The teaching of wonder: the training of teachers in the field of poetry Arturo Santana National Pedagogical University Test
First National Congress:
chance to know you. . . Teaching of language, literature and communication
September 2005
The teaching of wonder: the training of teachers in the field of poetry
Arturo Santana
Poetry is a wonder precisely
the word level, which
occurs in the word and the word. Gaston Bachelard
Summary. Poetry can not be taught. This is a truism sure that the national education system has ignored despite several implications for graduate profiles of our students in regular education. The training colleges have been training the teachers of language and literature from a perspective that focuses on information theory and pedagogy, and the best knowledge of stages, processes, forms, structures, objects and literary phenomena. Largely absent in these processes of "training" is the dimension of creativity of applicants to the animation of poetry in the classroom. The act of placing the emphasis on informational and cognitive aspects of literary texts has become a mere reporting to the teacher and promoter of boredom. It is urgent transformation of the plans and curricula of teacher training, so that those responsible for the creative animation and recreational functions of literary texts in basic and upper secondary education, equip themselves with relevant essential to the creative dimension of students when it comes to literature. If teachers have not experienced a sustained teaching in the wonder of the word's origin, will never understand the sense of poetry as an object of creation and knowledge.
Borges puts it in the simplicity of a seer: "Poetry is. . . a new experience. Every time I read a poem, the experience happens. And that is poetry ".1 It is a feasible, a diálogo2 between two entities that match the intensity of a moment. One is the origin, the aesthetic experience captured by the writer, just as a glimpse of his perception defines an image not visible from the eye common but ephemeral all intuition, the other is the flame that "calls us to see for the first time" as claimed Bachelard.3 occasion or event for Wonder, the poetic experience is transferable to the extent that each who is responsible for the approximation to the original experience, without aspiring to cognitive apprehension, utterly impossible, but his recreation. This is the premise for considering teaching of poetry about the context of art education and a sense of the reflections of this writing, whose scope goes beyond stimulate reflection of teachers, especially when they embark on the adventure of language poetic provide some elements inferred by researchers and widely recognized poets to understand the curricular integration of art of poetry teaching demands a particular treatment against the intelligence and sensibilities alerts to breathe in the classroom, potentially poets conceive children, and adolescents, and therefore the teacher himself is conceived from this dimension, given that "the essential feature of teaching is the creativity", 4, and propose, in short, the didactic concept of wonder to designate a perspective of educational intervention with the poetic experience and object animation.
We seem to notice a problem fund if we recognize that the various access methods in school literature have overlooked the specific skills of teachers in the basic sense of poetry as experience humana.5 By framing the aesthetic phenomenon of poetry as a specific content a course run the risk of opening a field for consideration teaching: the teaching of poetry. The effect of this design lies in the approach to the poem as a linguistic object, its value as a historical phenomenon, its location as a cultural product, which undoubtedly are, but his original evidence of the existence of poetry in the world is associated with the human experience of awe. Well is that specialists investigate, interpret and understand many senses as open theoretical disciplines to learn that inexhaustible subject, but the poetic experience is in the path of life for everyone, from each one embedded in its culture. The oral tradition, for example, is a singular form that takes the poem, allowing the gradual process of integration of the child to the social context of their culture. The child has been touched by the aesthetic experience when entering school, the teacher is responsible to continue, expand, enrich the career options that continue, along with aesthetic experiences of other human manifestations, especially related to art.
The poem, as syllabus involves a kind of educational intervention to choose the most relevant text for the purpose of training, creating a favorable atmosphere for the reception, the live presentation of the poetic text, the time for the search intencionalidad6 the poet, the approach to tono7, reconstruction sentido8 unit. Failure to yield to the temptation to provide an educational project whose sequence includes scholarly explanation, the analysis tedious, mechanical transcription, culminating in the development of competition, nor to assume that at the end of the activity has achieved the purpose. The essential intention is to suggest anything, the context for meaning gradually give presentations and approaches to poetry, without more intelligence resources in tension and the free flow of creative imagination. The educational purpose is that the poetic experience with the simplicity occurs Borges.9 evoked by LS Vygotsky said this issue with the force of law and the certainty of one who could see in imagination the basis for artistic, scientific and technical: "the creative activity of imagination is in direct relation of wealth and variety of experiences of the man, because this experience is the material with which to erect their buildings the fantasía.10 Be warned, so the emphasis of the issue are the experiences that should lead necessarily unique educational intervention.
Moreover, the wide appreciation of poetry in the school curriculum is duly justified to the extent that "we grow spiritually, we fertilize, we as human dimensions, humanizes our senses." 11 If from the perspective of Chomsky normal language is innovative in the sense that much of what we say in the course of normal use of language is quite new "12, in the case of literary language acquires that quality highest expression in poetry. The innovative sense of language means, then, to think with words, playing with words, creating with words, inside and outside the classroom.
For his part, Howard Gardner summarizes comprehensive perspective on the meaning of art school: "The challenge in art education is an effective modular values \u200b\u200bof culture, the resources available for education in the arts and for evaluation, and individuals and developing individual profiles of students to educate. "13 Let's do an exercise:
HORAL
The sea is measured in waves, the sky
wings
us in tears.
air rests in the leaves, water
eyes
us anything.
appears that salts and soles,
us and nothing. . . Jaime Sabines
Where does this touch of fascination in reading this poem Sabines? I do not know, but a sign looms in the alliteration of that verbal tide is heard only in the movement of substances and then vanishes in that anything which is suspended the text. Untranslatable evokes anxiety in some corner of memory stirred up among the imaginary of the poet who reads. The predominant sound of the aes dumped in such a short rhythmic unit is associated with the wonder awakened in contrast of analogies to the finiteness of this man, whose dimension is grief. It is obvious biblical allusion of the original sin that we lacera with flashing going to come from air and water, the contrast between nature and humanity, for the elements. "If we read a simple poem, Octavio Paz warns our puzzlement disappears, no wonder our" .14 The intuition guide. A teenager may mumble a hermeneutical sense of the poem if left at peace with itself, if it has arranged a free atmosphere for the imagination, if the reading of the poem submission has been coated with the ease and simplicity of what is relevant, if breathing the freedom not to speak, but when he or she deems appropriate. Faced with the internalization of each student silence is often more appropriate attitude of the animator. The clutter of the imaginary time and silence demands for recreation.
The concept of poetry is basically referred to the original experience of the aesthetic event, oral or written, real or imagined, regardless of the forms it takes, whether in the plot of a legend, a story or a poem. The following quotations genres are not graze the margins of the essential and can confuse the meaning of the aesthetic approach to the phenomenon when the slogans of the educational intervention lead to the function referential language, just as the poetic function dominates the stage. Jean Georges notes on this: "The distinction between poems and stories is uncertain, especially when considering the archaeological past, says Michel Foucault." 15 It refers, of course, the prehistoric origins of poetry, deeply linked with the magical worldview of Paleolithic man, represented in song, music and danza16. From this follows the principle of combination, that is, ensure that the aesthetic experience includes images, sounds and actions of various artistic and cultural origin.
In the prelude to the selection relevant texts for translation teaching, the teacher must consider a typology of textos17, whose qualities are conducive to the educational purpose: belonging to the literary cultural tradition of the mother tongue of students in the first instance, and then to sample and examples of texts from other contexts of universal culture, its brevity, considering the emotional stress of the excitement of listening, fun in itself, the rhythmic play of the alliteration, the enjoyment of the findings, subjective reflection, assessment intentionality of the poet writer from the perspective of the poet reader, the testimonial nature of consciousness, without ignoring the fact that different emotions converge simultaneously on the hermeneutics of the experience phase, ie at the stage of the comprensión.18 The variety of tools for the exercise includes divination, belief, intuition, suspicion. All being in the thrill of an instant.
The word poetry is held on the origin of language, has a content rooted in the totality of being, an area the size of the fear of lightning on the terrible night, the potion venial of flame, a range that includes light absorbed in a horizon that is lost in the distance. "That means," Borges once we know what poetry is. What we know so well that we can not define it in other words, as we are unable to define the taste of coffee, red or yellow, or the meaning of anger, love, hate, dawn, dusk or love for our country. " 19 The symbolic reference of that experience is associated not only with the origin of this long chain of voices that are specified in the language but also the identity of the speaker. We are at the heart of the matter: the poetic experience is inseparable from the world of social and cultural representations of each person, so that children possess the basic elements for print and speech are usually in the middle of events potentially marked by poetry. Eliseo Diego so eloquently states:
. . . For me, poetry is at an early stage illumination of some aspect of reality that moves us, or startles, at this early stage we are all poets. Then, some are able to move the lit appearance subject to subject: in our case, the language actually matter. The transition has to be done with such delicacy is not lost even one of the countless suggestions living in the real, and not one of its many possible meanings. Only in this way can reach the third and final stage in which the poem reaches its final consummation: the communication phase of the enlightened, the reader, the other without which nothing would, recreating the original experience. . .20
unintentionally (and it adds a level consistent with the artistic sense of his works), both Borges, as Cuban poet foreshadow a path to the animation of the poem in the classroom suggest a route to identify from phenomenologically three moments of poetic experience, we provide the basis for teaching in amazement. The three moments must be satisfied that the event happens, all three steps must be taken to reach the final sense. If the first event, the lighting, it moves toward writing, experience is only within those who experience it. It in itself, but is depleted if no representation. And likewise, if the text that accounts for the original shock is not read, ie not housed in purpose of communication, there is no sense and is not an object but dumb, expectant. In turn, O. Peace warns: "... overcome with astonishment, not the spell, we find that the poem suggests another type of communication, governed by laws other than the exchange of news and information" .21 This "other communication" to be incorporated into be a teacher.
The teaching of wonder is proposed as a strategy to restore consistency 22 between the educational intervention and artistic nature of the purpose of recreation. Not conceive the administration of the poetic experience in the classroom as a literature class or a meeting to promote the attainment of a specific jurisdiction, but as receiving a lamp, this is the integration of knowledge, emotions and imagination of students to look beyond the common perception, considering the diversity of its social and cultural histories, since the emphasis in order to recover and identify with them to enrich and expand with the intensity of the new, unexpected, extraordinary.
The impact of poetic experience fostered by a unique and timely educational intervention frameworks beyond the precincts and school time, subverts the conventions and cliches of everyday speech, it enriches the meaning of the learning experiences of students, open an option for change to teaching practice. Hence, the creative act, half the time for the call lights, so that the experience transcends the siege of the routine. Our students demand the presence of a poet in the classroom, whose attitude to the poem touch the doors of creative imagination and the opportunity for the creation occurs. That seems to say the testimony of one who learns the rules of the game:
I feel
NECTAR a rose
time writing sometimes as a bee
dawn'm singing in a garden on the ground
light perfume. Andrea Silva
23
supporting literature ANDRICAÍN, Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003.
Bachelard, Gaston. The flame of a candle. Caracas, Monte Avila Editores, 1975.
Beuchot, Mauritius. Pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
BORGES, José Luis. Arts poetic. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001.
Chomsky, Noam. The language and understanding. Mexico, Editorial Planeta Mexicana, 1992.
DIEGO, Eliseo. Twenty-six recent poems. Mexico, Ediciones del Tightrope, 1986.
Gadamer, Hans George. Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEd Gedisa, 1993. GARCÍA
Padrino, Jaime and Arturo Medina Padilla.Didáctica of language and literature (Dirs.). Madrid, Anaya, 1989.
GARDNER, Howard. Art education and human development. Mexico, Editorial Mexicana Polity Press, 1998.
HAUSER, Arnold. Social history of literature and art. Madrid, Editorial Guadarrama, 1974.
JEAN, Georges. The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990.
KAUFMAN, Ana Maria and Maria Elena Rodriguez. The school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
LOMAS, Carlos and Andrés Osorio (Compilers). The communicative approach to language teaching.). Barcelona, \u200b\u200bEditorial Polity Press, 1993. NAVARRO
Duran, Rosa. How to read a poem. Barcelona, \u200b\u200bEditorial Ariel, 1998.
PAZ, Octavio. The Double Flame. Love and eroticism. Barcelona, \u200b\u200bEditorial Seix Barral, 1993.
PORTUONDO, José Antonio. The concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974.
ROCHA, Gilda. The poetry and textual interpretation. Mexico, National Pedagogical University, 1996.
Sabines, Jaime. Count poems. Mexico, Editorial Joaquín Mortiz, 1977.
Juárez Sánchez, José. A fun workshop. Reading and writing activities. Monterrey, NL Ediciones Castillo, 1998.
Santana, Arturo. "The pleasure of reading: literary workshops in Basic Education" in Praxis University. Journal of the North Central Region of the National Pedagogical University. Mexico, Year 7, No. 17, mayo.agosto 1999: p. 5-8.
TORRE, and Oscar Saturnino the Barrio (Coordinators), Strategies innovative teaching. Barcelona, \u200b\u200bEdiciones octahedron, 2002.
Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005.
Vygotsky, LS Imagination and art in childhood. Mexico, Hispanic Publishing and Distribution, 1987. Yuren
Camarena, Maria Teresa Yurén, "Teaching practice and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
1 In "The Enigma of poetry," Poetic Art. Six conferences. Barcelona, \u200b\u200bEd Crítica, 2001: p. 21
2 As conceived Hans George Gadamer, "Poem and dialogue are extreme cases in the vast field of forms of language" in Poem and dialogue. Essays on the most significant German poets of the twentieth century. Barcelona, \u200b\u200bEditorial Gedisa, 1993: p. 144.
3 Gaston Bachelard, The flame of a candle. Caracas, Monte Avila Editores, 1975: p. 11. Yurén
4 Ma Teresa Camarena, "Practicing teachers and science of man" in Vitral Teaching. Journal of the National Pedagogical University, Unit 212, Teziutlán, Puebla. Year 1, Number 1, October 1996: p. 39-50.
5 See "The teaching of literature in the last decade" by Francisco Rincon in the communicative approach to language teaching. Lomas and Andrew Carlos Osorio (Compilers). Barcelona, \u200b\u200bEditorial Polity Press, 1993: p. 223-233. The contents
6 proposed by Mauricio Beuchot: "Have a sense of the events is to print our intention, where there is an intention there is a sense, and that is what characterizes human beings, which inhabit the world makes it so peculiar , surrounded by signs, whether words or symbols, "in" Subject and intentionality in the hermeneutic philosophy, pedagogy. Magazine specializing in education. Mexico, National Pedagogical University, Third Age, Volume 10, Number 3, Summer 1995: p. 16-23.
7 “En el poema no sólo se consuma la producción de sentido duradero en la palabra que se exhala, sino que en él adquiere duración la presencia sensorial de la palabra. . . la fuerza de la poesía lírica reside en su tono. . . en el poema, de muchas palabras y sonidos resulta una unidad que se distingue precisamente por la unidad del tono”, Hans-Georg Gadamer, Op. cit. p. 145.
8 “La pregunta por la unidad de sentido queda como una última pregunta por el sentido y encuentra su respuesta en el poema”, Íbid, p. 148.
9 En Arte poética. Seis conferencias, Op. cit. p. 21.
10 En La imaginación y el arte en la infancia. México, Ediciones y Distribuciones Hispánicas, 1987: p. 17.
11 Andricaín Sergio and Antonio Orlando Rodríguez, School and poetry. What do I do with the poem? Buenos Aires, Location Editorial, 2003: p. 17. A more complete list of this assessment can be found in "Teaching Literature" by Arturo Medina Padilla, included in teaching of the language and literature and Jaime García Padrino Arturo Medina (Dirs.). Madrid, Anaya, 1989: p. 511-534. 12 Noam Chomsky
in language and understanding. Mexico, Editorial Planeta Mexicana, 1992: p. 33.
13 In art education and human development. Mexico, Paidós Editorial Mexicana, 1998: p. 15-16.
14 At The Double Flame. Barcelona, Editorial Seix Barral, 1993: p. 12.
15 In The paths of childhood imagination. The stories, poems, reality. Mexico, FCE Edition, 1990: 92.
16 See José Antonio Portuondo, the concept of poetry and other essays. Mexico, Editorial Grijalbo, 1974. In his social history of art and literature Arnold Hauser presents a detailed argument on the origin of art that demands consideration of a comprehensive genesis of the human social practice. Madrid, Editorial Guadalupe, 1970, Vol I.
17 See, for example, the proposed Kaufman and Maria Ana Maria Elena Rodriguez at the school and the texts. Buenos Aires, Aula XXI / Santillana, 2001.
18 "at bottom, is only aware of what actually happens when something is offered to the understanding of someone, and when that someone understands, HG Gadamer, Poem and dialogue, Op. p. 144. 19 Arts
poetic. Six conferences, op cit. p. 34
20 Quoted by Elio and Gonzalo Garcia Diego Garcia Barcha in Eliseo Diego, Twenty recent poems. Mexico, Ediciones del Tightrope, 1986. The bold is mine.
21 The Double Flame. Op cit. p. 12.
22 A broad characterization of the concept innovation strategy can be found at Saturnino de la Torre and Oscar Barrio (Coordinators), innovative teaching strategies. Barcelona, Octahedron Editions, 2002.
23 "Born in Guadalajara and lives there. Nine years old and attends primary "in Skylight. Cultural entertainment magazine. Guadalajara, 3/número Year 29 June 2005: p. 39.
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