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For the Muslim faithful, the familiar sound of the Qurʾanic recitation is the predominant and most immediate means of contact with the Word of God. Heard day and night, on the street, in taxis, in shops, in mosques, and in homes, the sound of recitation is far more than the pervasive background music of daily life in the Arab world. It is the core of religious devotion, the sanctioning spirit of much cultural and social life, and a valued art form in its own right. Participation in recitation, as reciter or listener, is itself an act of worship, for the sound is basic to a Muslim’s sense of religion and invokes a set of meanings transcending the particular occasion. For the most part, Westerners have approached the Qurʾan much as scriptural scholars have studied the Bible, as a collection of written texts. The Art of Reciting the Qurʾan aims at redirecting that focus toward a deeper understanding of the Qurʾan as a fundamentally oral phenomenon. By examining Muslim attitudes toward the Qurʾan, the institutions that regulate its recitation, and performer-audience expectations and interaction, Kristina Nelson, a trained Arabist and musicologist, casts new light on the significance of Qurʾanic recitation within the world of Islam. Her landmark work is of importance to all scholars and students of the modern Middle East, as well as ethnomusicologists, anthropologists, linguists, folklorists, and religious scholars.
Spoken word is one of the most popular styles of poetry in North America. While its prevalence is often attributed to the form's strong ties to oral culture, Recalling Recitation in the Americas reveals how poetry memorization and recitation curricula, shaped by British Imperial policy, influenced contemporary performance practices. During the early twentieth century, educators frequently used the recitation of canonical poems to instill "proper" speech and behaviour in classrooms in Canada, the Caribbean, and the United States. Janet Neigh critically analyses three celebrated performance poets - E. Pauline Johnson-Tekahionwake (1861-1913), Langston Hughes (1902-1967), and Louise Bennett (1919-2006) - who refashioned recitation to cultivate linguistic diversity and to resist its disciplinary force. Through an examination of the dialogues among their poetic projects, Neigh illuminates how their complicated legacies as national icons obscure their similar approaches to resisting Anglicization. Recalling Recitation in the Americas focuses on the unexplored relationship between education history and literary form and establishes the far-reaching effects of poetry memorization and recitation on the development of modern performance poetry in North America.