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Oral Interpretation

by ;
Edition:
11th
ISBN13:

9780618308170

ISBN10:
0618308172
Format:
Paperback
Pub. Date:
6/14/2004
Publisher(s):
PEARSONAW
List Price: $78.76
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Summary

Based on the authors' philosophy that scholarship, technical know-how, sensitivity, and the desire to share are cornerstones of interpretation, this classic text continues to provide students who are new to performance study with a solid foundation in literary analysis and performance. The Eleventh Edition includes more than 100 classic and contemporary poems, short stories, and dramatic works to inspire students. Practical features include a discussion of performance ethics; suggestions for a student's first performance; special insights on maximizing the use of the voice and body; Analyzing the Performance sections; and Rehearsal Tips.

Table of Contents

To the Student xv
To the Instructor xvii
PART ONE Basic Principles
1(172)
A Beginning and an End
3(26)
Expect This!
3(1)
Interpretation Requires Communicating
4(2)
Interpretation Engages an Audience
6(2)
Ethical Responsibilities
7(1)
Technical Responsibilities
7(1)
Interpretation Involves a Literary Work in Its Intellectual and Emotional Entirety
8(2)
Analysis: Content
9(1)
Analysis: Structure
9(1)
Interpretation Celebrates a Literary Work in Its Aesthetic Entirety
10(1)
Important Early Questions: Why Perform? Is this Acting?
10(3)
Sources of Material
13(1)
Intertextuality
14(1)
Choosing Your Selection: Three Touchstones
15(5)
Universality
15(1)
Individuality
16(1)
Suggestion
16(1)
Applying the Touchstones
16(1)
The Sense of Death, Helen Hoyt
17(1)
I Felt a Funeral, Emily Dickinson
17(1)
Dulce, Deborah Sherman
18(2)
Preliminary Analysis: Hoyt's Poem
20(2)
Universality
20(1)
Individuality
21(1)
Suggestion
21(1)
Preliminary Analysis: Dickinson's Poem
22(1)
Preliminary Analysis: Sherman's Story
23(2)
Remember This!
25(1)
Bibliography
26(3)
Analyzing the Selection
29(56)
Expect This!
29(1)
Preparing the First Performance
30(1)
Major Structural Components
31(8)
Denotative and Connotative Meanings
31(1)
Persona
32(1)
Locus
33(2)
Placing Action Out Front
35(2)
Climax
37(1)
New Words
38(1)
Maury Yeston
Major Aesthetic Components
39(4)
Unity and Harmony
40(1)
Variety and Contrast
40(1)
Balance and Proportion
41(2)
Rhythm
43(1)
Using the Tools
43(12)
Sample Analysis of a Story
44(1)
The Story of an Hour
44(5)
Kate Chopin
Sample Analysis of a Poem
49(1)
I Felt a Funeral
49(6)
Emily Dickinson
Synthesis
55(4)
Rehearsing the Selection
56(1)
Excerpts and Introductions
57(2)
Analyzing the Rehearsal and the Performance
59(1)
Remember This!
60(1)
Selections for Analysis and Oral Interpretation
61(20)
When I Heard the Learn'd Astronomer
61(1)
Walt Whitman
Sonnet
62(1)
John Keats
The Starlight Night
62(1)
Gerard Manley Hopkins
Desert Places
63(1)
Robert Frost
from A Christmas Memory
64(1)
Truman Capote
Ringing the Bells
65(1)
Anne Sexton
Dreaming
66(2)
Amanda McBroom
Homework
68(6)
Peter Cameron
Upon Learning That a Junior High School Acquaintance Has Been Nominated for an Academy Award
74(1)
Joanne Gilbert
How to Watch Your Brother Die
75(3)
Michael Lassell
from Harry Potter and the Sorcerer's Stone
78(3)
J. K. Rowling
Bibliography
81(4)
Voice Development for Oral Interpretation
85(48)
Expect This!
85(2)
Relaxation Technique
87(1)
Breath Control
88(5)
The Physiology of Breathing
88(1)
Breathing Exercises
89(4)
Volume and Projection
93(3)
Control of Projection
93(1)
Focus of Projection
94(2)
Pitch and Quality
96(1)
The Wild Honeysuckle
96(1)
Philip Freneau
from I Hear America Singing
97(1)
Walt Whitman
Rate and Pause
97(2)
Intelligibility of Speech
99(1)
Dialect
100(2)
Remember This!
102(1)
Selections for Analysis and Oral Interpretation
102(28)
A Night at the Opera
103(1)
William Matthews
from A Very Rigid Search
104(2)
Jonathan Safran Foer
Confess, Early and Often
106(3)
Jane Smiley
Jabberwocky
109(1)
Lewis Carroll
from The Little Girls
110(4)
Elizabeth Bowen
Dover Beach
114(1)
Matthew Arnold
Back at the Ranch
115(3)
Jay Allison
Her Story
118(1)
Naomi Long Madgett
The Lesson
119(7)
Toni Cade Bambara
from The Night Chant
126(1)
Navajo Ceremonial Chant
Washington Matthews
from Blue Highways
126(3)
William Least Heat Moon
The Voice You Hear When You Read Silently
129(1)
Thomas Lux
Bibliography
130(3)
Use of the Body in Oral Interpretation
133(40)
Expect This!
133(1)
Technique
134(2)
Posture
136(1)
Kinesics
136(4)
Gesture
137(1)
Muscle Tone
138(1)
Performance Anxiety
139(1)
Sense Imagery
140(3)
Empathy
143(2)
Using Your Body in Rehearsal
145(2)
Eye Contact
147(1)
Analyzing the Rehearsal and the Performance
148(2)
Remember This!
150(1)
Selections for Analysis and Oral Interpretation
151(20)
The Second Coming
151(1)
William Butler Yeats
Flying Finish
152(2)
Bill Hayes
Ulysses
154(2)
Alfred, Lord Tennyson
Autumn Begins in Martins Ferry, Ohio
156(1)
James Wright
from Friday Night Lights
157(2)
H. G. Bissinger
The .38
159(1)
Ted Joans
Still Life
160(1)
Diane Ackerman
Girl
161(1)
Jamaica Kincaid
Affirmative Action
162(1)
Lucille Clifton
The Race
163(2)
Sharon Olds
The Negro Speaks of Rivers
165(1)
Langston Hughes
Old Lady's Winter Words
166(2)
Theodore Roethke
from Jarheads
168(2)
Anthony Swofford
from As You Like It
170(1)
William Shakespeare
Admission of Failure
171(1)
Phyllis Koestenbaum
Bibliography
171(2)
PART TWO Interpretation of Prose
173(114)
Style and Types in Fiction and Nonfiction
175(56)
Expect This!
175(2)
Style
177(12)
Paragraphs
178(1)
Sentences
179(3)
Speech Phrases
182(1)
Balancing Sentences
183(2)
Diction: The Choice of Words
185(1)
Tone Color: The Sounds of Words
186(1)
Rhythm in Prose
187(1)
Description
187(2)
Types of Prose
189(9)
Factual Prose
189(1)
Personal Essays
190(1)
Journals, Diaries, and Letters
191(2)
Oral Histories
193(1)
Family Storytelling: The Tales of Everyday Life
194(1)
Folktales
195(2)
Short Stories and Novels
197(1)
Remember This!
198(1)
Selections for Analysis and Oral Interpretation
198(29)
from June Recital
198(2)
Eudora Welty
from The Joy Luck Club
200(3)
Amy Tan
from The Revolution Remembered
203(2)
John C. Dann
from Everything We Had
205(2)
Al Santoli
from The Seacoast of Despair
207(4)
Joan Didion
from I Know Why the Caged Bird Sings
211(2)
Maya Angelou
from Women's Diaries of the Westward Journey
213(4)
Lillian Schlissel
The Makeup Artist
217(2)
Dana Tierney
To Austin Dickinson
219(2)
Emily Dickinson
from Working
221(3)
Studs Terkel
Keep Out! (A Boy's Bedroom)
224(3)
Lynda Barry
Bibliography
227(4)
Narration
231(56)
Expect This!
231(2)
Who Is Telling the Story? Point of View
233(8)
First-Person Narrators
234(2)
Second-Person Narrators
236(2)
Third-Person Narrators
238(3)
What Is Going on Here? Action and Plot
241(1)
What Sort of People Live in This Story? Character
242(1)
What Are They Saying to Each Other? Dialogue
243(2)
Creating Character
245(2)
Where Is All This Taking Place? Setting
247(1)
Cutting and Excerpting
248(2)
Analyzing the Rehearsal and the Performance
250(3)
Remember This!
253(1)
Selections for Analysis and Oral Interpretation
253(32)
The Prison
254(5)
Bernard Malamud
A & P
259(6)
John Updike
Snow
265(2)
Ann Beattie
from Sula
267(2)
Toni Morrison
from The Lost Language of Cranes
269(3)
David Leavitt
Popular Mechanics
272(1)
Raymond Carver
Jacob's Chicken
273(2)
Milos Macourek
The Key to My Father
275(5)
Harlan Coben
from The Conversion of the Jews
280(5)
Philip Roth
Bibliography
285(2)
PART THREE Interpretation of Drama
287(92)
Solo Performance of Drama
289(46)
Expect This!
289(1)
The Nature of Drama
290(1)
Why Perform Drama?
291(1)
What Is the Difference Between Acting and Interpretation?
292(2)
Structural Elements of a Play
294(1)
Analyzing a Scene
295(4)
Working a Scene
299(7)
Rhythm
306(1)
Style
307(1)
Scenography
308(1)
Putting It Together
309(1)
Remember This!
310(1)
Selections for Analysis and Oral Interpretation
311(20)
from Fifth of July
311(2)
Lanford Wilson
from Fires in the Mirror
313(7)
Anna Deavere Smith
from Othello
320(3)
William Shakespeare
from She Stoops to Conquer
323(4)
Oliver Goldsmith
from Flyin' West
327(4)
Pearl Cleage
Bibliography
331(4)
Technique in Drama
335(44)
Expect This!
335(2)
Technique in Interpretation
337(4)
Control
338(1)
Memorizing Lines
339(1)
Setting the Scene
340(1)
Properties
341(2)
Embodying Characters
343(1)
Coordinating Bodies and Voices of Characters
344(3)
Gender Roles
344(1)
Clothes and Voice
345(1)
Special Situations
346(1)
Physical Contact
347(1)
Interplay of Characters
348(2)
Picking Up Cues
349(1)
Physical Focus
350(5)
Methods of Focus
351(1)
Angle of Placement
352(3)
The Reading Stand
355(1)
Cutting and Excerpting
356(1)
Analyzing the Rehearsal and the Performance
357(2)
Remember This!
359(1)
Selections for Analysis and Oral Interpretation
360(18)
from Sunday in the Park with George
360(2)
Stephen Sondheim
from Curse of the Starving Class
362(3)
Sam Shepard
from Romeo and Juliet
365(2)
William Shakespeare
from Betrayal, Scene Five
367(6)
Harold Pinter
from Death and the King's Horseman
373(5)
Wole Soyinka
Bibliography
378(1)
PART FOUR Interpretation of Poetry
379(90)
Language of Poetry
381(42)
Expect This!
381(2)
Poetic Content
383(2)
Classification of Poetry
385(7)
Narrative Poetry
385(2)
Lyric Poetry
387(2)
Dramatic Poetry
389(2)
Music and Dramatic Poetry
391(1)
Figurative Language
392(6)
Allusions
393(1)
Figures of Speech
394(2)
Sensory Appeals
396(1)
To Autumn
396(2)
John Keats
Poetic Syntax
398(2)
Tone Color
400(2)
Titles
402(1)
Analysis and Poems
403(1)
Remember This!
404(1)
Selections for Analysis and Oral Interpretation
404(16)
Power
404(2)
Corrine Hales
The Windhover
406(1)
Gerard Manley Hopkins
The Toast
407(1)
Susan Minot
Wild Grapes
407(3)
Robert Frost
Spring is like a perhaps hand, e.e. cummings
410(1)
The House Was Quiet and the World Was Calm
411(1)
Wallace Stevens
Nikki-Rosa
411(2)
Nikki Giovanni
Saving Memory
413(1)
Mary Stewart Hammond
Mid-Term Break
414(1)
Seamus Heaney
On Sleeping Together
415(1)
Barbara Howes
Talking in Bed
416(1)
Philip Larkin
The Hospital Window
416(2)
James Dickey
Most Like an Arch This Marriage
418(1)
John Ciardi
First Grade
418(1)
William Stafford
Preface to a Twenty Volume Suicide Note
419(1)
Imamu Amiri Baraka
Bibliography
420(3)
Structure of Poetry
423(46)
Expect This!
423(2)
Why Study Prosody?
425(1)
Kinds of Verse
426(3)
The Stanza
429(1)
The Line
430(7)
Foot Prosody
430(1)
Scanning the Poem
431(2)
Stress Prosody
433(1)
Syllabic Prosody
433(1)
Open the Gates
433(2)
Stanley Kunitz
Interpreter's Use of Line Lengths
435(2)
Cadences
437(3)
Rhyme
440(2)
Intention and Performance
442(1)
Analyzing the Rehearsal and the Performance
443(1)
Remember This!
444(1)
Selections for Analysis and Oral Interpretation
444(21)
One Art
445(1)
Elizabeth Bishop
The Waking
445(1)
Theodore Roethke
Do Not Go Gentle into That Good Night
446(1)
Dylan Thomas
Journey of the Magi
447(1)
T.S. Eliot
The Magi
448(1)
Louise Gluck
A Blessing
449(1)
James Wright
Heartbeats
450(1)
Melvin Dixon
Who Among You Knows the Essence of Garlic?
451(2)
Garrett Kaoru Hongo
My Last Duchess
453(2)
Robert Browning
The Kilgore Rangerette Whose Life Was Ruined
455(2)
Cynthia MacDonald
from Fatal Interview
457(1)
Edna St. Vincent Millay
Cinderella
457(3)
Anne Sexton
Cinderella's Story
460(3)
Mona van Duyn
Today Is a Day of Great Joy
463(1)
Victor Hernandez Cruz
from Horses Make a Landscape Look More Beautiful
464(1)
Alice Walker
Bibliography
465(4)
PART FIVE Group Performance
469(50)
Group Performance of Literature
471(48)
Expect This!
471(2)
Readers Theater
473(5)
Differences from Familiar Theatrical Conventions
474(2)
Technical Cautions
476(2)
Chamber Theater
478(7)
A Sample Chamber Theater Script
479(6)
Group Performance of Compiled Scripts
485(3)
Other Kinds of Literature
488(1)
Concrete Poetry
488(1)
Film Scripts
489(1)
Directing the Group Performance of Literature
489(3)
Some Concluding Cautions
492(1)
Analyzing the Rehearsal and the Performance
493(2)
Remember This!
495(1)
Selections for Analysis and Oral Interpretation
495(22)
from The Metamorphoses
496(4)
Ovid
from The Caucasian Chalk Circle, Section III
500(3)
Bertolt Brecht
40-Love
503(1)
Roger McGough
Forsythia
504(1)
Mary Ellen Solt
Apfel
505(1)
Reinhard Dohl
from Oedipus the King
506(4)
Sophocles
Unforgiven
510(3)
David Ray
After the Overdose
513(1)
Robin Robertson
from Sunday Bloody Sunday
514(3)
Penelope Gilliatt
Bibliography
517(2)
APPENDIX A Building and Presenting a Program
519(9)
Selecting Material
519(1)
Unifying the Program: A Traditional Method
520(1)
Using Multiple Readers, Different Types of Literature, and Multimedia
521(1)
Staging the New York Times
522(2)
Other Options
524(1)
Adapting to the Audience
525(1)
Timing
526(2)
APPENDIX B A Brief History of Theories of Interpretation
528(10)
Bibliography
536(2)
Acknowledgments 538(7)
Subject Index 545(5)
Author and Selection Index 550


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