Oral Interpretation |
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Page 59
... final stanza contributes also to the unexpectedness and shock of the final statement . The rhythm of emotion is somewhat more difficult to chart . There are minute and subtle builds and drops within the separate stanzas , and in every ...
... final stanza contributes also to the unexpectedness and shock of the final statement . The rhythm of emotion is somewhat more difficult to chart . There are minute and subtle builds and drops within the separate stanzas , and in every ...
Page 456
... final performance is a combination of the two approaches , with the reader's sub- jective response and appreciation guided and controlled by his objective analysis . And always , the poet's intent must be the final and irrefutable guide ...
... final performance is a combination of the two approaches , with the reader's sub- jective response and appreciation guided and controlled by his objective analysis . And always , the poet's intent must be the final and irrefutable guide ...
Page 499
... final rhyme returns again to the long “ e ” of the second rhyme . This time it is followed by one of the softest possible consonants , the voiceless plosive " p , ” instead of by " r " as before . It will be remembered that the line ...
... final rhyme returns again to the long “ e ” of the second rhyme . This time it is followed by one of the softest possible consonants , the voiceless plosive " p , ” instead of by " r " as before . It will be remembered that the line ...
Contents
What Is Oral Interpretation? ය | 3 |
Selection and Evaluation of Material | 13 |
Analysis Preparation and Presentation of Material | 51 |
Copyright | |
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Common terms and phrases
achieve action analysis appeal aspects attention attitude audience aware BRACK breath BRINK Carl Sandburg character climax complete Copyright CREON Culverin drama emotional example excerpt eyes factors feeling free verse give GRAMPS hand HEDDA Hedda Gabler imagery important inter interpreter's Lady Lin Yutang line-length listeners literary logical looked lyric MARY CLEOPHAS material meaning mental mind MISS TESMAN muscles narration narrative night oral interpretation paragraph pattern pause permission person physical pitch play poem poet poetry preter problem prose reader relaxation remember response rhyme rhythm Richard Cory Robert Frost scene selection sense sentence sound speech phrases stage directions stanza Stephen Vincent Benét stress structure suggestion syllable T. S. Eliot technique tension thee thing thou thought Tibault tion Tommy Tommy Brooks tone Toombs County verse VINNIE vocal voice vowel Walter Mitty words writing