Oral InterpretationHoughton Mifflin, 1952 - 596 pages |
From inside the book
Results 1-3 of 84
Page 128
... example of two degrees of stress in a single word : strong stress on the first syllable , lighter stress on the second ; " syllable " itself receives three degrees of stress . " Syl " is given the strongest stress ; the “ la ” receives ...
... example of two degrees of stress in a single word : strong stress on the first syllable , lighter stress on the second ; " syllable " itself receives three degrees of stress . " Syl " is given the strongest stress ; the “ la ” receives ...
Page 473
... example , with his stanzaic odes of ten , eleven , and twelve lines . The longer stanza , nevertheless , is less common , partly because it tends to subdivide into smaller units . The contribution of stanzaic length to the sound ...
... example , with his stanzaic odes of ten , eleven , and twelve lines . The longer stanza , nevertheless , is less common , partly because it tends to subdivide into smaller units . The contribution of stanzaic length to the sound ...
Page 526
... example to another , but within any single given example there is strict conformity , with only slight variations , as befits the dignity of a monument to heroic men and deeds . Because of its length , an entire epic is impractical for ...
... example to another , but within any single given example there is strict conformity , with only slight variations , as befits the dignity of a monument to heroic men and deeds . Because of its length , an entire epic is impractical for ...
Contents
What Is Oral Interpretation? ය | 3 |
Selection and Evaluation of Material | 13 |
Analysis Preparation and Presentation of Material | 51 |
Copyright | |
15 other sections not shown
Other editions - View all
Common terms and phrases
achieve action analysis appeal aspects attention attitude audience aware BRACK breath BRINK Carl Sandburg character climax complete Copyright CREON Culverin drama emotional example excerpt eyes factors feeling free verse give GRAMPS hand HEDDA Hedda Gabler imagery important inter interpreter's Lady Lin Yutang line-length listeners literary logical looked lyric MARY CLEOPHAS material meaning mental mind MISS TESMAN muscles narration narrative night oral interpretation paragraph pattern pause permission person physical pitch play poem poet poetry preter problem prose reader relaxation remember response rhyme rhythm Richard Cory Robert Frost scene selection sense sentence sound speech phrases stage directions stanza Stephen Vincent Benét stress structure suggestion syllable T. S. Eliot technique tension thee thing thou thought Tibault tion Tommy Tommy Brooks tone Toombs County verse VINNIE vocal voice vowel Walter Mitty words writing