences. As a classroom teacher or administrator, how do you ensure that the information shared in a student-led conference provides a balanced picture of the student's strengths and weaknesses? The answer to this is to balance both summative and formative classroom assessment practices and information gathering about student learning.

Poetic Forms & Techniques

Community Classroom is an innovative and free resource for educators, offering short-form film modules adapted from ITVS's award-winning documentaries and standards-based lesson plans for high school and community colleges, NGOs, and youth organizations."

"Performance Enhancing Drugs in Schools: How Big is the Threat to Kids? By Jeff Roberts on August 9, 2013 2 Comments Lance Armstrong. Ryan Braun. A-Rod. Marion Jones. Tim Montgomery. Tyson Gay. Bill Romanowski. Rafael Palmeiro. And so on … and so on. We've all heard the names. We're all familiar with the historic heights each of them achieved in their respective sports. And we have all witnessed their tragic, self-induced falls from grace.  Their respective careers are ruined. Their legacies disgraced. And, perhaps most tragically, all of the youngsters they once inspired are left confused and heartbroken. The worst part? The high-profile names mentioned here are a tiny fraction of the incredibly long list of professional and amateur athletes who have tested positive for performance-enhancing drugs (PEDs). Over the past decade, the U.S. Anti-Doping Agency has sanctioned cyclists and soccer players, water poloists and weightlifters, rowers, wrestlers, boxers and archers. And that's just a small sample of the offenders.   But when officials in Texas revealed last July that nine high school athletes tested positive for steroid use - and that just recently, scandal-ridden Biogenesis of America provided PEDs to high school athletes in Miami - the conversation became slightly more sickening. We were immediately filled with questions: What is the prevalence of PEDs in high schools? What types of PEDs are being used among high school athletes? What can be done to combat this trend? Let's answer these questions one by one. The prevalence of PEDs in high schools Roughly 3.2 percent of American high school kids - boys and girls - took steroid pills or shots without a doctor's permission at least once in their lives, according to the U.S. Department of Health's Youth Risk Behavior Survey published in June 2012. Bear in mind that the data collected reflects the 2011 school year and four U.S. states did not share data. Still, powerful co

"It was Monday again. It was Monday and the day was damp and cold. Rain splattered the cover of Algebra I as Laura heaved her books higher on her arm and sighed. School was such a bore. School. It loomed before her now, massive and dark against the sky. In a few minutes, she would have to face them again---Diane Goddard with her sleek blond hair and Terri Pierce in her candy-pink sweater. And Carol and Steve and Bill and Nancy... There were so many of them, so exclusive as they stood in their tight little groups laughing and joking. Why were they so cold and unkind? Was it because her long stringy hair hung in her eyes instead of dipping in graceful curls? Was it because she wrote poetry in algebra class and got A's in Latin without really trying? Shivering, Laura remembered how they would sit at the back of English class, passing notes and whispering. She thought of their identical brown loafers, their plastic purses, their hostile stares as they passed her in the corridors. She didn't care. They were clods, the whole lot of them. She shoved her way through the door and there they were. They thronged the hall,streamed in and out of doors, clustered under red and yellow posters advertising the latest dance. Mohair sweaters, madras shirts, pea-green raincoats. They were all alike, all the same. And in the center of the group, as usual, Diane Goddard was saying, "It'll be a riot! I just can't wait to see her face when she finds out." Laura flushed painfully. Were they talking about her? "What a scream! Can't wait to hear what she says!" Silently she hurried past and submerged herself in the stream of students heading for the lockers. It was then that she saw Rachel Horton---alone as always, her too-long skirt billowing over the white, heavy columns of her legs, her freckled face ringed withover the white, heavy columns of her legs, her freckled face ringed with shapeless black curls. She called herself Horton, but everyone knew her father was Jacob Hortensky, the

It wasn't that long ago, that the average child did not attended any form of public schooling. Usually they were needed to work at home or in the family business. Those that did attend school either went to a one room school house in their community, or were taught at home. There's an astonishing list of successful adults that never attended what we now call "public school".

lements toward building a good persuasive essay include * establishing facts to support an argument * clarifying relevant values for your audience (perspective) * prioritizing, editing, and/or sequencing the facts and values in importance to build the argument * forming and stating conclusions * "persuading" your audience that your conclusions are based upon the agreed-upon facts and shared values * having the confidence to communicate your "persuasion" in writing

These sites explain how to write memoirs and include ideas for getting started. There are also some writing examples and lists of recommended children's books that use this form of writing. There is a link to eThemes Resource on Personal Narrative Writing.

In this unit, students will explore the genre of memoir. They will see that writers write about the ordinary happenings of their lives and that their own lives are packed with meaningful experiences and memories that can form the basis of their own writing. Students will be encouraged to reflect upon the significance of remembered events and to keep a notebook of their thoughts and feelings.

HOME > Today's Front Pages > Monday, August 24, 2009: 755 front pages from 73 countries. The Newseum displays these daily newspaper front pages in their original, unedited form. Some front pages may contain material that is objectionable to some visitors. Viewer discretion is advised.

As teachers we need to adopt a very sensitive approach to the teaching of poetry, one that combines discussion and writing, one that examines ideas and feelings, one that encourages appreciation of the poetry of others while also giving room for our students to write freely when creating poetry. In this document I have tried to offer approaches to the teaching of writing poetry that can be used by all classroom teachers. Download a Word copy of this document here. These approaches encourage children to play around with words, to experiment with their sounds, their rhythm. They also allow the teacher to introduce new terminology in a fun way.

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