All it takes for someone to open up is one voice. Someone needs to step up and make that first move in order to get others to discuss. Without someone to get the conversation flowing, it is likely that an exchange between people will not happen, leaving the teacher stressed and the students embarrassed and self-conscious about their answers. In “The Sacred” and “The Hand”, both speakers are students who are asked a question; one chooses to answer, and one does not. In “The Sacred,” the speaker takes control of his power to answer the question; he uses his car to represent freedom. In “The Hand,” the speaker abuses his authority by saying nothing, which is represented in the robin.
In the two poems, when both speakers are asked a question,
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This proves that the speaker chose not to use his authority as a student to further his and his peers’ education to benefit them. He could have answered, the speaker said himself that he was sure he was the only one who knew the answer, but didn’t because of his urge to be free. When the teacher repeats the question, “You don’t raise your hand” and continue to stay silent (11). He chooses to stay quiet and not voice the answer, and instead chooses to daydream, throwing out his potential of class discussion and learning. The other students would have benefited from their peers knowledge and gotten something out of the answer. By staying silent, he let his teacher and his classmates down. In “The Sacred”, the teacher asks if any of the students had a sacred place, and “The students fidgeted and shrank/ in their chairs” in response (3-4). All the students were afraid and scared of speaking out, and revealing such a personal thing, so someone needed to break that ice in order to achieve a good discussion. One person must open up in order for other students to talk; a discussion with a question as personal as their sacred place
...to perspective for him. He finally got to understand that he was the last one left. If he did not share anything and everything he knew about his tribe, they would perish forever.
Two different poems regarding to Eros open with a call out to the god of Eros and long for an answer. Both poems begin with a description of Eros’s face that defines who is Eros in two different perspectives. Although the subject matter and the structure of the poem are similar between the two, the use of figurative speech, such as apostrophe and imagery, and rhyme completely changes the meaning. Bridges sets Eros as a distant god placed above humans, while Stevenson identifies a god as a slave bruised by human desires.
The informal language and intimacy of the poem are two techniques the poet uses to convey his message to his audience. He speaks openly and simply, as if he is talking to a close friend. The language is full of slang, two-word sentences, and rambling thoughts; all of which are aspects of conversations between two people who know each other well. The fact that none of the lines ryhme adds to the idea of an ordinary conversation, because most people do not speak in verse. The tone of the poem is rambling and gives the impression that the speaker is thinking and jumping from one thought to the next very quickly.
She begins the chapter by explaining the importance of invisibility in the classroom. “Don’t be too noticeable is the rule” that is commonly known by most students (91). She elaborates by explaining that a student should not add new information into a conversation yet ask a question that would concern all students about upcoming work or tests. Later in the chapter, she highlights that the instructor 's main role in the classroom is “getting [students] to say something” because students felt pressured into remaining silent (94). This pressure came from personal self-doubt and the desire to not be defined as unintelligent. In conclusion to these points, Nathan states that “despite official assertions about the university as a free marketplace of ideas, the classroom doesn’t often work that way in practice” (95). In addition to in class discussions being intellectually weak, conversations outside of class rarely involved academics, but when academics were mentioned, there was a limited set of a few questions like “‘Did you do the reading for today?’ and ‘Did we have anything due today?’” (96). She explains that no students ever asked question about how interesting assignments were because they “weren’t acceptable or normative topics to introduce” while outside the classroom (96). Based on the lack of intellectual discussions in and out of class, Nathan concluded that academics play a minor role in the life of
“[My father] taught me with silence. He taught me to look inside myself, to find my own strength, to walk around inside myself in company with my soul. When his people would ask why he was so silent with his son, he would say to them that he did not like to talk, words are cruel, words play tricks, they distort what is in the heart, they conceal the heart, the heart speaks through silence” (284).
homes. But the way in which each of the poets express this occurrence, with the use of
the debate, but David argues that in a debate each student has the right to speak. T...
The speakers and audience in poem are crucial elements of the poem and is also the case in these poems. In the poem Untitled, it can be argued that the poem is being written by Peter based on what his father might say to him...
First, Jacobson states that children need to receive better feedback from their teachers to show them that what they are doing is correct. Jacobson further describes the need for external rewards, such as a good job or keep it up. Another way to reveal feedback is to visually show them how they have improved, such as showing students the charts that reveal their reading level has increased (Jacobson). Positive feedback and encouragement from whom the students look up to, their teachers, not only pushes children to do better, but also shows that the teachers are aware and proud of the improvements that are being made. Jacobson then states that asking open-ended questions allows students to get on the mindsets of learning from their personal thoughts and less of answering just to get the right answer. By asking open-ended questions in the classroom with everyone silent, it allows the students to gather their individual response to the question and gives them time to think about their answer, which in the end builds confidence (Jacobson). Jacobson’s last idea to influence students is to engage the disengaged. He refers to this as calling on the students who seem to be avoiding your open class discussions (Jacobson). By doing this, the teacher allows for every student to build his
Throughout my practice, I have found that this mix is essential in order for children to engage with lessons. Alexander (2004) suggests that dialogical teaching includes traditional types of talk such as rote, recitation and instruction/exposition. It should also include discussion and dialogue (Alexander, 2004). These types of talk can occur in different situations: whole class, group discussions and paired talked. Mercer (1996) carried out a research project concerning the quality of talk in the classroom. His findings supported ‘…the conclusion that talk between learners has been shown to be valuable for the construction of knowledge’ (Mercer, 1996: 362). He disputed that not all kinds of exchange are of educational value (Mercer, 1996: 362). This point validates the importance of teachers understanding what type of talk makes their teaching genuinely dialogic.
...t is arguable that the birds fight is also a metaphor, implying the fight exists not only between birds but also in the father’s mind. Finally, the last part confirms the transformation of the parents, from a life-weary attitude to a “moving on” one by contrasting the gloomy and harmonious letter. In addition, readers should consider this changed attitude as a preference of the poet. Within the poem, we would be able to the repetitions of word with same notion. Take the first part of the poem as example, words like death, illness
Not only the words, but the figures of speech and other such elements are important to analyzing the poem. Alliteration is seen throughout the entire poem, as in lines one through four, and seven through eight. The alliteration in one through four (whisky, waltzing, was) flows nicely, contrasting to the negativity of the first stanza, while seven through eight (countenance, could) sound unpleasing to the ear, emphasizing the mother’s disapproval. The imagery of the father beating time on the child’s head with his palm sounds harmful, as well as the image of the father’s bruised hands holding the child’s wrists. It portrays the dad as having an ultimate power over the child, instead of holding his hands, he grabs his wrists.
This lack of action continuously emphasizes the lack of empathy and care of the narrators and highlights to the reader the importance of acting differently from them. Through both of these poems the reader is shown that everyone faces struggles and how important it is to help others in their times of need because they too will face them at some