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