Emotional Intelligence And Poetry In Education

Emotional Intelligence and Poetry in Education

Introduction

In the early nineties, Salovey and Mayer established the concept of emotional intelligence defined as "the ability to handle feelings and emotions, discriminate between them and use this knowledge to direct their own thoughts and actions" (Campillo Ranea). Five years later, Daniel Goleman wrote a book entitled Emotional Intelligence (1995) in which he explained that, for him, emotional intelligence is “the ability to recognize their own and others’ feelings, to be able to automotivate itself to positively improve internal emotions andRelationships with others ». 

Developing

Studies about the issue of emotions are recent, however, from the 1990s, emotional intelligence begins to relate to the rest of the skills, which implies that it becomes part of education in schools. However, "among contemporary educators some support the emotional curriculum and others criticize that we are moving away from studies focused on knowledge about subjects" but what is literature if not emotions? «The affective wraps everything, like an atmosphere;A characteristic of literary intuition that deeply separates it from the kinetific intuition.

It is its affectivity, being as dyed, impregnated with affectivity ”(Heffernan). Goleman reveals five pillars on which this emotional intelligence is based: understand the emotions and management of them, know how to motivate himself, identify the emotions of others and create relationships with others.

These pillars can work with the lyrical genre, because the shock and emotions are key elements that meet the expectations of emotional competition. Through proposals that include emotional development in their activities, some of the realities that adolescents live such as jealousy, violence, anxiety or stress could be reduced. 

Therefore, «communication is essential for the treatment of emotional life. To generate good communication with the students, a link with each of the students must be created, and for this it is necessary that there be a cordial environment and without anxiety ». In line with this, it should be remembered in the words of Campillo that: the teacher must attend to a double facet because he is in the situation of socio-emotional leader in the classroom: on the one hand, she must train students in socio-competencies- Emotional and on the other hand, he/she must self-form: to fully fulfill his mission;to feel better and to educate his students;so that these feel better. 

Only an emotionally competent teacher can help develop in their students the necessary socio-emotional competences for an effective and full coexistence work climate to generate. To carry out the fusion between the lyric genre and the sensitivity of students, we must highlight the importance of this emotional education through the teacher figure. As Campillo says, what we remember most of those teachers who have marked us is the socio-emotional role they have had in class (closeness, trust, involvement to motivate students), indicating the impact that these aspects can haveFor teenagers. 

Thus, "the emotionally competent teacher and convinced of the importance of emotional education can open a horizon of solutions and be resistant to possible adversities". The didactics of literature has become aware of the subject and, currently, numerous studies are being prepared according to the relevance of the affective approach in students’ life. Thus, articles such as Víctor Cantero García appropriately address this issue using attractive pedagogical methodologies that all teachers should raise in their classes. Cantero, proposes an approach to poetry away from the utilitarian vision seen in high school centers.

Emphasizing the feeling and affection of the poem. In this way, students are able to experience the enjoyment of the lyrical genre and, in turn, the satisfaction caused by the understanding of poetic texts by reflective reading of them. In addition, as Bisquerra affirms, it is essential to work emotional competition since it is essential for life to make feasible coexistence and personal and social comfort, so they should be present in educational practice systematically. In addition, according to Leibrandt. The reading of poems is "another means of socialization and a possibility of acquiring or improving in social and emotional competence".

To change the traditional pedagogical approach "in the classroom we have to find the adolescent as best ally, whose sensitivity, imagination and capacity to capture aesthetic resources must be continuously cultivated in the classroom". Paraphrasing Cantero, the alumando will get involved in the poetic text when they begin to feel identified with the emotions that include the verses analyzed in the classroom, managing to reaffirm what was said by G. Jean that "knowledge and intimate practice of poetry constitute one of the most privileged ways for men: save themselves from conformism and generalized massification and robotization".

Intertwining the adolescent’s feeling with the poet’s word. In addition, the poetic exercise «affects our ability to relationship with others, with the world and with ourselves;In addition to stimulating our imagination and our language ability "" the poem is a consequence of the feeling of man. Approaching poetry is entering the heart of the human being, knowing his sensitivity. The relationship with poetry also allows our own emotional beats to enhance, even creatively, in the heat of it ”. Similarly, the romantic poet.

William Wordsworth defines poetry as "spontaneous revosar of powerful emotions that has its origin in the emotion collected in tranquility," indicating that poetry is a powerful tool with which emotional education can be worked on, because what is thepoetry if not a cluster of emotions?. However, emotional learning has been less considered that cognitive learning despite the fact that as Bisquerra points out, the emotional plane of literary learning benefits the cognitive structure due to the impact of emotions in educational development.

Poetic sensitivity must always be the starting point when reflecting on literary creation. When it comes to pedagogical considerations or to project didactic treatments, it is, more importantly, its assessment, because, on the one hand, it is fundamental in every artistic process, on the other, they stimulate us by increasing our interest in thetext. Therefore, despite the fact that many studies about the subject reveal that an emotional approach can be away from the subject imparted, the emotional dimension benefits the cognitive learning. The absence of emotional education causes an opposite effect to the desired.

Achieving the indifference of poetic works and texts since «the emotional dimension of learning does not only have an instrumental function, but must be in itself object of educational attention. Education must promote the integral development of individuals ». However, the effort of the teaching staff in the cognitive dimension has to do with evaluative practice, as Krathwohl, Bloom and Masia argue and exposes Sanjuán «teaching and evaluating cognitive objectives is easier than evaluating interests, attitudes or personal characteristicsfrom the student". As teachers, you have to reflect on this matter trying to change the cognitive approach.

And utilitarian making use of the lyrical genre as an emotional tool considering that: poetry must occupy a prominent place in the formation of young people. The appreciation of beauty, the assessment of feelings and the need for creative projection are increasingly urgent in our society. From this perspective, we propose the unavoidable task of offering a methodology of poetry that can truly respond to the pressing desire to present this literary genre in the classroom. The didactics of the language and literature is currently promoting the link between literature and affective education. 

For example, Isabella Leibrandt in promoting emotional competition through LIJ uses the narrative genre, more specifically, children’s and youth literature so that students acquire emotional competition. To do this, the reality of the characters is connected with the identification of facts known by the small readers. In this way, students reflect on the text and in turn, get personal growth. By emotionally relating to literary figures during reading, he will share his fears, his search or the roads that travel and develop one of the main emotions. 

We want to make a special reference: the empathy or sensitivity of the human being and the compassion capacity. Without a doubt, living and feeling with others during reading will take it, at the same time, to know each other better as a person and to get to know their collective and culture. This example shows us that in recent years a new vision is being offered within the didactics of the language and literature, in which the need for affective values in high school centers begins but, does the same happen withThe lyrical genre? Maybe «If we regulate the teaching march and choose the appropriate itineraries.

conclusion

The interest in poetry can not only be maintained but increased with results that will surprise the teachers themselves ». Therefore, the assessment of emotional competition in the field of poetry must be taken into account because it "is essentially feeding on the feelings that sprout in man from their emotional movements, of their peculiar contemplationof people and objects or experiences linked to suggestive events ». In this way, an approach with the poetic text is achieved, placing the sensitivity of the adolescent reader as a basis to find out the feeling of the poet so that the alamand can experience and share it since sensitivity is the propeller of poetry.