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Poetry and Narrative in Performance by Douglas Oliver Pdf
This text uses machine data of poetry readings to discover features of rhythm and intonation and to clear away methodological problems that hamper the teaching of poetic melody. The discussion is linked to the theory of literary form, throwing light on the role of emotion in poetry and fiction.
Promoting Qualitative Research Methods for Critical Reflection and Change by Wang, Viktor Pdf
The philosophical foundation of emancipatory knowledge lies in critical theory. In this paradigm, instrumental and communicative knowledge are not rejected but are limited. If we do not question current scientific and social theories and accepted truths, we may never realize how we are constrained by their inevitable distortions and errors. Without the possibility of critical questioning of ourselves and our beliefs, such constraining knowledge can be accepted by entire cultures. The research paradigm that is relevant for constructing this kind of knowledge is the critical paradigm. Data are always qualitative and have specific methods of research. Quantitative research unquestionably has a place and is fundamental to scientific advances, but qualitative research delves into what it is to be human. Through qualitative research, we gain insight into communicative knowledge, its rich nature, and the mechanisms by which communicative knowledge is formed and interpreted. Qualitative research enables the necessary exploration and critical analysis of social systems and uncovers and facilitates critical reflections on the inevitable assumptions, which shape social behavior and interaction, thereby stimulating and empowering change. Promoting Qualitative Research Methods for Critical Reflection and Change provides readers with a comprehensive array of qualitative research methods, which can be implemented in a variety of contexts for a variety of purposes. The chapters explore the impact, uses, and methodologies for qualitative research across various fields of research. This book is ideal for practitioners, researchers, academicians, and students interested in the use of qualitative research methods.
Poetry and Performance During the British Poetry Revival 1960–1980 by Juha Virtanen Pdf
This book examines intersections of poetry and performance during the British Poetry Revival. Its investigations are centered on four specific performance events: The First International Poetry Incarnation at the Royal Albert Hall in 1965; Denise Riley’s first public reading at the Cambridge Poetry Festival in 1977; Eric Mottram’s Pollock Record; and Allen Fisher’s Blood Bone Brain. Drawing upon a range of archival resources, recordings, and interviews, Juha Virtanen offers engaging and detailed “archaeological” accounts and analyses of these largely unexamined events as well as the potential dialogues between them. The appendices of the book also feature previously unpublished interviews with both Fisher and Riley. This book is essential reading for poetry and performance enthusiasts, particularly those interested in innovative British Poetry.
As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fundamental aspect of thirteenth- and fourteenth-century poetics. In this generously illustrated volume, Huot examines manuscript texts both from the performance-oriented lyric tradition of chanson courtoise, or courtly love lyric, and from the self-consciously literary tradition of Old French narrative poetry. She demonstrates that the evolution of the lyrical romance and dit, narrative poems which incorporate thematic and rhetorical elements of the lyric, was responsible for a progressive redefinition of lyric poetry as a written medium and the emergence of an explicitly written literary tradition uniting lyric and narrative poetics. Huot first investigates the nature of the vernacular book in the thirteenth and fourteenth centuries, analyzing organization, page layout, rubrication, and illumination in a series of manuscripts. She then describes the relationship between poetics and manuscript format in specific texts, including works by widely read medieval authors such as Guillaume de Lorris, Jean de Meun, and Guillaume de Machaut, as well as by lesser-known writers including Nicole de Margival and Watriquet de Couvin. Huot focuses on the writers' characteristic modifications of lyric poetics; their use of writing and performance as theme; their treatment of the poet as singer or writer; and of the lady as implied reader or listener; and the ways in which these features of the text were elaborated by scribes and illuminators. Her readings reveal how medieval poets and book-makers conceived their common project, and how they distinguished their respective roles.
Poetry, by definition, is voice, which here includes the worlds of both sound silence in which the poem exists. Voice in poetry represents the way in which individuals articulate themselves as subjects. English Narrative Poetry: A Babel of Voices explores how poets in different periods of English literature have manipulated voice in their verse narratives. This book, devoted to voice, explores narrative poems ranging from the Renaissance to the contemporary. Starting from Shakespeare, it journeys through Pope, Wordsworth, Keats, Rossetti, Browning, H. D., Ted Hughes, Jackie Kay, and Bernardine Evaristo in the light of narrative theory. The multiplicity of voice attests to the fact that narrative poetry can present itself as a ‘representation’ of real life by ‘mimicking’ the voices of women and men, creating what, taken together, comprises a babel of voices.
Narrative Setting and Dramatic Poetry by M. Kuntz Pdf
This volume evaluates a single element of tragic art, namely the way in which narrative descriptions of place participate in the poetry of tragedy. They join together structures of the theater to create a context for tragic performance, and ultimately reflect upon tragedy's connection to earlier narrative forms and to the traditional tales that regularly supply tragic plots. The first part of this book examines the introductory function of spatial descriptions and the peculiar resources offered to the playwright by cult settings. In the second part, the spatial oppositions, that are inherent structuring devices in traditional tales, are taken up in chapters treating the motif of exile in extant tragedy.
When I was a boy, I had a favourite treat. It was when my mum made . . . CHOCOLATE CAKE! Ohhh! I LOVED chocolate cake. Fantastically funny and full of silly noises, this is Michael Rosen's love letter to every child's favourite treat, chocolate cake. Brought to life as a picture book for the first time with brilliant and characterful illustrations by Kevin Waldron.
Performance and Gender in Ancient Greece by Eva Stehle Pdf
"Like love, Greek poetry was not for hereafter," writes Eva Stehle, "but shared in the present mirth and laughter of festival, ceremony, and party." Describing how men and women, young and adult, sang or recited in public settings, Stehle treats poetry as an occasion for the performer's self-presentation. She discusses a wide range of pre-Hellenistic poetry, including Sappho's, compares how men and women speak about themselves, and constructs an innovative approach to performance that illuminates gender ideology. After considering the audience and the function of different modes of performance--community, bardic, and closed groups--Stehle explores this poetry as gendered speech, which interacts with performers' bodily presence to create social identities for the speakers. Texts for female choral performers reveal how women in public spoke in order to disavow the power of their speech and their sexual power. Male performers, however, could manipulate gender as an ideological system: they sometimes claimed female identity in addition to male, associated themselves with triumph over a defeated (mythical) female figure, or asserted their disconnection from women, thereby creating idealized social identities for themselves. A final chapter concentrates on the written poetry of Sappho, which borrows the communicative strategy of writing in order to create a fictional speaker distinct from the singer, a "Sappho" whom others could re-create in imagination. Originally published in 1997. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Fact and fiction meet at the boundaries, the betwixt and between where transformations occur. This is the area of ambiguity where fiction and fact become endowed with meaning, and this is the area—where ambiguity, irony, and metaphor join forces—that Harold Scheub exposes in all its nuanced and evocative complexity in The Poem in the Story. In a career devoted to exploring the art of the African storyteller, Scheub has conducted some of the most interesting and provocative investigations into nonverbal aspects of storytelling, the complex relationship between artist and audience, and, most dramatically, the role played by poetry in storytelling. This book is his most daring effort yet, an unconventional work that searches out what makes a story artistically engaging and emotionally evocative, the metaphorical center that Scheub calls "the poem in the story." Drawing on extensive fieldwork in southern Africa and decades of experience as a researcher and teacher, Scheub develops an original approach—a blend of field notes, diary entries, photographs, and texts of stories and poems—that guides readers into a new way of viewing, even experiencing, meaning in a story. Though this work is largely focused on African storytelling, its universal applications emerge when Scheub brings the work of storytellers as different as Shakespeare and Faulkner into the discussion.
"I feel that I have spent half my career with one or another Pelican Shakespeare in my back pocket. Convenience, however, is the least important aspect of the new Pelican Shakespeare series. Here is an elegant and clear text for either the study or the rehearsal room, notes where you need them and the distinguished scholarship of the general editors, Stephen Orgel and A. R. Braunmuller who understand that these are plays for performance as well as great texts for contemplation." (Patrick Stewart) The distinguished Pelican Shakespeare series, which has sold more than four million copies, is now completely revised and repackaged. Each volume features: * Authoritative, reliable texts * High quality introductions and notes * New, more readable trade trim size * An essay on the theatrical world of Shakespeare and essays on Shakespeare's life and the selection of texts
An engaging book spanning the fields of drama, literary criticism, genre, and performance studies, Drama: Between Poetry and Performance teaches students how to read drama by exploring the threshold between text and performance. Draws on examples from major playwrights including Shakespeare, Ibsen, Beckett, and Parks Explores the critical terms and controversies that animate the performance and study of drama, such as the status of language, the function of character and plot, and uses of writing Engages in a theoretical, disciplinary, and cultural repositioning of drama, by exploring and contesting its position at the threshold between text and performance