DOCSLIB.ORG

At the Intersection of Poetry and a Lower

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
At the Intersection of Poetry and a Lower At the Intersection of Poetry and a High School English Class: 9th Graders‟ Participation in Poetry Reading Writing Workshop and the Relation to Social and Academic Identities‟ Development DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Susan Koukis Graduate Program in Education The Ohio State University 2010 Dissertation Committee: Anna Soter, Advisor George Newell Mollie Blackburn Terry Hermsen Copyright by Susan Koukis 2010 Abstract The purpose of this study was to determine whether “marginalized” (Moje, Young, Readence, & Moore 2000) 9th grade students in a low-level, tracked English class perceived themselves as more successful students in English class after participating in a 10-week Poetry Reading Writing Workshop. A second purpose was to determine whether their knowledge of poetry terms and concepts such as metaphor, and subsequent performance on the poetry sections of standardized tests improved. My nested case study focused on 19 students in a low-level 9th grade English class. As the practitioner researcher, I conducted in- depth research with six focus students chosen through purposeful sampling. I collected data over the course of three months, using the types of instruments most common to case study research. Data analysis for my nested case study was ongoing and recursive between field work and reflection. Data were coded for patterns that represented categories pertaining to my research questions and coding was refined as I gathered and re-read additional data sources. The findings revealed that students learn better, and are more engaged when they have choices (Atwell, 1998; Lauscher, 2007). When students were forced to read poems that I chose for them, their journal and discussion comments were consistently negative. Students stated that they could not relate to the content or the format of these poems, and thus often summarily dismissed them as unimportant, boring or confusing. ii The findings suggest that students had a better knowledge of poetry after the workshop. Students improved their scores on a literary terms quiz and on practice Ohio Graduation Test poetry selections, but these improved scores did not affect their own definition of themselves as successful English students, which remained closely tied to overall grades, attendance, and behavior. A clear understanding of metaphor and other poetry terms were indicated in focus student interviews and also through their applications in their poetry exercises and responses. Within a tracked system, marginalized students have limited choices to feel successful (Oakes, 1985; Yonezawa, Wells, & Serna, 2002). When students are given a “third space” (Gutierrez, Rymes, & Larson, 1995; Soja, 1996), such as a classroom‟s Poetry Reading Writing Workshop where they can transact with poems, then they can practice and play with aspects of their identities through multiple literacies. The students in this study came into my classroom angry or uninterested. While they needed to adjust to the unfamiliarity of no worksheets, no drills, and more choice during the Poetry Reading Writing Workshop, by the end of the workshop more students were engaged in their poetry class reading and writing and in sharing their writing with their peers. The data I collected and analyzed can give insight into the larger considerations of what could and might occur if teachers were to untrack their marginalized students at least in the space of a Poetry Reading Writing Workshop where students are given the possibility to work through poetry to discover different aspects of themselves. iii This document is dedicated to my family who listened patiently to years of whining and sent me to my room when I procrastinated too long. It is also dedicated to my father, Dr. Ed Robinson, who willed me his stubbornness, and who would have said, “Congratulations! It‟s about time.” iv Acknowledgments I would like to acknowledge the many professors whose classes motivated me to continue reading, writing, and researching for so many years, especially Drs. Mertz, Newell, Clark, Hirvela, Blackburn, Bloome, and my advisor, Dr. Soter. Being a member of the first Columbus Area Writing Project gave me encouragement to write, as did the three poetry classes, and literary theory class I took with Dr. Soter over the years. I would like to thank Drs. Blackburn and Clark for re-vitalizing my teaching through their seminars on adolescent literacy. I would like to thank both the members of my candidacy committee and my dissertation committee, Drs. Soter, Newell, Blackburn, and Hermsen for their patience and gentle criticism. In particular, I would like to thank Dr. Soter for her meticulous revisions and suggestions as I worked my way through the dissertation jungle. I would like also to thank my many colleagues at Marysville High School for being so accommodating as I juggled research and teaching, and my family for juggling the rest of life‟s responsibilities whenever I was sequestered in my office or away at classes. It has been a long, but rewarding process. v Vita 1972…....... ………………………Rutherford B. Hayes High School 1976………………………………B.A. Humanities, Ohio Wesleyan University 1985………………………………B.S. English Education, The Ohio State University 2002………………………………M.A. English Education, The Ohio State University 1985 to 1989……………………. Teacher, Hambakis School of English Language Athens, Greece 1991 to present…………………. Teacher, Marysville High School, Marysville, Ohio Publications Concentric Circles of Interest: Widening Student Responses to M.T. Anderson‟s Feed Through Student Book Club Discussions. In Soter, A., Faust, M. & Rogers, T. (Eds.), Interpretive Play: Using Critical Perspectives to Teach Young Adult Literature. Norwood, MA, Christopher-Gordon Publishers, Inc. Co-authored chapter with Newell, G. & Boster, S. (2007). Best Practices in Developing a Writing across the Curriculum Program in a Secondary School. In Graham, S. MacArthur, C.A., & Fitzgerald, J. (Eds). Best Practices in Writing Instruction. New York: Guildford Press. Fields of Study Adolescent Literature Poetry Writing Across the Curriculum Major Field: Education vi Table of Contents Abstract……………………………………………………………………………………ii Dedication………………………………………………………………………………...iv Acknowledgements………………………………………………………………………..v Vita………………………………………………………………………………………..vi List of Tables………………………………………..………………………………….....x List of Figures…………………………………………………………………………....xii Chapter 1: Introduction………………………………………………………….………...1 Background………………………………………………………………………..1 Search for Studies of Teaching and Learning Poetry……………………………..2 Poets‟ and Teachers‟ Claims…………………………………………………..…10 Statement of the Problem………………………………………………………...13 Impetus of the Study……………………………………………………………..14 Focus of the Study……………………………………………………………….15 Research Questions………………………………………………………………16 Significance of the Study………………………………………………………...18 Assumptions Framing the Study…………………………………………………19 Summary…………………………………………………………………………20 Chapter 2: Literature Review….…………………………………………………………22 Overview…………………………………………………………………………22 vii The Case for Teaching Poetry: Poets and Poetry Researchers…………………..23 Reader Response Theory: Transacting Change………………………………….30 Theories of Vygotsky and Bakhtin………………………………………………32 The Transformative Power of Metaphor………………………………….......…37 Identity Studies…………………………………………………………………..42 The Negative Effects of Tracking…………………………………….………….53 Small Group Discussion…………………………………………………………57 Atwell‟s Reading Writing Workshop……………………………………………58 Practitioner (Teacher) Researcher………………………………………………..60 Summary…………………………………………………………………………69 Chapter 3: Methodology…………………………………………………………………72 Research Design………………………………………………………………….73 Research Site……………………………………………………………………..75 Methods of Data Collection and Analysis……………………………………….87 Summary…………………………………………………....…………………..110 Chapter 4: Analysis and Discussion…..………………………………………………..111 The Social Context……………………………………………...……………...112 Class Academic Performances and Attitudes……………………………...…...115 Focus Students in 8th Period Language and Literature 9……………………….124 Poetry Testing…………………………………………………………………..155 Poetry Reading and Writing Classroom Events…………………………….…..161 Poetry‟s Crucial Role in My Philosophy of Teaching the Marginalized Reader……………………………………………………………185 viii Summary…………………………………………………………………….….186 Chapter 5: Findings and Conclusions…………………………………………………..188 A Return to the Research Questions…………………………………………....190 Limitations of this Study………………………………………………………..197 Implications ………………….……………………………………………..…..200 Closing………………………………………………………………………….205 References………………………………………………………………………………207 Appendix A: Recruitment Phone Script…………………………...…………..……….225 Appendix B: Consent Forms for Parents………………………………………….……226 Appendix C: Explanatory Letters for Parents………………………………….……….230 Appendix D: Assent Forms for Students…………………………….……………...….231 Appendix E: Explanatory Letters for Students……………………….…………….…..235 Appendix F: Results of the Pre- and Post-Poetry Reading Writing Workshop Attitudes towards School by Individual Students............................................……...237 Appendix G: Results of the Pre- and Post-Poetry Reading Writing Workshop Attitudes towards Reading by Individual Students.........................................……..245 Appendix H: Results of the Pre- and Post-Poetry Reading Writing Workshop Attitudes towards Reading by Individual Students.........................................……..266
Load more

Recommended publications
  • Metamorphosis: from Light Verse to the Poetry of Witness by Maxine Kumin from the Georgia Review, Winter 2012
    Metamorphosis: From Light Verse to the Poetry of Witness by Maxine Kumin from The Georgia Review, Winter 2012 How did I become a very old poet, and a polemicist at that? In the Writers Chronicle of December 2010 I described myself as largely self-educated. In an era before creative writing classes became a staple of the college curriculum, I was "piecemeal poetry literate"—in love with Gerard Manley Hopkins and A. E. Housman, an omnivorous reader across the centuries of John Donne and George Herbert, Randall Jarrell and T. S. Eliot. I wrote at least a hundred lugubrious romantic poems. One, I remember, began When lonely on an August night I lie Wide-eyed beneath the mysteries of space And watch unnumbered pricks of dew-starred sky Drop past the earth with quiet grace ... Deep down I longed to be one of the tribe but I had no sense of how to go about gaining entry. I had already achieved fame in the narrow confines of my family for little ditties celebrating birthdays and other occasions, but I did not find this satisfying. There were no MFAs in poetry that I knew of except for the famous Iowa Writers' Workshop, founded in 1936; certainly there was nothing accessible to a mother of two, pregnant with her third child in 1953 in Newton, Massachusetts. I have noted elsewhere that I chafed against the domesticity in which I found myself. I had a good marriage and our two little girls were joyous elements in it. But my discontent was palpable; I did not yet know that a quiet revolution in thinking was taking place.
    [Show full text]
  • Guide to the Papers of the Summer Seminar of the Arts
    Summer Seminar of the Arts Papers Guide to the Papers of The Summer Seminar of the Arts Auburn University at Montgomery Library Archives and Special Collections © AUM Library TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2 Biographical Information 3-4 Scope and Content Note 5 Arrangement 5-6 Inventory 6-24 1 Summer Seminar of the Arts Papers Collection Summary Creator: Jack Mooney Title: Summer Seminar of the Arts Papers Dates: ca. 1969-1983 Quantity: 9 boxes; 6.0 cu. ft. Identification: 2005/02 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Summer Seminar of the Arts Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: Jack Mooney donated the collection to the AUM Library in May 2005. Processing By: Samantha McNeilly, Archives/Special Collections Assistant (2005). Copyright Information: Copyright not assigned to the AUM Library. Restrictions Restrictions on access: There are no restrictions on access to these papers. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. 2 Summer Seminar of the Arts Papers Biographical/Historical Information The Summer Seminar of the Arts was an annual arts and literary festival held in Montgomery from 1969 until 1983. The Seminar was part of the Montgomery Arts Guild, an organization which was active in promoting and sponsoring cultural events. Held during July, the Seminar hosted readings by notable poets, offered creative writing workshops, held creative writing contests, and featured musical performances.
    [Show full text]
  • Poetry: Why? Even Though a Poem May Be Short, Most of the Time You Can’T Read It Fast
    2.1. Poetry: why? Even though a poem may be short, most of the time you can’t read it fast. It’s like molasses. Or ketchup. With poetry, there are so many things to take into consideration. There is the aspect of how it sounds, of what it means, and often of how it looks. In some circles, there is a certain aversion to poetry. Some consider it outdated, too difficult, or not worth the time. They ask: Why does it take so long to read something so short? Well, yes, it is if you are used to Twitter, or not used to poetry. Think about the connections poetry has to music. Couldn’t you consider some of your favorite lyrics poetry? 2Pac, for example, wrote a book of poetry called The Rose that Grew from Concrete. At many points in history across many cultures, poetry was considered the highest form of expression. Why do people write poetry? Because they want to and because they can… (taking the idea from Federico García Lorca en his poem “Lucía Martínez”: “porquequiero, y porquepuedo”) You ask yourself: Why do I need to read poetry? Because you are going to take the CLEP exam. Once you move beyond that, it will be easier. Some reasons why we write/read poetry: • To become aware • To see things in a different way • To put together a mental jigsaw puzzle • To move the senses • To provoke emotions • To find order 2.2. Poetry: how? If you are not familiar with poetry, you should definitely practice reading some before you take the exam.
    [Show full text]
  • P2-Aug 00 IJW V6.2
    INTERNATIONAL Journal of Wilderness AUGUST 2000 VOLUME 6, NUMBER 2 FEATURES Future Roles 23 The Social Value of Wilderness 3 Editorial Perspectives A Forest Service Perspective Issues in the Quality of U.S. Wilderness BY KEN CORDELL AND JERRY STOKES Management 25 Of What Avail Are Forty Freedoms? BY PERRY BROWN, WITH AN INTRODUCTION BY The Significance of Wilderness in the 21st Century JOHN HENDEE, EDITOR-IN-CHIEF BY DANIEL L. DUSTIN AND LEO H. MCAVOY 5 Soul of the Wilderness STEWARDSHIP Natural, Wild, Uncrowded, or Free? BY DAVID N. COLE 27 The Eagle Cap Wilderness Permit System A Visitor Education Tool BY TOM CARLSON SPECIAL SECTION 9 COMPILED BY ALAN EWERT Wilderness in the 21st Century: SCIENCE AND RESEARCH Visitors, Activities and Technology, 29 Encounter Norms for Backcountry and Future Roles Trout Anglers in New Zealand BY CARL WALROND 9 INTRODUCTION BY ALAN EWERT Visitors 34 Perspectives from the Aldo Leopold 10 Wilderness Visitors in the 21st Century Diversity, Day-Use, Perceptions, and Preferences Wilderness Research Institute BY DEBORAH J. CHAVEZ Science for Wilderness, Wilderness for Science BY DAVID J. PARSONS 12 Wilderness Use in the Next 100 Years BY WILLIAM E. HAMMITT AND RUDY M. SCHUSTER 14 Meanings of Wilderness Experiences INTERNATIONAL PERSPECTIVE in the 21st Century 35 Issues Surrounding Entrance Fees as a BY JOSEPH W. ROGGENBUCK Suitable Mechanism for Activities and Technology Financing Natural Areas in Australia 17 Gearheads and Golems: Technology and BY GAMINI HERATH Wilderness Recreation in the 21st Century BY JOHN SHULTIS WILDERNESS DIGEST 19 Wilderness Activities in the 21st Century A Commentary 40 Announcements & Wilderness Calendar BY LES WADZINSKI 44 Letters to the Editor 20 Technology and Wilderness in the 21st Century 46 Book Reviews BY DOUG KNAPP Front cover photo of pink Lady Slipper orchids and inset photo of Kahshahpiwi A More Pristine Wilderness 21 Lake, Quetico, Ontario, Canada, both © 2000 by Kevin Proescholdt.
    [Show full text]
  • Comprehensive Conservation Plan, Lacreek National Wildlife Refuge
    Comprehensive Conservation Plan Lacreek National Wildlife Refuge and Lacreek Wetland Management District February 2006 Prepared by the U.S. Fish and Wildlife Service: Lacreek National Wildlife Refuge and Lacreek Wetland Management District 29746 Bird Road Martin, SD 57551 605/685 6508 and U.S. Fish and Wildlife Service, Region 6 Division of Refuge Planning PO Box 25486 DFC Lakewood, CO 80225 303/236 4365 Approved by: J. Mitch King Date Regional Director, Region 6 U.S. Fish and Wildlife Service Lakewood, CO Comprehensive Conservation Plan Approval Lacreek National Wildlife Refuge and Lacreek Wetland Management District Submitted by: __________________________________ ________________ Tom Koerner Date Refuge Manager Lacreek National Wildlife Refuge and Lacreek Wetland Management District Martin, SD Concurred with: __________________________________ ________________ David Wiseman Date Refuge Program Supervisor U.S. Fish and Wildlife Service, Region 6 Lakewood, CO and __________________________________ ________________ Richard A. Coleman, Ph.D. Date Assistant Regional Director National Wildlife Refuge System U.S. Fish and Wildlife Service, Region 6 Lakewood, CO Contents Summary . S-1 1 Introduction . 1 Purpose and Need for Plan . .1 The U.S. Fish and Wildlife Service and the National Wildlife Refuge System . .2 Ecosystem Descriptions and Threats . .3 National and Regional Mandates . .4 The Planning Process . .4 2 Lacreek NWR and Lacreek WMD Background . 11 Establishment, Acquisition, and Management History . 11 Vision and Goals . 13 Special Values . 14 Planning Issues . 14 3 Refuge Resources and Description. .21 Geology and Soils . 21 Water Resources . 22 Vegetation Communities . 23 Wildlife . 25 Cultural Resources . 27 Special Management Areas . 28 Visitor Services. 28 Fire and Grazing History . 29 Socioeconomics .
    [Show full text]
  • Full Article
    20 rock the rabbit12 TH E FLEETWOOD MAC BY ANTHONY BOZZA ROCK ROYALTY MICK FLEETWOOD LOOKS baCK AT ONE OF THE GREATEST YET MOST DYSFUNCTIONAL baNDS IN MUSIC HISTORY AND FIGURES OUT WHAT COMES NEXT Stretching 48 miles long and 26 across, Maui, the second-largest of the Hawaiian islands, is a tropical paradise full of dreamy beaches and lush landscapes, the most atypical of which is arranged over 18 acres at 4,000 feet above sea level. Near the top of a winding one-lane road cut into a ruddy hillside, a shady driveway dips beneath a canopy of trees to reveal a spread that—minus the citrus groves—looks more like an English country home than a tropical retreat. Clouds that seem but an arm’s length away cast moody shadows over the homestead, giving the sense that this place is half a world from the sun- lit valley below. Lovely bushes of pink and blue flowers abuzz with bees line the roundabout that lies before the front door. Beyond it, stretching into the trees, a long, manicured lawn awaits a garden party or a game of croquet. Off to one PHOTOGRAPHY BY MATTHIAS CLAMER nude female angel playing a harp, a pack of blues musicians, an ax and a headless torso— “IN THE PAST I’D Not and more nude women—plus a portrait of HAVE taKEN NO foR AN Fleetwood in the midst of it all, draped in a ANSweR. I’D HAVE PER- patterned scarf and wearing a white shirt. SUaded SteVie to do There is, naturally, a blue rose in there too.
    [Show full text]
  • “A Prison Gets to Be a Friend”: Emily Dickinson, Agoraphobia and Introspection Lauren Vanderhurst, University of California, Santa Barbara
    Vanderhurst 1 “A Prison Gets to be a Friend”: Emily Dickinson, Agoraphobia and Introspection Lauren Vanderhurst, University of California, Santa Barbara I’m just from meeting, Susie, and as I sorely feared, my life was made a victim. I walked – I ran – I turned precarious corners – one moment I was not – then soared aloft like Phoenix, soon as the foe was by – and then anticipating an enemy again, my soiled and drooping plumage might have been seen emerging from just behind a fence, vainly endeavoring to fly once more from hence. I reached the steps, dear Susie – and smiled to think of me, and my geometry, during the journey there – It would have puzzled Euclid, and it’s doubtful result, have solemnized a Day. How big and broad the aisle seemed, full huge enough before, as I quaked slowly up – and reached my usual seat! In vain I sought to hide behind your feathers – Susie – feathers and Bird had flown, and there I sat, and sighed, and wondered I was scared so, for surely in the whole world was nothing I need to fear – Yet there the Phantom was, and though I kept resolving to be as brave as Turks, and bold as Polar Bears, it didn’t help me any. After the opening prayer I ventured to turn around. Mr. Carter immediately looked at me…but I discovered nothing, up in the sky somewhere, and gazed intently at it, for quite a half an hour. During the exercises I became more calm, and got out of church quite comfortably.
    [Show full text]
  • The Queer Dialectic of Whitman's Nation: 'Let' in “Respondez,”
    václav paris The Queer Dialectic of Whitman’s Nation: “Let” in “Respondez” Let the Asiatic, the African, the European, the American, and the Australian, go armed against the murderous stealthiness of each other! Let them sleep armed! Let none believe in good will! Walt Whitman, “Poem of the Proposition of Nakedness,” 1856 riginally published as “poem of the proposi- Otions of Nakedness” in 1856, then without a title in 1860, the poem that we know as “Respondez” only appeared as such in the 1867 and 1871–72 Leaves of Grass. If, as Sam Abrams claims, “Respondez” is “a poem widely regarded as the most important in the entire Whitman corpus” then it occupies a strangely marginal position in that corpus (32).1 Easily overlooked because of its exclusion from the first and final editions, the poem is better known to a few critics of Whitman than it is to a general readership.2 It is probably best known to other poets— and is, ironically, more often printed in anthologies and selections than “complete” editions of Leaves of Grass.3 “Respondez” clearly stands out, although theories of why are not forthcoming. Louis Zukofsky famously wrote that it was “Whitman’s greatest poem,” quoting the work in its entirety but without further comment at the end of Prepositions+ (218–21).4 Likewise in 1947 Wil- liam Carlos Williams claimed it as exemplary of “a new formal necessity touching all verse” (qtd. in Abrams 32), going on to read twenty-five lines of the poem also without further comment. In not commenting, Zukofsky and Williams alert us to its slipperiness, for quoting “Respon- dez” is far easier than offering an interpretation or capturing it within a general framework.
    [Show full text]
  • Ups-Journal.Final .Pdf
    SPRING Journal of 2016 MEDICINAL PLANT CONSERVATION A United Plant Savers’ Publication Slippery Elm in the Herbal Marketplace Framing a Domestic Market for Conserving & American Ginseng Popularizing Wild Fruits in Sri Lanka Tafi Atome Sacred Grove The Original Wild Plant Gatherers Two Sides of Lessons from the Chaga All Mighty The Complicated Shorea faguetiana Tree History of Smilacaceae United Plant Savers PO Box 776, Athens, OH 45701 Tel. (740) 742-3455 Greetings from UpS President [email protected] Sara Katz, Herb Pharm co-founder & UpS board president www.unitedplantsavers.org A theme that characterizes the activities of United Plant Savers over the past year is connectivity and collaboration, and this issue of the Journal SPRING 2016 exemplifies that clearly. Executive Director UpS’s mission is to ”protect native medicinal plants of the United States Susan Leopold, PhD and Canada”, yet it goes without saying that plants and the people who [email protected] appreciate them are not bound by geography. Editor Notably, Sacred Seeds, a global network of botanical sanctuaries Beth Baugh preserving biodiversity and plant knowledge, has recently come under Graphic Artist UpS’s oversight. In this Journal issue are superbly interesting contributions Liz Butler from Sacred Seeds member sanctuaries including the Native Forest Foundation, which is conserving and popularizing wild fruits in Sri Lanka; Tafi Board of Directors Atome Sacred Grove, a ”community-managed natural area” in Ghana; Sara Katz, President and a fascinating discussion about the Smilacaceae family from Rachel Rosemary Gladstar, Thomas of Hidden Garden Ethnobotanical Sanctuary in Puerto Viejo, Costa Founding President Rica. Kathleen Maier, Vice President Bevin Clare, Secretary UpS’s “At-Risk” Assessment Tool has also gone international.
    [Show full text]
  • Thomas Merton's Projected Anthology of Religious Poetry
    20 Thomas Merton's Projected Anthology of Religious Poetry By Patrick F. O'Connell During the summer of 194 l, having fini shed his fust year teaching English at St. Bonaventure College, Thomas Merton was busy about many things: he was working on his novel, Journal of My Escape from the Nazis, writing numerous poems, keeping two versions of his journal. reading Dante, Lorca and Graham Greene, teaching a summer school bibliography course, spending two weeks working at Catherine de Hueck's Friendship House in Harlem, worrying about the war, thinking about the Trappists. 1 In the midst of all this activity he also managed Lo find time for another project, one that reflected his own deepening interest, as writer and reader, in religious verse. On July 27, he records in his journal: I think of making an Anthology of Poems, Religious or nearly Religious. So far I have got Donne's "Hymn to Christ at the Author"s Last Going into Gennany," "At the Round Earth's Imagin'd Comers," ·'Nocturnal on Saint Lucy's Day," "'What If This Present were the World 's Last Night?," and Herbert's "Aaron" and Vaughan's "The Seed Growing Secretly" and Hopkins' "Felix Randal." Also Tthink Hopkins' "Leaden and Golden Echo" - "Bugler's First Communion,.. "Candle indoors."' "Wreck of the Deutschlancf' and despair poems. Then Blake's ·'How Sweet I Roamed," "Lillie Girl Lost.'' "Auguries of Innocence." '·Mental Traveler." ''Holy Thursday" (Innocence), a lot more Vaughan (e.g., "Night"). plenty Traherne - Southwell's " Burning Babe."' ln all maybe 150 poems - or half that- 75 would be a better number (RM 380-8 1).
    [Show full text]
  • A Rhetorical Analysis of Judy Grahn's Poetry
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1997 "They say she is veiled": A rhetorical analysis of Judy Grahn's poetry Damaris Hawkins Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Feminist, Gender, and Sexuality Studies Commons, and the Rhetoric Commons Recommended Citation Hawkins, Damaris, ""They say she is veiled": A rhetorical analysis of Judy Grahn's poetry" (1997). Theses Digitization Project. 2941. https://scholarworks.lib.csusb.edu/etd-project/2941 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. "THEY SAY SHE IS VEILED:" A RHETORICAL ANALYSIS OF JUDY GRAHN'S POETRY A Thesis Presented, to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition by Damaris Hawkins September 1997 Cpisf. Stale University, San Bernardino uo •j "THEY SAY SHE IS VEILED:" A RHETORICAL ANALYSIS OF JUDY GRAHN'S POETRY A Thesis Presented to the Faculty of California State University, San Bernardino by Damaris Hawkins September 1997 Approved by: ft- Date Loralee MacPike Copyright 1997 Damaris Hawkins ABSTRACT Judy Grahn is a contemporary feminist American poet who utilizes myth in her poetry. Grahn's early work weaves in minimal references to Venus and Jason, she soon progresses to focusing on the myth of Helen of Troy--and all her incantations--to create a book of poems to instruct and unite womankind in the hope that her poetical work will lay the foundation for a spiritual and psychological transformation.
    [Show full text]
  • The Shape of Spiritual Direction in the Mystical Theology of Jan Van Ruusbroec
    THE CATHOLIC UNIVERSITY OF AMERICA The Shape of Spiritual Direction in the Mystical Theology of Jan van Ruusbroec A DISSERTATION Submitted to the Faculty of the School of Theology and Religious Studies Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy By Greg Voiles Washington, D.C. 2016 The Shape of Spiritual Direction in the Mystical Theology of Jan van Ruusbroec Greg Voiles, Ph.D. Director: James Wiseman, O.S.B, S.T.D. This dissertation considers the trinitarian mystical theology of the late-medieval mystical theologian Jan van Ruusbroec and how his trinitarian thought forms and animates his written spiritual direction. It particularly examines the relationship between Ruusbroec’s trinitarian mystical theology and his post-Brussels written spiritual direction, which offers guidance to specific communities and persons in their pursuit of union with God through the life of prayer, worship, and service. In order to render a coherent account of this relationship and its primary characteristics, the work argues that one must read Ruusbroec as a mystical theologian. As a mystical theologian, Ruusbroec’s thought displays the natural integrity of theology and spirituality, as assumed by the majority of the theological masters of the Christian tradition, from its origins to the High Middle Ages. After dealing with the biographical details of Ruusbroec’s life and historical, cultural, and theological contexts, the study makes a foray into the works of Ruusbroec to show the primary characteristics of the Brabantine’s trinitarian mystical theology, the core of which is his teaching of essential love, the perfect, eternal simultaneity and harmony of activity and rest of the life of the Trinity.
    [Show full text]