How to write a cento poem
And so, a quilted, tailored poem and its remnants are as speech is to language. A derivative can be a good thing if it is, among other things, transformed by its new use new speech acts ; placed not merely in a new context landscape but in a new dynamic network ecosystem.
The cento reader is as violent or healing as any cento writer. Students could also create centos out of student-produced poetry, or out of non- literary texts. Cento makes us wonder who we really are.
The logic of our experience is not one of friends, but of lovers.
A good cento should be meaningful and moving to a reader without awareness of the specific source of the sourced material. Stitching techniques, although various, have in common the task of accommodating patches to each other. How can something come from nothing! I drank alone. The Journal of Literature in Language Teaching, 1 1 , Semantic stitching, on the other hand, consists of choosing lexical variants: substituting one noun, verb, or adjective, for another, or supplying variations in conjunctions and particles or particle chains. The purpose of this erasure can be to celebrate, concentrate, subvert or efface the source. Light can be straight- need by its shadow. After he leaves my father is in the kitchen. Welford, Theresa Malphrus.
Neither individuals nor relationships are more fundamental than the other. This exercise would also give them some practice in scanning texts for general meaning. Literary texts provide meaningful contexts, involve a profound range of vocabulary, encourage cultural awareness and critical thinking, and serve as a stimulus for composition.
The first moment is the smooth intake of words and phrases as a whole poem, and our following of this flowing-guide to meaning-making supplied by the poet. Our membranes full of pores pass signals and fuel in degrees sufficient enough but only barely enough to mediate an inside and an outside of the self.
The resultant cento poems often showed a narrative progression and thematic unity, such as the following: I chain-smoked.
The grammatical form is the more common: changing the number, case or gender of nouns and pronouns, changing the person, tense and mood of verbs, substituting logical particles appropriate to the new context. You may not hear outloud the rhyme of tradition in the talent; but you will become its music while the music lasts. We will begin to flourish when we learn to live in the borderlands with fuzzy edges, learn to live in ambiguity. Tube and rings are inseparable in a pipe. There was no one with me. We must eat to live. The beach is nearly deserted. The way we use words changes them. Trust your own capacity to read. An authentic, unoriginal, fresh voice can emerge from the many voices of which it is composed — ones that grow inside yours. Although these students were studying English to fulfil a requirement for graduation, not because they had a particular interest in English literature or the language itself, they applied themselves in a serious manner, carefully searching for the perfect lines, and came up with thoughtful, evocative poems during a single minute class period. It is the integrity of an attempt to integrate the identities and styles, the thoughts and feelings, ideals and values of the others inside us in an authentic not in an original way. Step three: after writing down the lines, play with their order.
The point of the grammatical stitching is to create logical coherence. The stitching also binds lines together, not just phrases. The centonic process depends on the luck of temperature, wisdom in selecting grapes, cleverness in managing the fermentation process.
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