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Helpful tools, tips, and techniques that can improve your spoken word poetry performance.The goal of this book is to provide a "How to" guide with principles that can be used to improve content and stage performance. This book doesn't come with the promise of making you a great spoken word artist or the experience of a world famous poet. Instead it provides tools, examples of techniques and it offers tips, which if practiced correctly, can improve your confidence, focus and execution. Every artist comes equipped with their own amount of creativity, imagination and inspiration. Storytelling is a big part of spoken word poetry as well, but if you are not able to tell that story or relay a message clearly to people then there might as well be no one listening. By utilizing examples from the P-Arts (Performing Arts) program and workshop courses that have been implemented in the San Fernando Valley, Los Angeles and San Diego area of Southern California through DM Ink Publishing. You will be able to apply the same techniques which have helped many spoken word artist and poets to develop and improve their skill. I've spent years performing, writing, reading, listening and publishing spoken word poetry. With three published spoken word poetry paper back and E-Books as well as two spoken word albums available internationally it has been a great learning experience. As a fan, an artist and facilitator of workshops I can relate to the frustration of having a good performance piece and not being able to get the message through to the audience. Or being nervous and not having any prior training or years of experience that would assist with speaking in a small or large venue. By incorporating a few tips used by spoken word poet professionals, readers will find this book will-Provide helpful tips of structuring the content to your piece so that it flows. -Go over various spoken word techniques.-Provide tools to improve your delivery. The areas of focus covered are just a few pieces to a larger puzzle in the areas of communication and writing that could benefit an aspiring spoken word artist. This book has been used in performing arts workshops and the tools have been successfully applied during performances and network writing sessions. Principles are universal and I'm not saying that every artist needs to adapt these tips in order to be considered great, because in the spoken word poetry market everyone is unique, or at least they should be. Each person has a story to tell and it can have a powerful effect depending on how the writer delivers it.
This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Discusses the transition from a largely oral to a fundamentally literate society in the early modern period. During this period the spoken word remained of the utmost importance but development of printing and the spread of popular literacy combined to transform the nature of communication. Examines English, Scottish and Welsh Oral culture to provide the first pan-British study of the subject. Covers several aspects of oral culture ranging from tradition, to memories of the civil war, to changing mechanics for the settling of debts. The time-span concentrates on the period 1500-1800 but includes material from outside this time frame, covering a longer chronolgical span than most other studies to show the link between early modern and modern oral and literate cultures.
Sticks and stones may break my bones, but words will hurt me until the day I die. I dedicate this work to the clients of my forty-six years of therapy and pastoral work who have shared their pain and sorrow inflicted by words. No wound is more difficult to overcome than the wound caused by words. Love is destroyed by words. Families are separated by words. Young lives are placed on roads that lead to dead-ends and destructions by words. Careers are ended, reputations are lost and wars are begun all because of words. To the many who have suffered so greatly I pray this book will help others understand your pain. Like apples of gold in settings of silver is a word spoken in right circumstances. (Proverbs 23:11 New American Standard Bible)
Studies in the History of the English Language II: Unfolding Conversations contains selected papers from the SHEL-2 conference held at the University of Washington in Spring 2002. In the volume, scholars from North America and Europe address a broad spectrum of research topics in historical English linguistics, including new theories/methods such as Optimality Theory and corpus linguistics, and traditional fields such as phonology and syntax. In each of the four sections - Philology and linguistics; Corpus- and text-based studies; Constraint-based studies; Dialectology - a key article provides the focal point for a discussion between leading scholars, who respond directly to each other's arguments within the volume. In Section 1, Donka Minkova and Lesley Milroy explore the possibilities of historical sociolinguistics as part of a discussion of the distinction between philology and linguistics. In Section 2, Susan M. Fitzmaurice and Erik Smitterberg provide new research findings on the history and usage of progressive constructions. In Section 3, Geoffrey Russom and Robert D. Fulk reanalyze the development of Middle English alliterative meter. In Section 4, Michael Montgomery, Connie Eble, and Guy Bailey interpret new historical evidence of the pen/pin merger in Southern American English. The remaining articles address equally salient problems and possibilities within the field of historical English linguistics. The volume spans topics and time periods from Proto-Germanic sound change to twenty-first century dialect variation, and methodologies from painstaking philological work with written texts to high-speed data gathering in computerized corpora. As a whole, the volume captures an ongoing conversation at the heart of historical English linguistics: the question of evidence and historical reconstruction.
This book examines conference-level simultaneous interpreting from a signed language into a spoken language, drawing on Auslan (Australian Sign Language)-to-English simultaneous interpretation data to explore the skills, knowledge, strategies, and cognitive abilities needed for effective interpretations in this language direction. As simultaneous interpreting from a spoken language into a signed language is the widely accepted norm within the field of signed language interpreting, to date little has been written on simultaneous interpreting in the other language direction. In an attempt to bridge this gap, Wang conducts microanalysis of an experimental corpus of Auslan-to-English simultaneous interpretations in a mock conference setting to investigate different dimensions of quality assessment, interpreting strategies, cognitive load, and the interpreting process itself. The focus on conference-level simultaneous interpreting not only allows for insights into the impact of signed language variation on the signed-to-spoken language simultaneous interpreting process but also sheds light on the unique demands of conference settings such as the requirement of using a formal register. Acting as a bridge between spoken language interpreting studies and signed language interpreting studies and highlighting implications for future research on simultaneous interpreting of other language combinations (spoken and signed), this book will be of interest to scholars in translation and interpreting studies as well as active practitioners in these fields.