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"This is a splendid, rewarding book destined to reshape critical thinking about medieval poetry in English. Amodio combines groundbreaking theory with a deep, wide-ranging command of relevant scholarship to offer a uniquely inclusive perspective on an enormous and disparate collection of Old and Middle English poetry." --John Miles Foley, University of Missouri, Columbia "This is a well-conceived, well-structured, and well-written book that fills a significant gap in current scholarly discourse. Amodio is extremely well-informed about current oral theory, and presents a beautifully integrated thesis. This clear-sighted and provocative book both promises and delivers much." --Andy Orchard, University of Toronto Mark Amodio's book focuses on the influence of the oral tradition on written vernacular verse produced in England from the fifth to the fifteenth century. His primary aim is to explore how a living tradition articulated only through the public, performance voices of pre-literate singers came to find expression through the pens of private, literate authors. Amodio argues that the expressive economy of oral poetics survives in written texts because, throughout the Middle Ages, literacy and orality were interdependent, not competing, cultural forces. After delving into the background of the medieval oral-literate matrix, Writing the Oral Tradition develops a model of non-performative oral poetics that is a central, perhaps defining, component of Old English vernacular verse. Following the Norman Conquest, oral poetics lost its central position and became one of many ways to articulate poetry. Contrary to many scholars, Amodio argues that oral poetics did not disappear but survived well into the post-Conquest period. It influenced the composition of Middle English verse texts produced from the twelfth to the fourteenth century because it offered poets an affectively powerful and economical way to articulate traditional meanings. Indeed, fragments of oral poetics are discoverable in contemporary prose, poetics, and film as they continue to faithfully emit their traditional meanings.
Spoken words process knowledge differently from writing. What happens when speech turns into text? In reappraising literary scholars' propensity to trace Jesus' sayings back to the assumed original version, the author argues that in the oral medium each rendition of a saying is the original. Orality works with multiple originals, rather than with single originality. In what may be the most extraordinary thesis of the book, Kelber argues that the written gospel is related less by evolutionary progression than by contradiction to what preceded it.
Essays on the complex relationship between oral and literate modes of communication.
Creative Preaching and Oral Writing begins with a definition of preaching, then goes into a discussion of the creative importance of attitude toward the preaching task, toward the content, toward self and toward the listeners. Skillfully comparing the structure of the sermon to the structure of the bumble bee, Richard Hoefler says, A good speech is like a bumble bee. It possesses five basic parts, each one playing a vital formation in the total process of the flight of the bumble bee: a head, a body, a stinger, legs, and wings. They enable both the bumble bee and the speech to get off the ground and into their work. After thorough discussion of the structure of the sermon, the author goes into detailed explanation of the use of the oral style of writing sermons. The illustrations and examples will enable student or the seasoned pastor to dramatically improve his or her preaching effectiveness. Richard Carl Hoefler, Professor of Preaching and Worship and Dean of Chapel in the Lutheran Seminary, Columbia, South Carolina, is a graduate of Wittenberg University and the Hamma School of Theology, Springfield, Ohio. He received a Master's degree from Princeton University and a Doctor of Divinity degree from Roanoke College in Salem, Virginia. Previously Richard Carl Hoefler was pastor of St. John's Lutheran Church, Springfield, Ohio, as well as instructor in Wittenberg University and Sinclair College, Dayton, Ohio. Dr. Hoefler says that his greaest accomplishment comes when a student says to him "You opened up the meaning of the gospel for me. I had never heard it before."
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This book is for law students and practitioners who want to learn, or be reminded of, the fundamentals of legal writing and oral advocacy. Effective Lawyering concisely describes useful, yet often neglected, writing techniques. The book has pithy discussions of:(1) ways to avoid recurring, yet frequently overlooked, writing problems;(2) sensible approaches to writing common legal documents; and(3) methods for preparing an oral argument.In addition, it provides the reader with a series of checklists to turn to when undertaking a writing project or preparing for oral argument. The authors have designed the book for practicing attorneys as well as law students. The book is an ideal supplement for first-year and advanced legal writing courses, for upper-division skills courses, and for students participating in law journals or moot court programs. Short and to-the-point, the book's unique check-list approach will help law students and practitioners improve their writing methodically.
Written by respected researchers in their field, this book is about the skills beyond basic word recognition that are necessary for the processing and comprehension of spoken and written language. The major topics presented are as follows: language and text analysis; cognitive processing and comprehension; development of literacy; literacy and schooling; and, factors influencing listening and reading.
Using Talk to Support Writing presents a new and innovative approach to the teaching of early writing. The authors discuss both theoretical and practical issues around using talk in the classroom to support children as they learn to write. Set within the context of national concern for achievement in the development of writing ability, it addresses the gap in understanding early teaching and focuses on the exploration of talk and writing interface.
In the African context, there exists the 'myth' that orality means tradition. Written and oral verbal art are often regarded as dichotomies, one excluding the other. While orature is confused with 'tradition', literature is ascribed to modernity. Furthermore, local languages are ignored and literature is equated with writing in foreign languages. The contributions in this volume take issue with such preconceptions and explore the multiple ways in which literary and oral forms interrelate and subvert each other, giving birth to new forms of artistic expression. They emphasize the local agency of the African poet and writer, which resists the global commodification of literature through the international bestseller lists of the cultural industry. The first section traces the movement from oral to written texts, which in many cases coincides with a switch from African to European languages. But as the essays in the section on "New Literary Languages" make clear, in other cases a true philological work is accomplished in the African language to create a new written and literary medium. Through the mixing of languages in the cities, such as the Sheng spoken in Kenya or the bilinguality of a writer such as Cheik Aliou Ndao (Senegal), new idioms for literary expressions evolve. The use of new media, technology or music stimulate the emergence of new genres, such as Taarab in East Africa, radio poetry in Yoruba and Hausa, or Rap in the Senegal, as is shown in the section on "Forms of New Orality." It is a great achievement of this second volume of Versions and Subversions in African Literatures that it assembles contributions by scholars from the anglophone and the francophone world and that it covers literary production in a broad spectrum of languages: English, French, Hausa, Sheng, Sotho, Spanish, Swahili, Wolof and Yoruba. Some of the authors and cultural practitioners treated in detail are: Mobolaij Adenubi, Birago Diop, Boubacar Boris Diop, David Maillu, Thomas Mofolo, Cheik Aliou Ndao, Donato Ndongo-Bidyogo, Hubert Ogunde, Shaaban Robert, Wole Soyinka, Ibrahim YaroYahaya, and Sénouvo Agbota Zinsou.