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Journal articles on the topic 'Poetry for children and young'
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Neira-Piñeiro, María del Rosario. "Children as Implied Readers in Poetry Picturebooks: The Adaptation of Adult Poetry for Young Readers." International Research in Children's Literature 9, no. 1 (July 2016): 1–19. http://dx.doi.org/10.3366/ircl.2016.0179.
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This article analyses Spanish poetry picturebooks for children and young adult readers based on adult poetry. It argues that the main changes that occur in the adaptation process involve the paratexts and literary communication, while the pictures play a prominent role in the creation of the new implied reader. The illustrations transform the original poems in many ways: they can describe, represent the poetic voice, add a story, introduce visual imagery or guide interpretation among other things. Finally, the article examines the pedagogical implications of these picturebooks and argues that they are a good resource for literary education, as they make great literature more attractive and accessible for children and young adults.
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Mandrona, April R. "Children’s Poetic Voices." LEARNing Landscapes 4, no. 1 (April 1, 2010): 143–55. http://dx.doi.org/10.36510/learnland.v4i1.368.
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This paper discusses the creation of found poetry using the narratives of children. The author proposes that poetic inquiry offers a place of understanding where the words of children speak volumes. Through this process, she explores how one may connect not only with young people, but also with the often forgotten aspects of the self.
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Meyer, Marcy. "Concrete Research Poetry: A Visual Representation of Metaphor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 32. http://dx.doi.org/10.18432/r2ks6f.
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In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.
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Lepri, Chiara. "Avant-garde and Experimentalisms in Poetry for Children from Rodari to the Present Day: a Travel between Authors and Works." Rivista di Storia dell’Educazione 7, no. 2 (December 2, 2020): 61–74. http://dx.doi.org/10.36253/rse-9654.
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In 1985 Franco Fortini wrote provocatively that poetry for children does not exist, arguing that it is alien to their ability to fully grasp its expressive significance. However, there had already been the experience of Gianni Rodari, from whose contribution the critical and historiographic reflection on an authorial (and quality) poetic word addressed to childhood cannot be ignored: he had placed linguistic game at the center of poetry for children, combining the lesson of French surrealism with the Italian futurist experience of Palazzeschi and he consciously placed himself along that modern poetic line that sees a flowering of great importance especially in the post-war period. It is a type of poetry that is enriched by the contribution of a playful and divergent dimension and that knows how to speak the language of children: the rhythm, the assonance, the rhyme, but also the associative procedures grafted through the surrealist techniques naturally meet the child animus and at the same time open to an articulated, plural dimension, rich in ethical and political tension. Along this trajectory of linguistic experimentalism masterfully inaugurated by Rodari, the contribution intends to identify the paths of other authors in the proposal of a poetry aimed at children that is innovative and valid on a content and formal level: the reference is to Roberto Piumini and Pietro Formentini in particular, who have recognized, in poetry for children and young people, a vast and welcoming space for exploration and expressive freedom, but also, more recently, to the refined research of poetesses such as Chiara Carminati and Silvia Vecchini, whose poetic production is constantly embellished by a reflective work of undoubted charm and of notable interest for the investigation on a literary, aesthetic, educational level.
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Betts, Bridget. "Book Review: The Colours in Me: Writing and Poetry by Adopted Children and Young People." Adoption & Fostering 33, no. 2 (July 2009): 83–84. http://dx.doi.org/10.1177/030857590903300214.
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Yarbrough, Wynn. "Playing It Real: Nonsense Poetics, Identity, and African American Poetry for Children and Young Adults." Children's Literature Association Quarterly 46, no. 2 (2021): 178–200. http://dx.doi.org/10.1353/chq.2021.0023.
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Kim, So Jung, Su-Jeong Wee, and Youngmi Lee. "‘The Color of Heart is More Important’: Korean Kindergarteners Exploring Racial Diversity through Poem Writing." Australasian Journal of Early Childhood 42, no. 1 (March 2017): 60–69. http://dx.doi.org/10.23965/ajec.42.1.07.
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ALTHOUGH THE BENEFITS OF poem writing have been emphasised in a variety of contexts, there has been an understandable lack of knowledge about how to promote young children's multicultural/multiracial awareness using poetry writing. Adopting a qualitative case study approach, the current article explores how poem writing after reading and discussing multicultural picture books helps Korean kindergarten children develop an understanding of racial diversity and equality. As part of a large-scale research project on multicultural education in South Korea, this study focuses on data collected over a five-month period including participatory observations, in-depth interviews and written materials. Findings suggest that writing poetry can function as a means to foster children's critical awareness of racial diversity and equality and can help them find their own identities. How to make poetry-writing activities more meaningful and effective in the early childhood classroom is discussed.
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Rastegorac, Vladimir Vukomanović. "Обликовање говора о смрти на почецима српске поезије за децу и младе." Slavica Wratislaviensia 168 (April 18, 2019): 439–50. http://dx.doi.org/10.19195/0137-1150.168.37.
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The forming of the discourse about death in Serbian poetry for children and young adults during its inceptionRepresentations of death in Serbian poetry for children and young adults have not been researched systematically to this day. The goal of this paper, therefore, is to point out the initial positions taken up during the forming of these representations, through the analysis of verses by Jovan Sundečić and by Đorđe Rajković. In brief, both poets view death as something that has power over man, the main difference being that Sundečić constructs the theme of death within a Christian framework without using humor, while Rajković abandons the framework of Christianity and assigns a significant role to humor in his writing about death. Репрезентация высказываний о смертив первых сербских поэтических произведениях для детей и подростковПредставления о смерти в сербской поэзии для детей и подростков до сих пор подробно не исследовались. В связи с этим цель настоящей работы — систематизировать исходные проявления этих идей в стихотворениях Иоанна Сундечича и Джордже Райковича. У обоих поэтов смерть показана одинаково: как нечто, имеющее власть над человеком. При этом, однако, Сундечич оформляет высказывания о смерти согласно христианскому пониманию и без тени юмора, а Райкович, обращаясь к этой теме, выходит за рамки христианства и уделяет значительное место юмору.
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Jamnik, Tilka. "Intergenerational Reading." Acta Universitatis Lodziensis. Folia Librorum 1, no. 24 (June 30, 2017): 67–75. http://dx.doi.org/10.18778/0860-7435.24.05.
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It is somehow traditional a grandma reads to small children and a grandpa tells stories, but in real life these are rare opportunities nowadays. There are some projects encouraging elder people to read to children in kindergartens and in public libraries. There are more and more examples that young people read to elder people in retirement homes. All intergenerational reading possibilities could deepen the enjoyment of loud interpersonal reading. The paper presents one of the Slovene projects of the intergenerational reading that tends to bring together young people and grown-up, elder people reading the same young adults literature. There is a growing number of «intergenerational» novels, picture-books, poetry etc. Dedicated to readers of all ages, and on the other hand aging population is increasing (as everywhere in the developed world). We need to know and understand each other, so maybe books, reading and exchanging thoughts and opinions can build one of the bridges among us.
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Remennick, Larissa, and Anna Prashizky. "Subversive identity and cultural production by the Russian-Israeli Generation 1.5." European Journal of Cultural Studies 22, no. 5-6 (December 24, 2018): 925–41. http://dx.doi.org/10.1177/1367549418810091.
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This article belongs to the series presenting our ongoing ethnographic project on the Russian-Israeli Generation 1.5. It discusses the nexus between immigrant identity, civic activism and cultural production among young adults born in the (former) Soviet Union, who migrated to Israel as older children or adolescents. We examine the new, protest-driven activism among young Russian Israelis while drawing on the concepts of reactive ethnicity and cultural public sphere. This identity quest occurs at the intersection of their Russian, Jewish and Israeli identities that often clash with each other. Moreover, the ethnic awakening among these young immigrant adults has been clearly gendered, with mostly female leadership emerging out of its cultural avant-garde. We present and discuss examples of the media discourse, artistic and creative events organized by Generation 1.5 leaders, focusing on the recent Russian–Hebrew poetry festival in Jerusalem.
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Najim Abid Al-Khafaji, Saad. "Motherhood in Wordsworth: A Psychoanalytic Study of his Poetics." Al-Adab Journal 1, no. 127 (December 5, 2018): 30–39. http://dx.doi.org/10.31973/aj.v1i127.198.
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By definition, the Romantic ego is a male; the creator of language which helps him to establish “rites of passage toward poetic creativity and toward masculine empowerment.”1 The outlet for a male quest of self – possession in Romantic poetry is women. For the Romantic poets , the “true woman was emotional, dependent and gentle –a born flower”2 and “the Ideal mother was expected to be strong , self- reliant , protective and efficient caretaker in relation to children and home.”4 With emphasis on the individual in Romantic literature and ideology, mothers are depicted as good when they are natural or unnaturally bad. In the Romantic period then, women’s maternal function equals the “foundation of her social identity and of her sexual desire.”5 Consequently, “convinced that within the individual and autonomous and forceful agent makes creation possible”, the Romantic poets “struggle to control that agent and manipulate its energy.”6
In a number of William Wordsworth’s (1770-1850) poems, this creative agent who possesses the powers of creation and imagination becomes a female character who is also often a mother. Nonetheless, when critics examine mothers in Wordsworth’s poetry, they also explore the child/poet’s relationship. Events in Wordsworth’s life surely influenced his attention to mothers. From a psycho-analytic perspective this interest might be an unconscious desire to resurrect the spirit of his dead mother Ann Wordsworth who died when the poet was almost eight. Thus in his poetry, the mother is the counterpart of the genuine faculty of the imagination of the poet and has a strong and felt presence within the poet’s poetic system.
In The Prelude, Wordsworth acknowledges his mother’s deep influence on him. He associates her death with the break within his own poetic development; a sign that the poet relies upon in his creative power .It is through her that the young poet came first in contact with the genial current of the natural world. Nevertheless, without his mother, the male child’s connection to nature not only stands, it grows stronger:
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Zinchuk, N., and O. Pogrebnyak. "THE OEUVRE OF ANDREI HADANOVICH IN THE CONTEXT OF MODERN BELARUSIAN-UKRAINIAN LITERARY INTERACTION." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 230–38. http://dx.doi.org/10.17721/2075-437x.2019.35.22.
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The article covers the main features of Andrei Hadanovich’s works as s a representative of the modern literary process in Belarus and his liaison with Ukrainian writers and translators. Considerable attention is paid to the first literary attempts of the Belarusian writer, the process of professional development and the features of postmodernism in his writings. In this context the poetry of Andrei Khadanovich combines the achievements of Eastern European «book» poetry with elements of modern culture (pop, rock, rap, urban slang). Using his poetry-song «Hotel Belarus» as example, the research depicts «classical» postmodernism features in Andrei Hadanovich’s works – intermediality, intertextuality, irony, play, numerous allusions, parodies, experiments with form and genre. The paper also describes the main directions of the Belarusian writer’s literary work in Ukraine, his role and place in the development and popularization of modern Ukrainian literature and culture among Belarusian readers. The creative cooperation between Andrei Hadanovich, Serhiy Zhadan, Oleksandr Irvanets and Yurii Andrukhovych is characterized on the basis of their poetry books and collaborations. In particular, review of Khadanovich’s works includes several books of poems – his very first edition of «Letters from the Blankets» in Ukrainian, «From Belarus with Love», also published in Ukraine but in Belarusian, twin books «Belarusian Man» and «Ukrainian Airlines», created in the close collaboration with Serhiy Zhadan and other young artists and translators. In addition to creating some «adult» poetry, the writer from Belarus is shown as children’s author. His book of funny lyrics for children “Daddy’s Notes” was also first published in Ukraine in Ukrainian translation.
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Evans, Rosalind. "The Two Faces of Empowerment in Conflict." Research in Comparative and International Education 3, no. 1 (January 1, 2008): 50–64. http://dx.doi.org/10.2304/rcie.2008.3.1.50.
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This article problematises Bush & Saltarelli's call for a new and comprehensive peacebuilding education which empowers children through demonstrating that alternatives to conflict exist, that they have choices and the capacity to change their own and their society's situation. It does so by exploring the various possibilities for empowerment available to young Bhutanese refugees living in Nepal, which are advanced by agencies administering services in the refugee camps and promoted by refugee political groups. Fieldwork demonstrates that some children simultaneously engage in humanitarian agency projects, which promote human rights and peaceful values, and with political groups advocating violence. Through their participation in agency projects, children learn awareness-raising methods, such as poetry and street theatre, which they also employ in their work with political groups. This article will consider the relationship between children's empowerment through their involvement in agency-initiated non-formal education projects and their engagement in violent political activities, suggesting that, like education, empowerment may show two faces in situations affected by conflict.
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Lee, Ock Joo, and Ji Hyun Kim. "The Effects of the Children’s Poetry-Based Music-Making Program on the Musical Propensity and Musical Attitude of Young Children." Korean Journal of Child Studies 39, no. 3 (June 30, 2018): 1–18. http://dx.doi.org/10.5723/kjcs.2018.39.3.1.
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Callinan, J., and I. Coyne. "Arts-based interventions to promote transition outcomes for young people with long-term conditions: A review." Chronic Illness 16, no. 1 (July 13, 2018): 23–40. http://dx.doi.org/10.1177/1742395318782370.
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Objectives To conduct a systematic review of arts-based interventions promoting transition from paediatric to adult services for young people (Note: The term young people refers to adolescents and young adults.) with long-term conditions and to explore their effectiveness. Interventions Arts-based interventions included studies of young people who were actively participating in the intervention rather than passive observers. Visual arts interventions included film/video production, time-based media, photography, animation, sculpture, audio, installation, sound recordings, painting, textiles, print, mixed media, multimedia. Arts-based interventions included creative writing, poetry, dance, choreography and storytelling. Main outcome measures We included all outcome measures relevant to transition and any chronic condition. These included: self-care knowledge and skills, autonomy, continuity of care, adherence to treatment and attendance at appointments. Results Seven studies reported arts-based interventions promoting outcomes that are relevant to transition. These studies showed that arts-based interventions may influence young people with long-term conditions self-esteem, confidence and self-expression. The findings must be treated with caution as the evidence was weak with studies using qualitative measures and of poor methodological quality. Conclusions There is a need for further research of arts-based interventions for children and adolescents with long-term conditions that incorporate objective measurements or validated tools to assess outcomes relevant to the transition process.
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Nikolchenko, Tamara, and Maria Nikolchenko. "Ukrainian folk songs of the stormy years (songs of captivity of the Second World War)." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 62–74. http://dx.doi.org/10.34079/2226-2830-2020-10-19-62-74.
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The article covers the complex processes of folk art during the Second World War, in particular slave poetry. In times of war, the creation of folk poetry is intensified, which is caused by the need to respond to events, to record them, above all, in memory. These song responses to events take place on the material of "old" samples of poetry that are already known. And «innovations» are used by participants of events and are saturated with new realities. Such is the folk song of the period of fascist captivity during the Second World War. The genesis of the poetry of captivity of the studied period can be traced on a large factual material, it is proved that genetically slave poetry of the period of the Second World War is connected with the cries of slaves and has its roots in the long history of Ukraine. These motives are still heard in the old Cossack thoughts, in which the lamentation gradually turns into a lyrical song. And during the war troubles of the twentieth century, these songs became relevant and sounded in a modern way. The article analyzes recordings of songs that reflect the grief of young girls taken to forced labor in Germany, the suffering of mothers who lose their children. Most of the analyzed works are stored in the funds of the IMFE of Ukraine, as well as in the own records of the authors of the article. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals. The folklore of captivity, according to the authors of the article, fully reflects the deep universal feelings. It is the basis of artistic culture, because the socio-pragmatic world is conditioned by spiritual ideas about its integrity and ideals.
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Harper, Donna Akiba Sullivan. "Dianne Johnson, The Collected Works of Langsten Hughes, Volume 11: Works for Children and Young Adults: Poetry, Fiction, and Other Writings." Journal of African American History 89, no. 4 (October 2004): 371–72. http://dx.doi.org/10.2307/4134066.
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Moskalenko, Olga A. "The world of childhood in poetry by F. García Lorca: representation in Russian translation." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2021): 50–57. http://dx.doi.org/10.20339/phs.1-21.050.
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The article is devoted to a comparative analysis of translation Garcia Lorca’s verses from the series “Canciones para niños”. The author suggests to give up on understanding the work of the Spanish poet as tragic and pay attention on the phenomenon of “bright joy” in his works. The world of childhood is a core uniting many poems. “Canciones para niños” is distinguished by duality both at the level of structure and content, which is achieved by combining folklore motifs from the childhood with the adult symbolism of traditional images for Garcia Lorca. It should be noted that the "cold" color scheme, metal, monochrome are dominant: in this way the poet creates the mirror effect between the world of childhood and the world of adulthood. Light, weightless tunes are intended for children, and the cold world behind the looking glass is made for adults, for the “generation of 27” with whom Garcia Lorca determined the creative trajectories of the new era. А translator faces a difficult task: to convey the ambivalence of images, preserving the simplicity and playful laconicism of the form for young readers, revealing the deep tragedy of the disappointments of growing up for their parents.
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Riisager, Else. "N. F. S. Grundtvigs “Studier til en bibelsk Rimkrønike” (1828) set i lyset af hans samtidige kristeligt pædagogiske tanker." Grundtvig-Studier 61, no. 1 (January 1, 2010): 64–95. http://dx.doi.org/10.7146/grs.v61i1.16569.
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N. F. S. Grundtvigs “Studier til en bibelsk Rimkrønike” (1828) set i lyset af hans samtidige kristeligt pædagogiske tanker[N. F. S. Grundtvig’s “Studies for a Biblical Rhymed Chronicle” (1828) viewed in the light of his contemporaneous Christian-pedagogical thinking]By Else RiisagerGrundtvig was engaged in communicating biblical and ecclesiasticalhistorical material in the form of hymns and songs which primarily appealed to children, young people and layfolk for practically the whole of his productive life. “Studies for a Biblical Rhymed Chronicle” from 1828 (Theologisk Maanedsskrift XIII, 145-181), which contains material from protohistory, is Grundtvig’s first attempt at a systematic publication of biblical-historical poetry. In the preface he expresses his aspiration to write biblical rhymed chronicles for children for use in schools. In his collected edition of the genre, Sang-Værk til Den Danske Kirke-Skole (1870; GSV II), the poetry from “Studies” is included as numbers 1, 2, 6, 7 and 8. The present article examines Grundtvig’s Christian-pedagogical thinking as regards the target audience at the time of publication and compares this thinking with his practice in “Studies” through a detailed analysis of Kain pløied rask i Vaar (GSV II, 6) and a more thematic presentation of the other poems.Examination of the prefaces of Grundtvig’s contemporary pedagogical publications reveals that the main purpose of the poems is Christological preaching based on the Apostles’ Creed. In practice the poems in “Studies” are Christian preaching, but not specifically Christological preaching. There is, however, nothing in the poems that speaks against a Christological context and there are numerous traits that address a Lutheran universe. Where the Christological preaching relating to the rendering of the Old Testament material is only implied, this is out of respect for the informative purpose.With regard to the genre of the poems, around 1828 Grundtvig’s preferred idea was to create biblical history in verse within the Christian pedagogical area, with genre-related traits from the medieval text, Den danske Rimkrønike. Verse is easier to read, learn and remember than prose; and by writing narratives about persons and events in verse, Grundtvig aspires to communicate the biblical material easily, vividly and animatedly. The intention of the poems is that they should be used as material for Christian teaching of Christian children at home and in connection with confirmation training. In practice, GSV II 6 and 7 are addressed to children and their parents and teachers, while GSV II 1, 2 and 8 have young persons as their primary intended recipients.Grundtvig was dissatisfied with the poems in “Studies” - not because of any deviation from his original intentions but rather because, in the event, the pedagogical intentions are not achieved. GSV II 1,2, and 8 are long and difficult to understand for the target audience. The poems are in all probability not lively enough to persuade children to listen to them, or – as Grundtvig himself phrases it - to persuade even himself that they are worth memorising.At this stage the genre of the individual items is neither hymn nor song, but rhymed biblical chronicle. “Studies for a Biblical Rhymed Chronicle” is a first attempt to start compiling a textbook in versified biblical history for Christian children, young persons and parents
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Kim, Hyun Sook, and Byoung in Lee. "A Study on Application Method in the Field of Poetry Education of Young Children with Developmental Delays: With a Special Reference to the Trend of Experimental Research Designs of Early Childhood Poetry Education." Korean Journal of Early Childhood Special Education 17, no. 1 (March 14, 2017): 147–75. http://dx.doi.org/10.21214/kecse.2017.17.1.147.
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Moore, P. G. "Gilbert Dempster Fisher (1906–1985): the BBC's “Hut Man”, Scottish naturalist, children's author and radio broadcaster." Archives of Natural History 42, no. 2 (October 2015): 344–54. http://dx.doi.org/10.3366/anh.2015.0317.
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As the BBC's “Hut Man”, Gilbert Dempster Fisher was a pioneer of radio broadcasting for children in Scotland in the 1940s and 1950s. Also a successful author of children's books on natural history, he based both his writings and his broadcasts on his observations of the wildlife that surrounded his isolated hut near Lochwinnoch, Renfrewshire. Devoted to pedagogy, he established “The Hut-Man's Club” for children in the late 1930s and was foremost in the encouragement of natural history in Scottish schools. He also wrote poetry for young children and, from 1947 to 1950, he produced The children's magazine. During the last decade of his “Hut life” he was engaged by Scottish local education authorities to speak in schools and residential camps about nature study, captivating children with his “Hut Man” tales. He also engaged with teachers to help them deliver natural history lessons, writing a comprehensive guide book on the subject. The teacher-training authorities, however, failed to capitalize on his vision of nature study within the school curriculum. Disillusioned by their intransigence and faced with local environmental degradation of the Hut Country and inappropriate housing development locally, he moved east. In 1956 he was appointed Director-Secretary of the Royal Zoological Society of Scotland administering Edinburgh Zoo. This paper concentrates on his “Hut Man” career as an author and radio presenter; the communication of natural history being its central theme, at a time when radio was becoming a popular medium of mass communication.
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Meglin, Joellen A. "Victory Garden: Ruth Page's Danced Poems in the Time of World War II." Dance Research 30, no. 1 (May 2012): 22–56. http://dx.doi.org/10.3366/drs.2012.0033.
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During the years 1943–1946, the Chicago choreographer and ballet director Ruth Page created a compact, innovative vehicle for touring, a concert she called Dances with Words and Music. The programme consisted of solo dances accompanied by the poems of Dorothy Parker, Ogden Nash, e. e. cummings, Federico García Lorca, Langston Hughes, Hilaire Belloc, Edna St. Vincent Millay, and others. Page performed her danced poems, speaking the words herself and dialoguing with them in dance, in New York and Chicago, and at Jacob's Pillow. She also toured extensively to smaller cities scattered throughout the Midwest and South, sponsored by colleges and universities, as well as civic associations, independent producers, women's clubs, and USOs. I argue that Page's marriage of poetry and dance was not just a stopgap measure designed to keep her choreographic footing during the lean years when male dancers were enlisted. It was a deliberate strategy to position herself as a front-runner on the American scene – an architect of the American ballet with a sensitive ‘vernacular ear,’ a worldview, and, crucially, a perspective sympathetic to the psyches of young women and children.
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Kotilainen, Sofia. "How to Become an Author: The Poet Isa Asp and Her Childhood Fascination with Writing for Magazines." Knygotyra 76 (July 5, 2021): 114–34. http://dx.doi.org/10.15388/knygotyra.2021.76.78.
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In this article the author explores the early development of the identity as a writer of a Finnish-speaking poet Lovisa (or Isa) Asp (1853–1872). She wrote her lyrics in the Finnish language in the 1870s, and she is regarded as the first 19th-century female Finnish poet (whose works were published in Finnish). She began writing poetry (initially in Swedish) as a teenager and started her literary career as a contributor to children’s magazines. Asp began her studies at the Teacher Training College in Jyväskylä in autumn 1871 with the aim of working as an elementary school teacher, but she also dreamt of becoming an established writer someday. Unfortunately, her early death meant that most of her poetry remained unpublished until the 21st century.
The author investigates what kind of literature Asp read and why she was able to read extensively as a child in the remote Finnish-speaking countryside at a time when Finnish-language literature for children was scarce and still only nascent and being developed for nationalistic reasons; in those decades, most of the books and publications were still written in Swedish. The author analyses in particular the gendered experiences of reading (and writing) in the life of a young girl and woman from the countryside, because in those days most of the authors were men living in towns. A special focus of the article is on the texts that she wrote and edited for children’s magazines. The author studies her autobiographical sources using a biographical method and considers what kind of literature and libraries inspired her career as an early female poet.
National poet Johan Ludvig Runeberg and poet and historian Zacharias Topelius, the major Fennoman authors, were the literary models for the young Isa Asp. Their works inspired her to write and to aspire for a career as a poet and author, an occupation that was then still rare for a woman. Writing for children’s magazines was a crucial stage in her career, and her identity as a writer was strengthened by the opportunity to have her poems and short tales published. Also, writing for these handwritten as well as published magazines made her dreams visible and encouraged her to pursue them with effort. All this shows that her development as a writer was a deliberate, goal-oriented process. The publication of her poems and obtaining the community’s approval of them were important for the young poet. The encouragement to pursue a career in writing that Isa with her literary gifts received as a child from her immediate surroundings helped her to achieve her dreams, which in the end turned out not to be impossible to realise.
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Taha Ahmed, Hind. "Turgut Özakman'ın "Ah Şu Gençler" Başlıklı Tiyatrosunda Fiil Kiplerinin İncelenmesi Verbal formulas in Turgut Özakman’s play Oh Those Young." Journal of the College of languages, no. 42 (June 1, 2020): 242–56. http://dx.doi.org/10.36586/jcl.2.2020.0.42.0242.
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Bu çalışmanın amacı, kullanım çeşitliliğine göre ele aldığımız cümlelerin ve diyalogların gerçek basit metni, her bir gerçek formülün ekleriyle kullanmak ve oyun içindeki örneklerin ardından atıfta bulunmaktır. Araştırmanın girişinde, yazarın yaşamına kısa bir genel bakış ve fiillerin ve fiili formüllerin ne olduğu ve Türkçenin cümlesindeki önemi, türleri ve bölümleri hakkında kısa bir giriş yaptık. Oyun (bu gençler), Türk tiyatro edebiyatının en önemli eserlerinden biri, özellikle de çocuk ve gençlik tiyatrosu, yazarın gençlere ve topluma yönelik en önemli mesajlarını komik bir dilde alaycı bir tarzda, yazarın dilsel tarzı açısından, atama yapmadan gençlerin zihnine hitap etmek basit ve açıktı. Dolayısıyla, gerçek formüllerle ilgili çalışmamızın önemi ve bu oyunun birçok akademisyen ve öğrenci tarafından çalışılmış ve temsil edilmiş olması. Bu oyundan (Ah Şu Gençler) araştırmamızdaki kelime hazinelerinin ve cümlelerin çeşitliliğinden ve bunun yanı sıra Zeynep Korkmaz, Mehmet Akalın, Muharrem Ergin gibi birçok değerli Türk akademisyenin kaynağına dayanarak, sonuçta bahsettiğim birkaç sonuçtan yararlandım. Abstract The study sheds lights on the simple verbal formulas with its particular time suffixes as found in the Turgut Özakman’s play These Crazy Turks. The introduction of the study sheds light on the life of the author and playwright, as well as traces the different types of the verbal formulas in Turkish language. Oh Those Young is one of the most significant products of the Turkish literature of the young and Children where the literary messages of the playwright are addressed in a simple comic sarcastic style. Hence, the play, that has been studied and acted by many students and academics, drives its importance from this particular course of action. The importance of the play lies in various aspects of diction rich with lines of poetry. The study refers to some of the valuable references of well known academics and authors like Muharrem Argin, Zeynep Korkmaz, Mehamet Akalin. The conclusion sums up the findings of the research paper.
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Rubell, Ken. "Fourteen Facets to the Character of an Effective Environmental Educator." Australian Journal of Environmental Education 17 (2001): 149–55. http://dx.doi.org/10.1017/s0814062600002536.
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This is not an academic paper. I write in the first person. And I write out of my own experience - not as a researcher but as a practitioner. So perhaps this is more like a letter, from one imperfect practitioner to others.I live in a region of Australia where the main industry is coal mining. I and a partner run a small environmental education centre at the end of the farmland and the beginning of the forest in a peaceful and beautiful valley. I am privileged to work with around a thousand young people each year - mostly 9-12-year-olds. They and the living world of the forest where I live, are my teachers. The greatest joy of my work is that it is an endless process of learning and sharing: such is the vocation of an environmental educator. Children come to Wangat Lodge for three or four days. They come in groups of around thirty to forty - small enough for me to learn all of their names. We spend most of our time outdoors. I talk too much; I know they gain most when they are discovering things for themselves. We sing. We walk. We mime. We dance. We act. We write bad poetry. I could not wish for more fulfilling work.
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Westall, Claire. "An interview with Olive Senior." Journal of Commonwealth Literature 54, no. 3 (August 10, 2017): 475–88. http://dx.doi.org/10.1177/0021989417723070.
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Olive Senior has become a significant literary voice within Caribbean literature and the Caribbean diaspora, often providing light, sharp, subtle, and emotionally laden stories and poems of childhood and belonging. As she describes here, her work remains “embedded” in Jamaica, including its soundscape and its ecology, and stretches across fiction, non-fiction, poetry, and children’s literature. For decades she has enjoyed a growing international audience, and her work is taught in schools in the Caribbean as part of an evolving literary curriculum. Senior’s short stories, the primary focus of this discussion, are especially well known for their enchanting, vibrant, and insightful children and child narrators — a trait that situates Senior’s work in relation to other famed Caribbean authors (Sam Selvon, Michael Anthony, Jamaica Kincaid, Merle Collins, and many more). In this interview, explorations of some of her young female voices are set within Denise DeCairns Narain’s sense of Senior’s “oral poetics”, and are also explored in relation to issues of wealth, privilege, and emotional sincerity. Senior’s work — fictional and non-fictional — is also heavily invested in ideas of land, labour, and migrancy, and so her recent and striking short story “Coal”, from her latest collection The Pain Tree (2015), is considered alongside her enormously impressive historical study of the role of West Indian migrant labourers in the building of the Panama Canal, entitled Dying to Better Themselves (2014).
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Watson, P. "Erotion:Puella Delicata?" Classical Quarterly 42, no. 1 (May 1992): 253–68. http://dx.doi.org/10.1017/s0009838800042749.
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Martial's epigrams on the dead slave-child Erotion, especially the first (5.34) and third (10.61), have generally given rise to sentimental comments about the poet's love for young children or the humane concern which he displays for his slaves. Scholars show less unanimity in their interpretation of the second piece (5.37), where the poet'slaudatioof his lostpuellais made the occasion of a joke against Paetus, who has managed to survive the loss of his noble and wealthy wife. The poem in question runs as follows
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Miller, R. B. "The Collected Works of Langston Hughes: Works for Children and Young Adults: Poetry, Fiction, and Other Writing. Vol. 11. Ed. Dianne Johnson. Columbia: U of Missouri P, 2003. 393 pages. $44.95 cloth." MELUS: Multi-Ethnic Literature of the United States 30, no. 1 (March 1, 2005): 246–49. http://dx.doi.org/10.1093/melus/30.1.246.
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Iskorko-Hnatenko, Valentyna. "Pages of Olena Pchilka’s Life in Kyiv." Слово і Час, no. 7 (July 21, 2019): 33–53. http://dx.doi.org/10.33608/0236-1477.2019.07.33-53.
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The article is dedicated to the 170-th anniversary of Olena Pchilka’s birth. Olha Kosach (1849–1930, Olena Pchilka being her literary pseudonym) was a Ukrainian writer, corresponding member of the Pan-Ukrainian Academy of Sciences, folklorist, ethnographer, journalist, publisher, social and cultural activist. She was also the mother of Lesia Ukrainka, Mykhailo Obachnyi and Olesia Zirka.The article highlights one of the most important periods of her life, strongly connected to Kyiv. Olha Kosach had been studying here at Mrs. Nelhovska’s boarding school for girls and then lived together with the family of her brother Mykhailo Drahomanov who was a professor at St. Volodymyr University. She married Petro Kosach, a lawyer and conciliator in court cases of peasants an member of the union “Stara Hromada”. Later in Volyn young Olha Kosach never broke up her ties with Kyiv, working on her first scholarly research about Ukrainian folk ornament, translating from Russian and Polish, writing her own poetry, prose and drama. She was one of the editors of “Kiievskaya Starina” (“Kyiv Antiquity”) journal and active participant in Literary and Artistic Community, Kyiv “Prosvita” (“Education”) Community, Ukrainian Club. The journal “Ridnyi Krai” (“Native Land”) was published in Kyiv at her own expense. It had a supplement “Moloda Ukraina” (“Young Ukraine”), being the first periodical for children in Dnieper Ukraine. Kosach family lived in Kyiv permanently since 1899 and resided at 97, 115, 101 Mariinsko-Blahovischenska str., (now P. Saksahanskoho str.). The editorial office of the above-mentioned journals was situated at the same buildings. The prominent figures of the Ukrainian culture M. Lysenko and M. Starytskyi were the neighbors of the family. Nowadays the address accommodates Lesia Ukrainka Literary Museum (97, Saksahanskoho str.).1924–1930 was the last period of Olena Pchilka’s life in Kyiv. She lived at 7 Bahovutivska str., later at 16 Ovrutska str., and worked actively as a research fellow of the Pan-Ukrainian Academy of Sciences. She was elected a corresponding member of the Academy on the 6th of April 1925. Olena Pchilka issued “Ukrainski Uzory” (“Ukrainian Ornaments”), her last lifetime album, in 1927, and the book “Stories. With autobiography” in 1930. The writer was buried in Baikove Cemetery, next to the graves of her husband Petro Kosach and her children Mykhailo Obachnyi and Lesia Ukrainka.
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Staniów, Bogumiła. "Metafory roślin w kalendarzach przyrodniczych dla dzieci Marii Kownackiej i Marii Kowalewskiej (Razem ze słonkiem i Głos przyrody)." Przegląd Humanistyczny 62, no. 1 (460) (July 11, 2018): 145–60. http://dx.doi.org/10.5604/01.3001.0012.2265.
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The article describes the use of metaphorical terms of plants in the nature calendars designed for children and young people of school age: Głos przyrody [Voice of Nature] by M. Kownacka and M. Kowalewska (vol. 1–2, 1963) and Razem ze słonkiem [Together with the Sun] by M. Kowalewska (vol. 1–6, 1975–1978). The role of metaphores in three areas is presented: 1) using “child’s cognition”, that is explaining natural phenomena with means referring to children’s imagination, 2) applying elements of humour and fun, 3) using poetic metaphors whose task was to build atmosphere and sublimity in the description of flora. The described stylistic treatments were to make the popular science texts more attractive to young readers, and they were to become the incentive for them to observe nature in parallel with reading adapted to the perception and needs – not only cognitive, but also emotional.
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SULAIMAN, NANIWATI. "KAJIAN IKONOLOGI IKLAN TELEVISI SUSU FORMULA NUTRILON ROYAL TIGA VERSI “LIFE IS AN ADVENTURE”." Serat Rupa Journal of Design 1, no. 1 (January 19, 2018): 78. http://dx.doi.org/10.28932/srjd.v1i1.443.
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Comparing to other milk-formula advertisements, Nutrilon Royal 3 “Life is an Adventure” version is one of the TV commercial which has got the most appreciation and positive response from various circles of society.The success of this ads does not solely lie in its visual creativity but is also determined by its suitability with the psychosocial cultural of the society. This research would like to reveal the message and the meaning behind the visual appearance of the Nutrilon Royal ads which is able to enchant the consumers by using the theory of analytic iconology of Erwin Panofsky. The TV commercial of Nutrilon Royal 3 is using the indirect approach, spontaneous, outdoor, multi-racial children, natural and poetic. Nutrilon Royal main target is the young mothers who live in big cities with the children who generally spend their time indoors. Nutrilon Royal strategy in attracting the metropolis interest is, among others showing the scenes of children who are free and dare to be active in the broad of nature, representing the courage and physical strength in facing the nature as well as friendly, adaptive, even enjoy and become one with the nature. Through this film, embedded the image of Nutrilon Royal 3 as a milk-formula that gives health, freedom, strength and courage to the children in going through their lives. Keywords: advertisement; children; free; milk formula; nature
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Krynicka, Tatiana. "Maturam frugem flore manente ferens: pochwała starości w poezjach Auzoniusza." Vox Patrum 56 (December 15, 2011): 169–83. http://dx.doi.org/10.31743/vp.4214.
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Decimus Ausonius Magnus (ca 310-394) was a rhetorician, a teacher, a tutor of young Gratian and a highly-ranked, influential official, as well as one of the most famous poets of the late Roman Empire. In his poems, he frequently described the small world he belonged to, the daily routine of his own, of his relatives, professional colleagues and friends. As the poet reached his old age, he made it a subject of his poetry. Ausonius considers old age to be a blessing, a time which permits a wise, generous person to gather fruit of his good deeds and fulfilled duties, to watch children and grandchildren grow and achieve successes, to share one’s wisdom with younger persons. Ausonius shows his grandfather and his grandmother, his aunts, but first of all his father, Ausonius senior, as the examples of happy old persons, loving and loved, respected and needed by the people who surrounded them. He notices that old persons can be joyful, healthy and beautiful. Writing about old age, he mentions illness only once, while expressing his joy of having recovered and being able to send greetings to the grandson who celebrates his birthday. In spite of his age, Ausonius still loves his wife Sabina, who died many years before, the same way as he loved her when he was a young husband. He is deeply attached to Bissula, the charming German girl captured and given to him by the Emperor Valentinian I probably circa 368. Besides, he really enjoys spending time with his friends and with the Muses. In his epigrams, most of which don’t have personal, but rather literary character, the poet translates, quotes, paraphrases and imitates Greek and Latin epigrams which deal with the theme of old age. Although in Ausonius’ poems exists an obvious resemblance to their models, he grants himself much freedom in his remouldings. Not only he alters circumstantial details, expands or abbreviates the original, bur also uses them as mere starting points of his reflexion. It becomes more important for him to ponder over quickly passing youth or over a lover’s feelings towards a woman who rejected him when she was young, but whom he still admires, than to play a literary game. Ausonius never parodies nor even portrays women trying to attire men in their old age, even though he may mock old men pretending to look younger than they are. Neither he complains about pains and sorrows of old age. In all that, he remains a true Roman and a true gentleman.
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Yue, Teng. "Methods of teaching singing to children and to the youth subject to the requirements of educational psychology." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2019): 96–102. http://dx.doi.org/10.51314/2073-2635-2019-2-96-102.
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Vocal music is a combination of artistic language and musical sound that create vivid melodic and poetic patterns. With the help of words and sounds romances and songs richly express people’s thoughts and feeling. Song is a special language of mankind, one of the most important genres in the art of music. The art of vocal music is of great interest and it does not depend on age. In particular, the age level of children who start learning music becomes lower. The high importance of the continuing education has resulted into the creation of additional requirements for educational institutions and education quality of singing teachers. The academic experience shows that voice instructors not only teach music and vocal skills but also conduct researches within the educational and developmental psychology.The purpose of the article is to analyze the process of teaching young students vocal music as a stimulating and teaching method including creation of effective training programs in the area of vocal music. Vocal courses should both attract students’ attention and enjoy them, therefor the teacher is supposed to be empathetic towards students in the process of teaching.
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Green, Nigel. "Poetry and Children." Literacy 22, no. 1 (April 1988): 8–14. http://dx.doi.org/10.1111/j.1467-9345.1988.tb00807.x.
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Scannell, Vernon. "Poetry for children." Children's Literature in Education 18, no. 4 (December 1987): 202–9. http://dx.doi.org/10.1007/bf01141751.
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Kolchevska, Natasha, and Elena Sokol. "Russian Poetry for Children." Slavic and East European Journal 29, no. 3 (1985): 350. http://dx.doi.org/10.2307/307230.
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Pyman, Avril, and Elena Sokol. "Russian Poetry for Children." Modern Language Review 81, no. 1 (January 1986): 271. http://dx.doi.org/10.2307/3728855.
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Brownson, Ann E. "Poetry Aloud Here 2: Sharing Poetry with Children." Public Services Quarterly 10, no. 3 (July 2014): 222–23. http://dx.doi.org/10.1080/15228959.2014.932229.
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Winterhalter, Deidre. "Sources: Poetry Aloud Here 2: Sharing Poetry with Children." Reference & User Services Quarterly 54, no. 1 (September 1, 2014): 56–57. http://dx.doi.org/10.5860/rusq.54n1.56c.
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Harris, A. Leslie. "Instructional poetry for medieval children." English Studies 74, no. 2 (April 1993): 124–32. http://dx.doi.org/10.1080/00138389308598848.
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Mazza, Nicholas, Christina Magaz, and Joanne Scaturro. "Poetry therapy with abused children." Arts in Psychotherapy 14, no. 1 (March 1987): 85–92. http://dx.doi.org/10.1016/0197-4556(87)90038-4.
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Olszewska, Bożena. "Contemporary Polish poetry for children." Children's Readings: Studies in Children's Literature 19, no. 1 (2021): 323–36. http://dx.doi.org/10.31860/2304-5817-2021-1-19-323-336.
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This article mainly deals with the history of the contemporary Polish poetry for children (end of XX century — beginning of XXI). The author shows how contemporary children’s poetry is linked with the traditional one (and also some folklore forms), characterizes the creative styles of several contemporary poets (J. Twardowski, Z. Beszczyńska, J. Kulmowa, W. Oszajca), and points out several breaks from the tradition. The author names two main streams in children’s contemporary poetry as “Lyric poetry” and “Playing with words”, and speaks in detail of their creative approaches and readers’ pragmatics. Especially interesting is the comparison of contemporary children’s poetry samples and the classical ones (Jan Brzechwa, Janina Porazińska, Maria Konopnicka, Ewa Szelburg-Zarembina, Julian Tuwim), and also linking with the tradition of religious and ritual poetry. The authors looks at contemporary poetry for children from diacena have taken place.
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Fedenko, Alevtyna. "The importance of M. Kropyvnytskyi’s children’s theater for the formation of a professional musical children’s theater in Ukraine." Aspects of Historical Musicology 19, no. 19 (February 7, 2020): 332–45. http://dx.doi.org/10.34064/khnum2-19.19.
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Introduction and statement of the problem. Before the revolution of 1917, artists, writers, musicians and teachers created a rich literary fund that could be the basis for professional musical children’s theater in Ukraine. That is why there is a need to study the children’s musical and dramatic heritage of the past, which is an inexhaustible treasury of cultural and educational ideas that can be creatively developed and successfully applied in modern conditions. The process of creative development of the genre of children’s musical performance is today one of the most pressing problems of professional theater for children, take in account its growing popularity, both in the world and in Ukrainian musical culture. The lack of scientific research that fully and comprehensively cover the scientific and practical significance of musical children’s plays by Marko Kropyvnytskyi for the development of musical children’s theater in Ukraine indicates the need for more in-depth researching of the chosen topic. In our research, we rely on the works and articles of authoritative experts – in particular, I. Franko (1910), M. Voronyi (1913), D. Antonovich (1925), P. Rulin (1929), I. Mar’ianenko (1953), P. Kyrychok (1985), N. Yosipenko (1958), P. Perepelitsa (1956), A. Novikov (2007; 2011), L. Moroz (1990). The vast majority of researchers noted the great merits of the artist to the national drama in particular and Ukrainian culture in general. Among the scientific works devoted to Kropyvnytskyi as a children’s playwright, one can distinguish the research by A. Novikov (2007), which focuses on the history of creation of the first children’s troupe in the country, which had no analogues in the history of the world theater, since the actors in it were peasant children. In mentioned critical and scientific works, the innovative features of the playwright’s creative heritage are outlined, attention is focused on the specifics of the genre and problem-thematic range, literary-aesthetic, socio-political, and pedagogical views. The literary and theatrical activity of M. Kropyvnytskyi has been thoroughly studied. However, there is still no work that comprehensively reveal his musical and dramatic creativity for children. The purpose of the article is to show the significant role of M. Kropyvnytskyi in the development of children’s musical theater in Ukraine based on the research of children’s musical and dramatic creativity by the artist. The research methodology is integrative. The work uses knowledge of various fields of art history and related sciences: history and theory of theater, music theory, music and theater psychology, vocal and theater pedagogy. Presentation of the main material. A great pride of the playwright is the foundation by him on the territory of his village Zatyshok of the children’s theater, “actors” in which were his own and peasant children. This event was and remains unprecedented, since nothing like this has been observed in the history of Ukrainian and European culture. The troupe consisted of peasant children aged 10–13. For performances, Kropyvnytskyi assigned the largest room (hall) in the old house, where, as in a real theater, the stage was equipped. The first performance, “Goat-Dereza” (“Koza-dereza”), took place on Christmas day, 1906. The playwright drew the scenery himself, and prepared the costumes together with the children. The play was a great success. A few days later, the children’s troupe was invited to a “tour” in the neighboring village, and the entire theater with the scenery on five carts went on a journey of six versts (Novikov, 2007: 33). In the children’s repertoire at that time, there was, in fact, only one work – the opera by M. Lysenko “Goat-Dereza” (“Koza-dereza”) (libretto by Dniprova Chaika). Ukrainian children’s repertoire did not exist at that time, and in 1907, Kropyvnytskyi created two plays for young performers based on folk tales – “Ivasyk-Telesyk” and “At the behest of the pike” (“Po shchuchomu velinniu”). The performances included vocal numbers composed by M. Kropyvnytskyi on the themes of Ukrainian folk melodies. In a letter to his good friend entrepreneur A. Suslov in January 1908, the writer, in particular, notes: “I have assembled a troupe of peasant children and I am staging in the villages: Goat-dereza, IvasykTelesyk, and At the behest of the pike (the latter both are my)” (Kropyvnytskyi, 1960: 530). Based on the plot of folk tales of the same name, he wrote original musical and dramatic works for children of great educational value. The plays are quite simple in meaning and clearly depict the images of all the negative and positive characters. The first represent such social vices as lies and insincerity, and the second are carriers of eternal positive qualities – sincerity, candor, hard work. The plays are written in an exquisite Ukrainian language, close to the oral poetic creativity. All this, as M. Yosypenko rightly notes, is evidence of “a serious approach of M. Kropyvnytskyi to the business of writing plays for children, a deep knowledge of the psychology of the young audience and its cultural and educational needs and demands” (Yosypenko, 1958: 265). The performances require participation of music, which organic include into the language range of the play itself. Music explains and complements the true meaning of the situation to the young audience. Ukrainian musical folklore material formed the basis of the musical solution of M. Kropyvnytskyi’s children’s performances. Most often, folk songs served as a means to create the image and were introduce before the dramatic action mainly by the method of self-presentation: performing a particular song, the characters showed certain traits of their nature. The songs help to reveal the inner world of the characters, to express their state of mind and moods; often they contributed to the creation of the necessary stage atmosphere: festivities, fun and jokes. A significant part of the characters could not be imagined without songs. Using some folk melodies, Kropyvnytskyi mainly wrote original music, close in melody to the folk-song sources. Solo numbers, ensembles, and choirs are organically woven into the dramaturgy of these plays. A clear reflection of the integrity and unity of the musical and dramatic process is the principle of end-to-end development of the main musical idea of performances. In preparation for productions of his children’s plays, Kropyvnytskyi wrote an orchestration for them also. Intending to put these plays on the professional stage, Kropyvnytskyi wrote down advice to future directors regarding the production of their children’s plays. He began to think of broader horizons for them. In the spring of 1910, small artists had to show their art to the audience of the neighboring county town Kupyansk. However, the premature death of the Ukrainian playwright did not allow this plan to be realized. The children’s troupe soon ceased to exist. Kropyvnytskyi children’s troupe and the repertoire he created for it became a prologue to the development of the Ukrainian theater’s creativity for young viewers. In nowadays from the repertoire do not go off the pearls of drama for children “Ivasik-Telesik’ and “At the behest of the pike”. Conclusions. Marko Kropyvnytskyi’s creative heritage and practical activities wrote the gold pages to the history of Ukrainian musical children’s drama and Ukrainian children’s theater. Children’s musical and dramatic works of the writer based on song folklore are the effective mean to educate positive attitude of young Ukrainians to folk tradition as well as to form positive nature traits: generosity, hospitality, goodwill, charity.
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김양희. "A study of Jeon, Young-Kyoung's Poetry." EOMUNYEONGU 69, no. ll (September 2011): 239–69. http://dx.doi.org/10.17297/rsll.2011.69..010.
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김양희. "A Study on Jeon Young-kyung’s Poetry." Journal of East Aisan Cultures ll, no. 75 (November 2018): 143–74. http://dx.doi.org/10.16959/jeachy..75.201811.143.
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Lee, Chang-min. "Semantic structure of Kim Young-rang’s poetry." Journal of Korean Studies 71 (December 31, 2019): 183–220. http://dx.doi.org/10.17790/kors.2019.12.71.183.
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Hillcoat, Sophie. "Commentary: Recesses of the Young Poetic Mind." LEARNing Landscapes 4, no. 1 (April 1, 2010): 39–42. http://dx.doi.org/10.36510/learnland.v4i1.359.
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In this interview young poet Sophie Hillcoat shares her story of how she began writing poetry during recess. She talks of her sources of inspiration and the important role that her friends play in contributing to her creative process. She has suggestions for young people who would like to start writing poetry as well as for teachers who teach poetry. Finally, she reads one of her poems.
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Yun, Ho-gyeong. "Poetry education for developing citizenship -Focused on the poetry of Kim Su-Young-." Korean Literature Education Research 55 (June 30, 2017): 287–323. http://dx.doi.org/10.37192/kler.55.9.
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Joseph, Michael. "‘Orphans of Poetry’: The poetry of childhood and the poetry for children of Robert Graves." Book 2.0 6, no. 1 (December 1, 2016): 9–20. http://dx.doi.org/10.1386/btwo.6.1-2.9_1.
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Johnson, Jamie. "Sources: Poetry Aloud Here! Sharing Poetry with Children in the Library." Reference & User Services Quarterly 46, no. 3 (March 1, 2007): 106. http://dx.doi.org/10.5860/rusq.46n3.106.2.
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