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New Zealand and American English: Comparing their Origins and Linguistic Development
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| 2 |
Aproximación a la Content-Based Instruction: análisis de manuales de dos contextos educativos formales en Estados Unidos y en Gran Bretaña
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The inheritance of modernism: Contemporary children’s literature and the construction of new chronotopes in the United States and Great Britain
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The stigmas of World War One : the return of wounded soldiers in Great Britain from 1918 to 1930 ; Les stigmates de la Grande Guerre : le retour des soldats blessés en Grande-Bretagne de 1918 à 1930
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In: https://tel.archives-ouvertes.fr/tel-03157433 ; Linguistique. Normandie Université, 2020. Français. ⟨NNT : 2020NORMR070⟩ (2020)
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A comparative study of portable inscribed objects from Britain and Ireland, c. 400-1100 AD
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Testimony and Narrative on the Supernatural in the Work of Catherine Crowe, the London Dialectical Society and Edward William Cox
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Alijaj, M. - : University of Exeter, 2020. : English, 2020
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Rebellious writing: Contesting marginalisation in Edwardian Britain
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Rebellious writing: Contesting marginalisation in Edwardian Britain
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| 11 |
Bilder der Anderen. Kritische Diskursanalyse der westdeutschen und britischen Presseberichterstattung zur Zeit der zweiten Berlin-Krise (1958-62)
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| 12 |
Identity construction and perception of violence by female residents of a domestic violence shelter
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| 13 |
Of Warriors and Beasts: The Hogbacks and Hammerhead Crosses of Viking Age Strathclyde and Northumbria
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| 15 |
Theory and practice in the coining and transmission of place-names: a study of the Norse and Gaelic anthropo-toponyms of Lewis
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| 16 |
History as Theatrical Metaphor: History, Myth and National Identities in Modern Scottish Drama
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| 17 |
Live Writing: A Psychophysical Approach to the Analysis of Black British Poetry in Performance
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Abstract:
This study redresses the scarcity of critical engagement with poetry in performance. My case studies are ‘black British poets’. I argue that the poet’s use of voice, gesture, presence, breath, prosody, improvisation, introductions, commentary and asides can be analysed as part of live writing. I demonstrate that the analysis of poetry in performance requires multiple methodologies and analytical approaches. I provide a correction to existing models and approaches to analysing poetry in performance by selecting methodology in response to the poet’s work and the contexts and heritages that inform their practice. I use ‘live writing’ as a lens that can be applied to all poetry performances, from the poet who quietly reads to the poet who recites whilst dancing. This study reveals that performing poetry is a psychophysical act that engages the poet’s entire (a)liveness. The first contextualising chapters consider the place of performance within British poetry as a whole, and how labels such as ‘spoken word’ and ‘fixed-identity’ can be used to exclude. ‘Live writing’ is discussed in relation to poststructuralism, the avant-garde and black British poetry. Chapter two, “Ways of Listening” demonstrates how a legacy of analysis founded on Saussure’s differentiation between langue and parole has impacted literary criticism and ways of listening, revealing that even recent analyses of poetry in performance re-prioritise the page. Finally, in chapter three, the potential meanings and origins of ‘British spoken word voice’ are considered and its attributes analysed using pitch-tracking software. Drawing on methodology from literary criticism, performance studies, sociolinguistics and musicology, the second half of this study is dedicated to analyses of live writing by Salena Godden, David J and Lemn Sissay. I analyse their work via the aesthetics and histories of hip hop, oral literature, Brechtian theatre, and Geneva Smitherman’s discussion of black semantics, specifically ‘talk-singing’ and ‘Signifyin’. Godden and David J are influential British poets whose work has not previously been analysed within or outside of academia. Lemn Sissay has been more widely discussed; I provide a unique contribution by analysing his use of gesture and voice, asides and commentary (or ‘performed palimpsests’) in relation to Bertolt Brecht’s writings on defamiliarisation. The study concludes with a discussion of Sissay’s The Report that refocuses my use of the phrase ‘live writing’.
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Keyword:
Authors; Black British; Black Great Britain; British Library; David J; Lemn Sissay; live writing; Malika Booker; performance analysis; performance poetry; Poetry Black authors; prosody; Salena Godden; spoken word
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URL: http://hdl.handle.net/1893/29554
http://dspace.stir.ac.uk/bitstream/1893/29554/1/LiveWritingHSilvaammendmentsfinal.pdf
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| 18 |
Keyboard warriors : messaging, mobilisation and the UK radical right in the social media age
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