Live poetry: an integrated approach to poetry in performance
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam
Editions Rodopi
2011
|
| Schriftenreihe: | Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 153
|
| Schlagworte: | |
| Online-Zugang: | DE-188 Volltext URL des Erstveröffentlichers |
| Beschreibung: | Print version record |
| Beschreibung: | 1 online resource (271 Seiten) Illustrationen |
| ISBN: | 9789401206921 9401206929 |
| DOI: | 10.1163/9789401206921 |
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| 505 | 8 | |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 | |
| 505 | 8 | |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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Datensatz im Suchindex
| _version_ | 1817681174685810688 |
|---|---|
| adam_text | |
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| author | Lajta-Novak, Julia |
| author_GND | (DE-588)1019763167 |
| author_facet | Lajta-Novak, Julia |
| author_role | aut |
| author_sort | Lajta-Novak, Julia |
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| bvnumber | BV043033052 |
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| contents | 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 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 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 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 |
| ctrlnum | (OCoLC)768083024 (DE-599)BVBBV043033052 |
| dewey-full | 821.08 |
| dewey-hundreds | 800 - Literature (Belles-lettres) and rhetoric |
| dewey-ones | 821 - English poetry |
| dewey-raw | 821.08 |
| dewey-search | 821.08 |
| dewey-sort | 3821.08 |
| dewey-tens | 820 - English & Old English literatures |
| discipline | Anglistik / Amerikanistik Literaturwissenschaft |
| doi_str_mv | 10.1163/9789401206921 |
| format | Electronic eBook |
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| id | DE-604.BV043033052 |
| illustrated | Illustrated |
| indexdate | 2024-12-06T09:04:10Z |
| institution | BVB |
| isbn | 9789401206921 9401206929 |
| language | English |
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| oclc_num | 768083024 |
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| publisher | Editions Rodopi |
| record_format | marc |
| series2 | Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 153 |
| spelling | Lajta-Novak, Julia Verfasser (DE-588)1019763167 aut Live poetry an integrated approach to poetry in performance Julia Novak Amsterdam Editions Rodopi 2011 1 online resource (271 Seiten) Illustrationen txt rdacontent c rdamedia cr rdacarrier Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft, 153 Print version record 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 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 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 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 POETRY / English, Irish, Scottish, Welsh bisacsh Recitations fast Recitations Lyrik (DE-588)4036774-5 gnd rswk-swf Slam Poetry (DE-588)4709615-9 gnd rswk-swf Performance Künste (DE-588)4173750-7 gnd rswk-swf Englisch (DE-588)4014777-0 gnd rswk-swf Englisch (DE-588)4014777-0 s Lyrik (DE-588)4036774-5 s Performance Künste (DE-588)4173750-7 s 1\p DE-604 Slam Poetry (DE-588)4709615-9 s 2\p DE-604 Erscheint auch als Druck-Ausgabe Novak, Julia Live Poetry. : An Integrated Approach to Poetry in Performance 978-90-420-3405-1 http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=410245 Aggregator Volltext https://doi.org/10.1163/9789401206921 Verlag URL des Erstveröffentlichers 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Lajta-Novak, Julia Live poetry an integrated approach to poetry in performance 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 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 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 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 POETRY / English, Irish, Scottish, Welsh bisacsh Recitations fast Recitations Lyrik (DE-588)4036774-5 gnd Slam Poetry (DE-588)4709615-9 gnd Performance Künste (DE-588)4173750-7 gnd Englisch (DE-588)4014777-0 gnd |
| subject_GND | (DE-588)4036774-5 (DE-588)4709615-9 (DE-588)4173750-7 (DE-588)4014777-0 |
| title | Live poetry an integrated approach to poetry in performance |
| title_auth | Live poetry an integrated approach to poetry in performance |
| title_exact_search | Live poetry an integrated approach to poetry in performance |
| title_full | Live poetry an integrated approach to poetry in performance Julia Novak |
| title_fullStr | Live poetry an integrated approach to poetry in performance Julia Novak |
| title_full_unstemmed | Live poetry an integrated approach to poetry in performance Julia Novak |
| title_short | Live poetry |
| title_sort | live poetry an integrated approach to poetry in performance |
| title_sub | an integrated approach to poetry in performance |
| topic | POETRY / English, Irish, Scottish, Welsh bisacsh Recitations fast Recitations Lyrik (DE-588)4036774-5 gnd Slam Poetry (DE-588)4709615-9 gnd Performance Künste (DE-588)4173750-7 gnd Englisch (DE-588)4014777-0 gnd |
| topic_facet | POETRY / English, Irish, Scottish, Welsh Recitations Lyrik Slam Poetry Performance Künste Englisch |
| url | http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=410245 https://doi.org/10.1163/9789401206921 |
| work_keys_str_mv | AT lajtanovakjulia livepoetryanintegratedapproachtopoetryinperformance |