The CallNo words, no words ...Poetry!They should have sent a poet.So beautiful... so beautiful.I had no idea ... no idea. (Zemeckis & Starkey, 1997)In the 1997 film adaption of Carl Sagan's (1985) novel, Contact, an astronomer on a scientific mission drifts wide-eyed with awe in the centre of the wondrous Milky Way, calling for a poet to express the glittering grandeur that surrounds her. This reminds the authors of experiences that we had as aspirant scientists, separated by decades and continents: Claire in South Africa in the 1980s, and Miles in New Zealand in the 1960s.Miles remembers, as a faculty member on an ornithological field trip, being with tertiary students in the Kauaeranga Valley, near Thames, in New Zealand's North Island. Early sunlight streamed through his tent's green canvas onto his sleeping bag as he listened to the dawn chorus of bellbirds and tui in the ancient podocarp forest across the river. To his ear, the music was swelling into a mighty penultimate chord. But the seemingly irresistible resolution never happened. Rather, the music flowed without pause into some other anarchical, avian direction that defied his imagination.Similarly, Claire recalls, as a university student, standing knee deep in a rock pool on the South African Cape coast assisting her phycology professor record seaweed samples beneath a black velvet sky draped in brilliant splendour. An apprentice scientist, she too searched for a means to describe what she saw, to bear faithful witness for others not there. Scratching stick figure digits in columns on her clipboard in the darkness, she flipped the page to scribble words she could not see, trying to describe the stars afloat in crystal water, swirling with the tide to the delicate caress of seaweed tendrils as they released their reproductive structures, slippery, yet encrusted with diamonds. Her scientific report would not nearly capture the reality of this lunar-cyclic phenomenon. Or could it?In this paper, we propose that the writing of poetry and of science reports can sometimes be profitably addressed together in school classrooms. Why do we suggest this? Surely, science is about faithfulness to evidence, laudable scepticism, and sober caution; by contrast, poetry embraces flights of fancy, the unrestrained juggling of language, and the proposing and exploring of delicious ambiguities. So, shouldn't it follow that to blend the objective world of science knowledge and the subjective life of the poet-Ernest Rutherford's buzzing laboratory and Dylan Thomas's inimitable cadences-would only blur and confuse both in students' minds?Science and Poetry: Going DeeperThe tide of history, we argue, is on the side of seeking synergies between poetry and science writing. Two hundred years ago, it was generally fashionable to consider science and poetry as being poles apart. For example, in the 1790s Erasmus Darwin, Charles's grandfather and an early proponent of biological evolution, tried to distance himself from inevitable public odium by publishing his heretical ideas buried in footnotes to mock-heroic poetry (Stott, 2012). Indeed, in 1825 the German poet and critic Friedrich von Schlegel proclaimed frostily that "strictly understood, the concept of a scientific poem is quite as absurd as that of a poetical science" (Von Schlegal, quoted in Gaither & CavazosGaither, 2000, p. 274).By contrast, the Romantics in early 19th century Europe were seeing a new common ideal of intense, even reckless, personal commitment to discovery, which was drawing science and poetry together into "a single whole which might best be understood by attending to its middle term, imagination" (Midgley, 2001, p. 55). The Romantic imagination was being inspired, not alienated, by scientific advances. Richard Holmes (2011) noted that, in an age of hope and wonder, Shelley was writing speculative essays, mixing scientific ideas with psychology (p. …

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科学与诗歌作为学校学习的盟友

没话说，没话......诗歌！他们本该派诗人的，如此美丽...如此美丽，我不知道...不知道。（Zemeckis＆Starkey，1997）在1997年卡尔·萨根（Carl Sagan）的小说改编的电影《接触》（Contact）中，一位天文学家怀着敬畏的目光在奇妙的银河系中心漂流，呼吁诗人表达这种情感。她周围闪闪发光的宏伟。这让作者想起了我们作为志向远大的科学家的经历，这些经历被几十年和大洲所分开：1980年代的南非克莱尔（Claire）和1960年代的新西兰Miles.Miles记得，作为鸟类学实地考察的一名教师在新西兰北岛泰晤士河附近的Kauaeranga谷与大学生一起学习。早期的阳光从他的帐篷里流下来。在他的睡袋上放着一块绿色的帆布，听着河对岸古老的罗汉松林中的铃铛和推子的黎明合唱。在他的耳边，音乐渐渐变成强大的倒数第二和弦。但是看似不可抗拒的解决办法从未发生过。恰恰相反，克莱尔回忆说，作为一名大学生，克莱尔回想起大学生站在南非开普海岸沿岸的一个岩石池中，协助她的生理学教授在下面记录了海藻样本，这使音乐无休止地流向了他的想象力之外的其他无政府状态的鸟类方向。黑色天鹅绒的天空披上灿烂的光彩。作为一名学徒科学家，她也一直在寻找一种描述自己所见事物的方法，以为不在现场的其他人提供忠实的见证。在黑暗中，她在剪贴板上的各列中抓取简笔图数字，她翻动页面，写下看不见的文字，试图形容漂浮在水晶水中的星星，随着潮水旋流，海藻卷须释放出湿滑的但仍镶有钻石的生殖结构，细腻地抚摸着它们。她的科学报告几乎无法捕捉到这种月球周期现象的现实。也许可以吗？在本文中，我们建议有时可以在学校教室里同时讨论诗歌和科学报告的写作。为什么我们建议这样做？当然，科学是关于对证据的忠实，值得称赞的怀疑和清醒的谨慎。相比之下，诗歌包含着幻想的飞行，语言的无拘无束的杂耍以及对美味歧义的提出和探索。所以，不应该 随之而来的是融合科学知识的客观世界和诗人的主观生活-欧内斯特·卢瑟福的嗡嗡声实验室和迪伦·托马斯的独特节奏-在学生的脑海中只会模糊和迷惑吗？科学与诗歌：走得更深历史的潮流我们认为，这是在寻求诗歌与科学写作之间的协同作用。200年前，将科学和诗歌视为两极分化通常是时尚的。例如，在1790年代，查尔斯的祖父，生物进化的早期拥护者伊拉斯姆斯·达尔文（Erasmus Darwin）试图通过将埋葬在脚注中的异端思想发布给模拟英雄主义诗歌，来使自己与不可避免的公共领域隔离开来（Stott，2012）。的确，在1825年，德国诗人和评论家弗里德里希·冯·施莱格尔（Friedrich von Schlegel）严厉地宣称：引用于Gaither＆CavazosGaither，2000年，第243页。274）。相反，在19世纪初期，欧洲浪漫主义者看到了一种新的共同理想，即强烈，甚至鲁ck的，对发现的个人承诺，它将科学和诗歌融合为“一个完整的整体，可以通过以下方式来最好地理解：它的中间术语，想象力”（Midgley，2001年，第55页）。浪漫主义的想象力受到科学进步的启发，而不是疏远。理查德·霍姆斯（Richard Holmes，2011年）指出，在一个充满希望和惊奇的时代，雪莱（Shelley）撰写投机论文，将科学思想与心理学相融合（p。… 引用于Gaither＆CavazosGaither，2000年，第243页。274）。相反，在19世纪初期，欧洲浪漫主义者看到了一种新的，共同的理想，即对发现的强烈甚至鲁discovery的个人承诺，这将科学和诗歌融合为“一个整体，可以通过以下方式来最好地理解：它的中间术语，想象力”（Midgley，2001年，第55页）。浪漫主义的想象力受到科学进步的启发，而不是疏远。理查德·霍姆斯（Richard Holmes，2011年）指出，在一个充满希望和惊奇的时代，雪莱（Shelley）撰写投机论文，将科学思想与心理学相融合（p。…