Roles in Interpretation,9780697129390

Roles in Interpretation

by
ISBN13: 9780697129390
ISBN10: 069712939X
Format: Paperback
Pub. Date: 1993-05-01
Publisher(s): McGraw-Hill College
Availability: This title is currently not available.
List Price: $62.15

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Summary

Interpretation is an artistic process of studying literature through performance and sharing that study with an audience. Yordon's Roles in Interpretation prepares students for the roles they will play in performances by explaining interpretation through a wide variety of literary forms, performance styles, and recent theories of interpretation.

Table of Contents

Preface xi
PART ONE: INITIAL ROLES 3(170)
1 Your Role in Interpretation
3(40)
Introducing Interpretation
4(4)
The Roles We Play
4(1)
Literature and Interpretation
5(1)
Acting and Interpretation
6(1)
Public Speaking and Interpretation
7(1)
What Are the Values of Interpretation?
8(2)
What Is the Difference between Interpretation and Oral Reading?
10(1)
What Is Intertextuality?
11(3)
Class Exercises
12(2)
Is Interpretation Different from Other Literature Courses?
14(1)
What Is Interpretation?
14(8)
Interpretation Is an Art
15(1)
Interpretation Is a Process
16(2)
Interpretation Is the Study of Literature
18(1)
Literary Speakers
19(2)
Literary Audiences
21(1)
Interpretation Is Sharing Literature with an Audience
21(1)
What Literary Selection Should I Choose?
22(6)
Universality
24(1)
Individuality
24(1)
Suggestion
25(1)
Class Exercise
26(2)
How Do I Prepare a Selection for Performance?
28(2)
A Sample Analysis and Performance Suggestions for "The Use of Force"
30(10)
A Sample Analysis of "The Use of Force"
33(2)
Performance Suggestions for "The Use of Force"
35(4)
Composing and Presenting the Introduction
39(1)
Summary
40(3)
2 Your Role with Literature: Appreciation
43(40)
What Is Literature?
44(6)
What Types of Literature Are Available?
50(1)
Generic Classification
50(1)
How Do I Find the Right Selection?
51(3)
Appreciating Literature
54(1)
An Anthology of Texts for Your Appreciation
55(17)
Summary
72(1)
Sources to Check for Selections to Perform
72(11)
3 Your Role with Literature: Analysis
83(38)
Types of Literary Analyses
84(5)
The Dramatistic Analysis
89(9)
A Sample Dramatistic Analysis of "Ringing the Bells"
89(3)
Performance Suggestions for "Ringing the Bells"
92(2)
Class Exercise
94(4)
The Modal Approach
98(20)
External Modal Analysis
98(5)
Internal Modal Analysis
103(2)
Generic and Modal Classifications Combined
105(4)
Summary of Lyric, Dramatic, and Epic Mode Characteristics
109(4)
Class Exercise
113(2)
A Sample Modal Analysis of "Dover Beach"
115(3)
Summary
118(3)
4 Your Role in Rehearsal and Performance
121(36)
The Introduction
122(5)
Styles of Delivery
123(2)
Content
125(2)
Using the Script
127(4)
Using the Lectern
131(1)
Cutting
132(1)
Imagery and Sensory Showing
133(3)
Imagery
133(1)
Sensory Imagery
134(1)
Sensory Showing
135(1)
Aesthetic Distance
136(1)
Empathy and Sympathy
137(2)
Focus
139(11)
Projection
140(1)
Shifts in Mode
140(3)
Class Exercise
143(4)
Character Placement
147(2)
Time and Place Changes
149(1)
Tensiveness
150(1)
Meeting the Audience
151(2)
Summary
153(5)
5 Your Role as Audience and Evaluator
157(16)
Your Responsibilities as an Audience Member
158(4)
Your Role as Audience: To Listen
158(3)
Your Role as Audience: To Constitute
161(1)
Your Role as Audience: To Accept
161(1)
Your Role as Audience: To Respond
162(1)
Your Responsibilities as an Evaluator
162(7)
General Guidelines for Evaluation
163(4)
Specific Guidelines for Evaluation
167(2)
Summary
169(4)
PART TWO: LITERARY ROLES 173(256)
6 Your Role with Prose Fiction
173(46)
A Sample Analysis of "The Open Window"
174(3)
Who Is Speaking?
177(16)
Point of View
178(1)
Point of View and "The Open Window"
179(2)
First-Person Point of View
181(2)
Third-Person Point of View
183(1)
Performance and Point of View
184(4)
Class Exercise
188(5)
Who Is the Narrator Speaking To?
193(1)
What Does the Narrator Speak About?
194(2)
Where Does the Narrator Tell the Story From?
196(2)
When Does the Narrator Tell the Story?
198(5)
Rhythm of Action
198(4)
Actual Time and Virtual Time
202(1)
How Is the Story Told?
203(4)
Tone and Style
203(1)
Mood
203(1)
Direct and Indirect Discourse
204(2)
Tag Lines
206(1)
Why Is the Story Told?
207(1)
Modal Analysis of Prose Fiction
208(2)
Putting It All Together
210(4)
Selected Prose Fiction Texts Appropriate for Performance
214(2)
Summary
216(3)
7 Your Role with Drama
219(64)
Drama and Prose Fiction
220(1)
What Are the Basic Characteristics of Drama?
221(1)
Who Is Speaking?
221(12)
Character
221(7)
Body Fact and Body Act
228(5)
Structural and Transactional Analysis
233(8)
Class Exercise
241(1)
Who Is Being Addressed: Internal Modal Analysis
241(5)
What Do the Characters Speak About?
246(4)
Plot
246(4)
Where and When Does the Play Take Place?
250(1)
How Do the Characters Speak?
250(4)
Diction and Music
250(4)
Why Are the Characters Speaking?
254(2)
Character Motivations and Intentions
254(1)
Thought
255(1)
Spectacle: The Visual and Auditory Dimensions
256(2)
Spectacle Fact and Spectacle Act
256(2)
A Sample Analysis of "Constantinople Smith"
258(13)
Analysis of Constantinople Smith
266(1)
Analysis of Christina
266(1)
Analysis of Reality
267(1)
Performance Suggestions for "Constantinople Smith"
268(3)
The External Modal Approach and Drama
271(1)
Putting It All Together
272(6)
Selected Plays Appropriate for Performance
278(1)
Summary
279(4)
8 Your Role with Poetry
283(60)
Begin Analysis with the Poem's Title
285(1)
Who Is Speaking? and Who Is Being Addressed?
286(14)
Genres of Poetry
286(2)
Class Exercise
288(3)
Class Exercise
291(2)
Class Exercise
293(4)
Modal Considerations
297(1)
Class Exercise
298(2)
What Is the Speaker Speaking About?
300(4)
When and Where Does the Speaker Speak?
304(3)
How Does the Speaker Speak?
307(28)
Sensory Imagery
307(1)
Class Exercise
308(1)
Literary Imagery
309(3)
Class Exercise
312(1)
Tone Color
313(5)
Meter
318(4)
The Most Common Types of Metrical Feet
322(2)
Rhythmic Variety
324(4)
Class Exercise
328(1)
Conventional Verse and Free Verse
329(1)
Metrical Prosody Types
329(3)
Fulcrum
332(3)
Climaxes
335(1)
Why Does the Speaker Speak?
335(1)
Putting It All Together
336(2)
Selected Poems Appropriate for Performance
338(2)
Summary
340(3)
9 Assorted Roles
343(62)
Your Role with Additional Literary Forms and Performance Styles
344(1)
Literary Forms
344(39)
Letters
346(5)
Diaries
351(4)
Essays
355(7)
Biographies, Autobiographies, Histories
362(6)
Children's Literature
368(9)
Postmodern Literature
377(6)
Performance Styles
383(22)
The Program Performance
383(6)
The Media Performance
389(5)
Personal Narratives
394(3)
Class Exercise
397(1)
Performance Art
397(3)
Class Exercise
400(1)
Summary
401(4)
10 Your Role as Group Performer: Readers Theatre and Chamber Theatre
405(24)
Experimental Group Performance Possibilities
407(20)
Readers Theatre
409(9)
Chamber Theatre
418(9)
Summary
427(1)
Selected Texts on (or including information on) Group Interpretation
427(2)
Appendix 429(14)
Bibliography 443(8)
Glossary 451(10)
Author-Title Index 461(8)
Subject Index 469

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