The Same Inside is a sweet and thoughtful collection of poems for children, about friendship, empathy and respect by three of the nation's best-loved poets, Liz Brownlee, Matt Goodfellow and Roger Stevens. These fifty poems deal sensitively with feelings, empathy, respect, courtesy, bullying, disability and responsibility. They are the perfect springboard to start conversations.

What does it mean to teach English creatively to primary school children? Teaching English Creatively encourages and enables teachers to adopt a more creative approach to the teaching of English in the primary school. Fully updated to reflect the changing UK curricula, the third edition of this popular text explores research-informed practice and offers new ideas to imaginatively engage readers, writers, speakers and listeners. Underpinned by up-to-date theory and research and illustrated throughout with more examples of children’s work, it examines the core elements of creative practice and how to explore powerful literary, non-fiction, visual and digital texts creatively. Key themes addressed include: • Developing creativity in and through talk and drama • Creatively engaging readers and writers • Teaching grammar and comprehension imaginatively and in context • Profiling meaning and purpose, autonomy, collaboration and play • Planning, reviewing and celebrating literacy learning • Ensuring the creative involvement of the teacher Inspiring, accessible and connected to current challenges and new priorities in education, Teaching English Creatively puts contemporary and cutting-edge practice at the forefront and includes a wealth of innovative ideas to enrich English teaching. Written by an experienced author with extensive experience of initial teacher education and English teaching in the primary school, it is an invaluable resource for any teacher who wishes to embed creative approaches to teaching in their classroom.

This fully revised and extended third edition of How to Teach Poetry Writing: Workshops for Ages 8–13 is a practical and activity-based resource of writing workshops to help you teach poetry. Designed to build writing, reading, speaking and listening skills, this new edition contains a widened selection of workshops exemplifying a variety of poetry styles, both classic and contemporary. Highlighting how the unique features of poetry can be used to teach literary skills, this book: includes new workshops which introduce, or consolidate, spelling, punctuation and grammar skills; encourages debate, discussion, performance and empathy; offers a new focus on confidence building and creativity using performance, rhythm, rhyme and rap; explores the use of poetry for vocabulary enhancement; encourages reading for pleasure; provides an A to Z guide to poetry and poetry terminology plus a very extensive bibliography enabling you to keep up to date with poetry and poetry resources; represents diverse cultures; highlights cross-curricular links. Promoting creativity, achievement, mastery and enjoyment, How to Teach Poetry Writing: Workshops for Ages 8–13 provides teachers with a wealth of material and the inspiration to create a class of enthusiastic and skilled readers, writers, listeners and performers.

Humor, Empathy, and Community in Twentieth-Century American Poetry explores how American poets of the last hundred years have used laughter to create communities of readers and writers. For poets slightly outside of the literary or social mainstream, humor encourages mutual understanding and empathic insight among artist, audience, and subject. As a result, laughter helps poets reframe and reject literary, political, and discursive hierarchies--whether to overturn those hierarchies, or to place themselves at the top. While theorists like Freud and Bergson argue that laughter patrols and maintains the boundary between in-group and out-group, this volume shows how laughter helps us cross or re-draw those boundaries. Poets who practice such constructive humor promote a more democratic approach to laughter. Humor reveals their beliefs about their audiences and their attitudes toward the Romantic notion that poets are exceptional figures. When poets use humor to promote empathy, they suggest that poetry's ethical function is tied to its structure: empathy, humor, and poetry identify shared patterns among apparently disparate objects. This book explores a broad range of serious approaches to laughter: the inclusive, community-building humor of W. H. Auden and Marianne Moore; the self-aggrandizing humor of Ezra Pound; the self-critical humor of T. S. Eliot; Sterling Brown's antihierarchical comedy; Elizabeth Bishop's attempts to balance mockery with sympathy; and the comic epistemologies of Lucille Clifton, Stephanie Burt, Cathy Park Hong, and other contemporary poets. It charts a developing poetics of laughter in the twentieth and twenty-first centuries, showing how humor can be deployed to embrace, to exclude, and to transform.

How do modern writers write colour? How do today's readers respond to the invitation to 'think colour' as they read poetry and art writing, and explore paintings? To what extent can critical thought on colour in visual media illuminate the textual life of colour? These are some of the lines of enquiry pursued in this bold new study of modern poetry and art writing in French, where colour, Susan Harrow argues, is integral to the exploration of ethics, ekphrasis, objects, bodies, landscape and interiority. The question of colour, in a variety of disciplines and media, has provoked debate from Aristotle to Goethe, and from Baudelaire to Derek Jarman. If the past twenty years have witnessed a 'colour turn' in contemporary cultural studies and screen research, colour values in literary and textual media are often elided or, simply, overlooked. Colourworks tackles this lacuna in the study of modern poetry and art writing in French, revealing the integral role of colour in the work of three iconic French writers in the modern tradition: Stéphane Mallarmé, Paul Valéry and Yves Bonnefoy. This book spans the broad modern period from the 1860s to the early twenty-first century in taking an exploratory approach to the visuality of the verbal medium through an adventurous reading of text and image. Harrow uncovers how colour moves and morphs in texts as it challenges the traditionalist containments of chromatic symbolism. Beyond its primary area of investigation in modern poetry and art writing in French, this richly colour-illustrated study has significant interdisciplinary implications-conceptual, methodological, and practical-for the study of visuality in humanities research, from literature studies to material and visual culture studies.

Bringing together scholars from literature and the history of ideas, Passions and Subjectivity in Early Modern Culture explores new ways of negotiating the boundaries between cognitive and bodily models of emotion, and between different versions of the will as active or passive. In the process, it juxtaposes the historical formation of such ideas with contemporary philosophical debates. It frames a dialogue between rhetoric and medicine, politics and religion, in order to examine the relationship between mind and body and between experience and the senses. Some chapters discuss literature, in studies of Shakespeare, Donne, and Milton; other essays concentrate on philosophical arguments, both Aristotelian and Galenic models from antiquity, and new mechanistic formations in Descartes, Hobbes and Spinoza. A powerful sense of paradox emerges in treatments of the passions in the early modern period, also reflected in new literary and philosophical forms in which inwardness was displayed, analysed and studied”the autobiography, the essay, the soliloquy”genres which rewrite the formation of subjectivity. At the same time, the frame of reference moves outwards, from the world of interior states to encounter the passions on a public stage, thus reconnecting literary study with the history of political thought. In between the abstract theory of political ideas and the inward selves of literary history, lies a field of intersections waiting to be explored. The passions, like human nature itself, are infinitely variable, and provoke both literary experimentation and philosophical imagination. Passions and Subjectivity in Early Modern Culture thus makes new connections between embodiment, selfhood and the emotions in order to suggest both new models of the self and new models for interdisciplinary history.

"Why did you do all this for me?" Wilbur asked. "I don't deserve it. I've never done anything for you.""You have been my friend," replied Charlotte. "That in itself is a tremendous thing."—from Charlotte's Web by E. B. WhiteFriendship encompasses a wide range of social bonds, from playground companionship and wartime camaraderie to modern marriages and Facebook links. For many, friendship is more meaningful than familial ties. And yet it is our least codified relationship, with no legal standing or bureaucratic definition. In A Tremendous Thing, Gregory Jusdanis explores the complex, sometimes contradictory nature of friendship, reclaiming its importance in both society and the humanities today. Ranging widely in his discussion, he looks at the art of friendship and friendship in art, finding a compelling link between our need for friends and our engagement with fiction. Both, he contends, necessitate the possibility of entering invented worlds, of reading the minds of others, and of learning to live with people.Investigating the ethics, aesthetics, and politics of friendship, Jusdanis draws from the earliest writings to the present, from the Epic of Gilgamesh and the Iliad to Charlotte's Web and "Brokeback Mountain," as well as from philosophy, sociology, evolutionary biology, psychology, and political theory. He asks: What makes friends stay together? Why do we associate friendship with mourning? Does friendship contribute to the formation of political communities? Can friends desire each other? The history of friendship demonstrates that human beings are a mutually supportive species with an innate aptitude to envision and create ties with others. At a time when we are confronted by war, economic inequality, and climate change, Jusdanis suggests that we reclaim friendship to harness our capacity for cooperation and empathy.