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• W2612852088 abstract "As an adolescent rebel, at times I see writing as long mathematical formula with long list rules: dos and don'ts. However, not following rules and structure allow[s] creativity in essays.-DerekEkphrasis. This Greek word intrigues our high school and college students. Like many English teachers, we have used the process ekphrasis in our classes examine poetry inspired by visual art (Grierson and Dean 54; Moorman 46). However, Ryan Welsh's short article on this topic prompted us expand the description ekphrasis into more robust framework that includes working with textual art. Earlier definitions the term inform our interpretation ekphrasis, describing it as a plain declaration or interpretation thing (Ekphrasis 715). In fact, the etymology ekphrasis separates the word into two parts: ek meaning of and phrasis meaning to speak. This notion sparked an idea: Why not use ekphrasis as way teach student readers transact with text at multiple levels and then speak as writers and creators meaning?Young adults are at crossroads in their lives where the possibilities their future can seem endless. They slip into our classes wanting shrug off the old and traditional, rebel against the norm, and flex muscles independence; they dream that they will be different. One way that we make our English classes applicable idealists is select texts that they consider relevant and complex enough support rigorous examination. We take this step further and allow students read and respond texts in novel and authentic ways, including code breakers, meaning makers, and text users (Luke and Freebody), give students tools for personal expression applicable across varying modes writing.We introduce the concept ekphrasis with the notion that every text, whether it is Shakespearean play, iMovie, social media post such as an Instagram, or trendy song, is designed influence an audience. Part what Nancy Christiansen and Becky Craig Bagley call master-f rame (1), the rhetoric text is staged within social context as drama that is performed so writer (poet, critic, cinematographer) can speak about an issue. Texts that interest students are abundant in our media-s aturated world. We then initiate the idea that the creators texts-whether visual or textual-are the innovators, entrepreneurs, and inventors their generation.Once students have an understanding ekphrasis, we focus their attention on transferable, critical thinking and writing process that centers on three key aspects: negotiating, deciphering, and producing. This process begins with students filling out graphic organizer composed three columns, each which serves distinct role in helping students understand complex texts and produce their own (see Figure 1). In the first column we model how we negotiate text; in the second column we read decipher meaning; and in the third column students use techniques produce their own work.Negotiate: Hey, We Read Ya!Our media-savvy students are familiar with visual literacy but not always conscious how they negotiate visual image. As Dawnene D. Hassett and Melissa B. Schieble have pointed out, these types texts require new ways reading, writing, interpreting, and interacting (63). To introduce this concept, we revisit readily available and radical work art that challenged the boundaries conventional thought: Picasso's Guernica. In somber palette grey, white, and black, the famous cubist painting depicts the shocking bombing Guernica, little Basque village in northern Spain, during the Spanish Civil War. We explain how this work is still touted as quintessential prototype protest against political power and violence.Knowing that artists employ specialized literacies unique their discipline, we recognized the need give our students metalanguage or vocabulary talk about the painting Guernica. …" @default.
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• W2612852088 date "2015-07-01" @default.
• W2612852088 modified "2023-09-23" @default.
• W2612852088 title "Speak out! How Ekphrasis Inspires Writing on the Edge" @default.
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