Poetry And Narrative In Performance

This text uses machine data of poetry readings to discover features of rhythm and intonation and to clear away methodological problems that hamper the teaching of poetic melody. The discussion is linked to the theory of literary form, throwing light on the role of emotion in poetry and fiction.

Poetry, by definition, is voice, which here includes the worlds of both sound silence in which the poem exists. Voice in poetry represents the way in which individuals articulate themselves as subjects. English Narrative Poetry: A Babel of Voices explores how poets in different periods of English literature have manipulated voice in their verse narratives. This book, devoted to voice, explores narrative poems ranging from the Renaissance to the contemporary. Starting from Shakespeare, it journeys through Pope, Wordsworth, Keats, Rossetti, Browning, H. D., Ted Hughes, Jackie Kay, and Bernardine Evaristo in the light of narrative theory. The multiplicity of voice attests to the fact that narrative poetry can present itself as a ‘representation’ of real life by ‘mimicking’ the voices of women and men, creating what, taken together, comprises a babel of voices.

The philosophical foundation of emancipatory knowledge lies in critical theory. In this paradigm, instrumental and communicative knowledge are not rejected but are limited. If we do not question current scientific and social theories and accepted truths, we may never realize how we are constrained by their inevitable distortions and errors. Without the possibility of critical questioning of ourselves and our beliefs, such constraining knowledge can be accepted by entire cultures. The research paradigm that is relevant for constructing this kind of knowledge is the critical paradigm. Data are always qualitative and have specific methods of research. Quantitative research unquestionably has a place and is fundamental to scientific advances, but qualitative research delves into what it is to be human. Through qualitative research, we gain insight into communicative knowledge, its rich nature, and the mechanisms by which communicative knowledge is formed and interpreted. Qualitative research enables the necessary exploration and critical analysis of social systems and uncovers and facilitates critical reflections on the inevitable assumptions, which shape social behavior and interaction, thereby stimulating and empowering change. Promoting Qualitative Research Methods for Critical Reflection and Change provides readers with a comprehensive array of qualitative research methods, which can be implemented in a variety of contexts for a variety of purposes. The chapters explore the impact, uses, and methodologies for qualitative research across various fields of research. This book is ideal for practitioners, researchers, academicians, and students interested in the use of qualitative research methods.

"The Art of Confession tells the history of this cultural shift and of the movement it created in American art: confessionalism. Like realism or romanticism, confessionalism began in one art form, but soon pervaded them all: poetry and comedy in the 1950s and '60s, performance art in the '70s, theater in the '80s, television in the '90s, and online video and social media in the 2000s. Everywhere confessionalism went, it stood against autobiography, the art of the closed book. Instead of just publishing, these artists performed--with, around, and against the text of their lives." --

This book examines intersections of poetry and performance during the British Poetry Revival. Its investigations are centered on four specific performance events: The First International Poetry Incarnation at the Royal Albert Hall in 1965; Denise Riley’s first public reading at the Cambridge Poetry Festival in 1977; Eric Mottram’s Pollock Record; and Allen Fisher’s Blood Bone Brain. Drawing upon a range of archival resources, recordings, and interviews, Juha Virtanen offers engaging and detailed “archaeological” accounts and analyses of these largely unexamined events as well as the potential dialogues between them. The appendices of the book also feature previously unpublished interviews with both Fisher and Riley. This book is essential reading for poetry and performance enthusiasts, particularly those interested in innovative British Poetry.

This volume evaluates a single element of tragic art, namely the way in which narrative descriptions of place participate in the poetry of tragedy. They join together structures of the theater to create a context for tragic performance, and ultimately reflect upon tragedy's connection to earlier narrative forms and to the traditional tales that regularly supply tragic plots. The first part of this book examines the introductory function of spatial descriptions and the peculiar resources offered to the playwright by cult settings. In the second part, the spatial oppositions, that are inherent structuring devices in traditional tales, are taken up in chapters treating the motif of exile in extant tragedy.