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Live Poetry. : an Integrated Approach to Poetry in Performance.
Given the increasing popularity of literary festivals, open mics, and poetry slams, one could justifiably claim that the English-speaking world is currently experiencing a 'Live Poetry' boom. Yet, despite this raised awareness for the aesthetic and social potential of performed poetry, aca...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
Editions Rodopi,
2011.
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| Colección: | Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 153.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Novak, Julia. | |
| 245 | 1 | 0 | |a Live Poetry. : |b an Integrated Approach to Poetry in Performance. |
| 260 | |a Amsterdam : |b Editions Rodopi, |c 2011. | ||
| 300 | |a 1 online resource (264 pages) | ||
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| 490 | 1 | |a Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 153 ; |v v. 153 | |
| 505 | 0 | |a Cover; Title Page; Copyright Page; Table of Contents; Introduction; Part One: Theorising Live Poetry; 1. Key Challenges for the Scholar of Live Poetry; 1.1 Neglected History / a History of Neglect; 1.2 Like So Much Hot Air? Live Poetry and the Discourse of Orality; 1.2.1 Orality versus Literacy: The Great Divide; 1.2.2 From Orality to Literacy: The Evolutionist Model; 1.2.3 Performance Poetry: A Controversial Form of Live Poetry; 1.3 Literature Review; 2. Towards a Definition of Live Poetry; 2.1 Poetry as a Bi-Medial Art Form; 2.2 Live Poetry and Theatre; 2.3 A Definition of Live Poetry. | |
| 505 | 8 | |a Part Two: Analysing Live Poetry3. Comparing the Written Poem and the Performed Poem; 4. Audiotext; 4.1 Audiotext and Paralanguage: Experiential Meaning Potential, Provenance, Voice Set and Voice Action; 4.2 Non-Verbal Sounds; 4.3 Articulatory Parameters; 4.3.1 Rhythm; 4.3.2 Pitch; 4.3.3 Volume; 4.3.4 Articulation; 4.3.5 Timbre; 4.4 Notation; 4.5 Composite Parameters: Tone of Voice, Accent; 4.6 Paratext; 5. Body Communication; 5.1 Kinesics: Studying Body Communication; 5.2 Functions of Body Communication; 5.3 Elements of Body Communication; 5.3.1 Gesture and Posture; 5.3.2 Facial Communication. | |
| 505 | 8 | |a 5.3.3 Artefactual Communication5.4 Notating Body Communication; 6. Contextualising the Performance; 6.1 A Communication Model for Live Poetry; 6.2 Participants; 6.2.1 The Poet-Performer; 6.2.2 The Audience; 6.2.3 The MC; 6.2.4 The Producer; 6.2.5 Aims and Format; 6.3 Spatio-Temporal Situation; 6.3.1 Localised Audiences in 'Borrowed Spaces'; 6.3.2 The Performance Space; 6.3.3 Place of Performance and Fictive Space; 6.3.4 Time of Performance and Act Sequence; 7. Jackie Hagan's "Coffee or Tea?": A Sample Analysis; 8. Checklist for the Analysis of Live Poetry Performances; Conclusion. | |
| 504 | |a BibliographyTable of Figures; Index. | ||
| 520 | |a Given the increasing popularity of literary festivals, open mics, and poetry slams, one could justifiably claim that the English-speaking world is currently experiencing a 'Live Poetry' boom. Yet, despite this raised awareness for the aesthetic and social potential of performed poetry, academia has barely responded, failing in the process to update and adapt its concept of poetry to meet these recent developments. Bridging this critical gap, this volume provides for the first time a full methodological 'toolkit' for the analysis of live poetry by drawing together approaches from diverse discipl. | ||
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