These resources are designed to help students begin to think critically about the difference between figurative and literal language and to understand how imagery is effective.
*Literally or figuratively* draws attention to a top pet peeve among teachers - the misuse of the word literally. However, it's worth explaining that while the misuse of the word 'literally' is technically wrong, it creates a certain effect that might be desirable in colloquial language. This can lead on to discussion of hyperbole and humour.
*Analysing figurative language* helps students to then further explore the effects that figurative language and imagery can create. This is great for helping them to understand what they have to do when they are told to analyse language.
*Types of imagery* aims to visualise the different senses that imagery might draw upon. It helps to emphasise that imagery is not just about images, its about all of the different ways that you might imagine something/somewhere/someone.
In the *writing poetry with imagery* document, there are two options. The first is a football scenario. Students prepare to write a poem about a penalty shoot out by coming up with their own imagery for each of the three stanzas - before, during and after the shot is taken. They can chose whether to write in first or third person. Prompt them by asking what they/the player hears, sees, feels etc, ask about how the crowd moves, the temperature, the movement of the ball etc. Alternatively, students can come up with their own scenario, preferably one that has a before, during and after element so that contrasts can be developed.
Students can then write out their poems, using their best imagery. This is a good time to talk about line and sentence length and how these can be used to create pace and mood. Finally, students can be asked to write some analysis of their own poems. This can be invaluable for helping students to understand how to talk about the choices that poets have made and their effects. Now that they are poets and have gone through the process of using imagery, they will have a clearer understanding of why other poets use it.
*Literally or figuratively* draws attention to a top pet peeve among teachers - the misuse of the word literally. However, it's worth explaining that while the misuse of the word 'literally' is technically wrong, it creates a certain effect that might be desirable in colloquial language. This can lead on to discussion of hyperbole and humour.
*Analysing figurative language* helps students to then further explore the effects that figurative language and imagery can create. This is great for helping them to understand what they have to do when they are told to analyse language.
*Types of imagery* aims to visualise the different senses that imagery might draw upon. It helps to emphasise that imagery is not just about images, its about all of the different ways that you might imagine something/somewhere/someone.
In the *writing poetry with imagery* document, there are two options. The first is a football scenario. Students prepare to write a poem about a penalty shoot out by coming up with their own imagery for each of the three stanzas - before, during and after the shot is taken. They can chose whether to write in first or third person. Prompt them by asking what they/the player hears, sees, feels etc, ask about how the crowd moves, the temperature, the movement of the ball etc. Alternatively, students can come up with their own scenario, preferably one that has a before, during and after element so that contrasts can be developed.
Students can then write out their poems, using their best imagery. This is a good time to talk about line and sentence length and how these can be used to create pace and mood. Finally, students can be asked to write some analysis of their own poems. This can be invaluable for helping students to understand how to talk about the choices that poets have made and their effects. Now that they are poets and have gone through the process of using imagery, they will have a clearer understanding of why other poets use it.
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