Oral interpretation of forms of literature.
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Oral interpretation of forms of literature.

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Published by E.P. Dutton and company, inc. .
Written in English

Subjects:

  • Oratory.,
  • Reading.,
  • Expression.,
  • Readers and speakers -- 1870-

Book details:

Edition Notes

Includes bibliographies.

Classifications
LC ClassificationsPN4121 .M29 1942
The Physical Object
Pagination380 p.
Number of Pages380
ID Numbers
Open LibraryOL19517631M

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Get this from a library! Oral interpretation of forms of literature.. [Margaret Prendergast McLean]. Biblical literature - Biblical literature - Moral interpretation: Moral interpretation is necessitated by the belief that the Bible is the rule not only of faith but also of conduct. The Jewish teachers of the late pre-Christian and early Christian Era, who found “in the law the embodiment of knowledge and truth” (Romans ), were faced with the necessity of adapting the requirements of.   Oral interpretation differs significantly from the general category of acting in a few ways. While both forms stress vocal delivery, acting relies more heavily on movement and visual presentation. For example, actors often wear costumes and make-up, and make full use of a large stage or setting. of oral literature. Oral art as literature. 2. The perception of African oral literature 29 Nineteenth-century approaches and collections. Speculations and neglect in the twentieth century. Recent trends in African studies and the revival of interest in oral literature. 3. The social, linguistic, and literary background

Oral Interpretation of Forms of Literature: A Clear, Simple and Well Arranged Discussion of the Fundamental Principles of Oral Address, as They are applied to Various Forms of Prose and Verse with Illustrative Extracts [Margaret Prendergast McLean] on *FREE* shipping on .   Openness to interpretation and listening to "further voices" in a text makes literature potentially subversive (Parkinson, pp. ). Internal interpretation should be complemented by an external analysis looking for the usage of the text, its readership, audience, transmission, etc. (see Assmann and Quirke). Oral Interpretation is a dramatic art, also commonly called "interpretive reading" and "dramatic reading", though these terms are more conservative and restrictive. In certain applications, oral interpretation is also a theatre art – as in reader's theatre, in which a work of literature is performed with manuscripts in hand or, more traditionally, using stools and music stands; and. *Please make a copy of your poem and write your name, teacher, author of the poem and number of words in the that copy to your teacher or put it in the Oral Interpretation folder in the front office by October 25th.**. The Oral Interpretation Festival is a long-standing tradition at Parmalee Elementary in which students have an opportunity to recite poetry or literature selections in.

Judy Yordon's ROLES IN INTERPRETATION is a great text to use and read for an oral interpretation of literature class. The book is organized in a very direct, coherent, and distinctive way. The main ideas are clearly illustrated and supported and the chapters are arranged in a sequential manner. The book is divided into 10 different chapters Cited by: Students will analyze various literary forms (poetry, novels, plays, letters, diaries, etc.) as texts for oral presentation. Students will explore oral traditions and other nonliterary sources and events as oral presentation material. Class exercises introduce vocal, physical and other speaking techniques to effectively communicate a point of view.   Truly comprehending the Bible involves knowing both what it says (content) and how it says it (form). Being able to identify and appreciate the many literary forms in which the Bible is written assists readers in more fully understanding God’s Word. Bible Gateway interviewed Dr. Leland Ryken about his book, A Complete Handbook of Literary [ ]. This is the first book-length study to appear in English on the literary, cultural and political roots of modern Tibetan literature. While existing scholarship on modern Tibetan writing takes the s as its point of "birth" and presents this period as marking a "rupture" with traditional forms of literature, this book goes beyond such an interpretation by foregrounding instead the.