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Lend An Ear To Poetry, Charles Smith
Lend An Ear To Poetry, Charles Smith
Charles Kay Smith
It seems to me as I read much of contemporary poetry that there is in it less and less of any appeal to a sophisticated ear for the nuances of sound. To all intents and purposes the poet apparently assumes that his reader is tone deaf. In fact, to all intents and purposes the poet seems to be tone deaf too. The rhetorical effects involve only the sense of sight; they are imagery in the most restricted sense of the word. (Both in poetry and in life man, of course, has always neglected any development of or appeal to the …
Alfred Russel Wallace Notes 3: Two Early Publications, Charles H. Smith
Alfred Russel Wallace Notes 3: Two Early Publications, Charles H. Smith
Charles Kay Smith
No abstract provided.
In Memoriam, J.F.K., Charles Allen Smith
In Memoriam, J.F.K., Charles Allen Smith
Charles Kay Smith
Two thousand years ago a man who called himself Koheleth said in the book of Ecclesiastes: "To everything there is a season, and a time to every purpose under the heaven." What happened in Dallas this afternoon makes it impossible for us to go about our business in the ordinary way.
Developing Story-Telling Skills With Language-Experience Stories, Charles L. Smith
Developing Story-Telling Skills With Language-Experience Stories, Charles L. Smith
Charles Kay Smith
Although the use of the student's oral language in language-experience stories is comparatively easy and straightforward, to extend and increase the understanding in the use of language necessitates some type of construct for the teacher. The framework which follows is presented for use with language-experience stories, to foster the expressive language abilities of students. The examples are taken from actual experience stories dictated by children who have been motivated with pictures.
Some Critics And The Vulgar Error, Charles Allen Smith
Some Critics And The Vulgar Error, Charles Allen Smith
Charles Kay Smith
Everyone who has ever been enchanted by the writ ten word—and this surely includes everyone who has ever attempted to teach it—has given at least a passing thought to the question: Wherein lies the difference be tween the language of poetry and the language of prose?