Relevant bibliographies by topics / Poetry and performance

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry and performance'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Poetry and performance.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Poetry and performance"

1

Perelman, Bob. "Performance Typing." boundary 2 47, no. 4 (November 1, 2020): 139–56. http://dx.doi.org/10.1215/01903659-8677863.

Full text
Abstract:
This essay reviews the publication of Larry Eigner’s selected poems and provides an introduction to Eigner (1927–96) and his place in US poetry. It gives an account of his life, describing his lifelong disability from cerebral palsy and the trajectory of his poetic career, which ended with over three thousand poems and great acclaim from US innovative poetic communities. It then relates Eigner to those communities, specifically Black Mountain in the 1950s and 1960s and the Language writers decades later. Eigner’s poetry is glancingly compared with that of Keats and of Dickinson, but the main juxtaposition is with Pound’s Pisan Cantos, where the rushed, typewritten quality of the lines is shown to have been foundational for Olson in his influential “Projective Verse.” Eigner’s work, while it shares characteristics, calls for different manners of reading. The latter part of the essay demonstrates this, by a close reading of a number of Eigner poems.
APA, Harvard, Vancouver, ISO, and other styles
2

Hoyles, Asher, and Martin Hoyles. "Black Performance Poetry." English in Education 37, no. 1 (March 2003): 27–37. http://dx.doi.org/10.1111/j.1754-8845.2003.tb00588.x.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Thom, Marie. "Poetry and performance." Early Years Educator 12, no. 9 (January 2011): xii—xiii. http://dx.doi.org/10.12968/eyed.2011.12.9.xii.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Haverkort, Marco, and Jan H. de Roder. "Poetry, language, and ritual performance." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 269–86. http://dx.doi.org/10.1075/jhp.4.2.07hav.

Full text
Abstract:
In line with the proposal of de Roder (1999), we will draw an analogy between the structure of ritual, poetic language and natural language, exploiting Frits Staal’s conception of ritual as a set of recursively applicable formal procedures, and the biological ramifications of the Chomskyan postulate of Universal Grammar. The central hypothesis is that, in terms of evolution, poetry takes a position between age-old rituals and natural languages, as a sort of missing link. We will argue that the building blocks and mechanisms of natural language developed out of ritual acts and the associated rhythmic sound sequences. The formal principles underlying rituals turned out to be useful for communication and thus natural language could evolve, an example of exaptation in the sense of Gould and Vrba (1982). Under this view, the rhythmic layer of poetry — like syntactic structure — is a semantically empty, autonomous pattern, going back to the structural principles underlying ritual. Rhythmic patterns in poetry are thus instances of pure acts in the ritual sense, and as a consequence poetry is a form of language use in which the ritual basis of language is experienced. This puts T.S. Eliot’s famous dictum “Genuine poetry can communicate before it is understood” in a new perspective. The paper thus focuses on the ritualistic substrate of language, not on the synchronic role of ritual in language. We will also discuss neurological evidence which independently supports this idea: Broca’s area — an area in the left hemisphere of the brain that has traditionally been associated with language comprehension and production — is activated when syntactically complex sentences are being processed, but it is also activated in tasks involving the perception of rhythmic patterns in music, thus supporting the idea that both (and by implication ritual too) have the same origins evolutionarily.
APA, Harvard, Vancouver, ISO, and other styles
5

Hladun, D. V. "POETRY PERFORMANCE AND POETRY READING: TOUCHING POINTS." Тrаnscarpathian Philological Studies 2, no. 14 (2020): 157–61. http://dx.doi.org/10.32782/tps2663-4880/2020.14-2.29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Mendelssohn, Anna, and Sara Crangle. "What a Performance." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 610–30. http://dx.doi.org/10.1632/pmla.2018.133.3.610.

Full text
Abstract:
From the late seventies until her death, british-born writer and artist anna mendelssohn (1948–2009) authored fifteen poetry collections and at least two dozen short fictions and dramas, often publishing under the name Grace Lake. A consummate autodidact, Mendelssohn's passion was international vanguardism, a truth exemplified by the writers she translated: in Turkey in 1969, the poetry of political exile Nâzim Hikmet; from the late nineties, the work of Gisèle Prassinos, the surrealist child prodigy celebrated by André Breton. Mendelssohn's devotion to a modernist legacy situates her within the British Poetry Revival, a label applied to a wave of avant-garde poets that surfaced in the sixties and seventies. Given that she spent her last three decades in Cambridge, Mendelssohn can be further located on the margins of “that most underground of poetic brotherhoods, the Cambridge Poets” (Leslie 28). Mendelssohn's poems appeared in journals receptive to experimentalism, among them Parataxis, Jacket, Critical Quarterly, and Comparative Criticism. In the 1990s, Mendelssohn was anthologized in collections released by Virago, Macmillan, and Reality Street. Iain Sinclair included her in his influential Conductors of Chaos (Picador, 1996); in 2004, she featured in Rod Mengham and John Kinsella's Vanishing Points (Salt Publishing, 2004) alongside John Ashbery and Susan Howe. Her most readily available text remains Implacable Art (Salt Publishing, 2000). Increasingly recognized in her later years, Mendelssohn gave poetry readings at the University of Cambridge, London's Southbank Centre, and the Centre Georges Pompidou in Paris, among many other venues.
APA, Harvard, Vancouver, ISO, and other styles
7

Schoone, Adrian. "Can Concrete Poems Fly? Setting Data Free in a Performance of Visual Enactment." Qualitative Inquiry 27, no. 1 (November 6, 2019): 129–35. http://dx.doi.org/10.1177/1077800419884976.

Full text
Abstract:
In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning to words according to their graphic and phonic characteristics.” In this article, I present concrete poetry deriving from my poetic inquiry and reflect on the value concrete poetry provides arts-based researchers.
APA, Harvard, Vancouver, ISO, and other styles
8

Hughes, Janette Michelle, Laura Jane Morrison, and Cornelia Hoogland. "You Don’t Know Me: Adolescent Identity Development Through Poetry Performance." in education 20, no. 2 (October 24, 2014): 59–77. http://dx.doi.org/10.37119/ojs2014.v20i2.160.

Full text
Abstract:
Our study concerns adolescents using poetry writing as an interrogative and creative means of shaping and creating “voices” or “identities.” Toronto-based high school students were challenged to be creators (rather than solely consumers) of available social practices within a digital landscape using mobile devices and social networking platforms. The students engaged in the processes of creating poetry that included experimentation with form (including spoken word, found, and rhyming couplet poetry), research, and writing-induced challenges of received ideas. Their creations of their multiple “Resonant Voices,” which in some cases were powerful statements of self-discovery and social criticism, were further amplified because they occurred in a formal educational setting.Keywords: adolescents; identity; digital literacies; multiliteracies; poetry; social practices; social networking sites; Facebook; pedagogy; mobile devices; Android app; poetic inquiry; metacognitive
APA, Harvard, Vancouver, ISO, and other styles
9

Davidson, Ian. "Visual Poetry as Performance." Performance Research 9, no. 2 (January 2004): 99–107. http://dx.doi.org/10.1080/13528165.2004.10872020.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Petievich, Carla, and Max Stille. "Emotions in performance: Poetry and preaching." Indian Economic & Social History Review 54, no. 1 (January 2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.

Full text
Abstract:
Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Poetry and performance"

1

Vernon, Jenifer Rae. "Making community with the deep communication of popular live poetry in San Diego, California at the Millennium." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3330317.

Full text
Abstract:
Thesis (Ph. D.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed November 19, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 233-241).
APA, Harvard, Vancouver, ISO, and other styles
2

Kridler, Jamie Branam. "Justus Troupe Performance Poetry Group." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5863.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Phillips, Tom. "Pindar's library : performance poetry and material texts." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:fb9b6bcc-0a2e-486e-94c4-f74a30d8cae8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Haas, Benjamin David. "Autobiographical Performance Poetry as a Philosophy of [Authenticity]." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/273.

Full text
Abstract:
This thesis begins the process toward a concept of [authenticity] that is both fragmented and performative. I outline a history in philosophy and performance studies where authenticity has been deployed, and demonstrate how it is often tied to modernist ideologies. I then offer "[authenticity]," with brackets, as a means to allow for this term to challenge these modernist conceptions of the self. I then track the ways in which "[authenticity]" opens the possibilities for a new approach to performing by exploring my performance of the poem, "Hydrangeas."
APA, Harvard, Vancouver, ISO, and other styles
5

Virtanen, Juha. "Innovative poetry & performance 1950-1980: event/effect." Thesis, University of Kent, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.592019.

Full text
Abstract:
This thesis takes three related observations as its point of departure. Drawing upon recent comments from lain Sinclair and Robert Sheppard, I initially present it as an investigation that intends to bring hitherto 'invisible' histories to a more tangible o field. Specifically, the histories in this thesis address the interactions between innovative poetry and performance. While this field of research has already produced several significant monographs and anthologies, they often focus almost exclusively on American poetry. Moreover, many of these studies seek to analyse the macroscopic phenomena of poetry readings with reference to elocution and rhetoric. Instead , this thesis concentrates on selected 'event histories ' between 1950 and 1980, which are all subjected to a detailed investigation. Broadly, I approach each case study through an overview of the performance (i.e. the 'event') and a close examination of its techniques and contexts (i.e. the 'effect'). The individual chapters discuss Charles Olson's relationship to John Cage's 'Theatre Piece # I'; Allen Ginsberg's reading at The First International Poetry Incarnation in 1%5; Denise Riley 's first public reading at the Cambridge Poetry Festival in 1977; Eric Mottram's collaborative performance Pollock Record; and Allen Fisher's Blood Bone Brain project from the I97Os. During the course of these investigations, I address concepts such as event (via Whitehead), space (via Lefebvre), gender and perfonnativity (via Butler), memory and forgetting, as well as the body without organs (via Deleuze and Guattari). I also incorporate additional perspectives from Debord, de Certeau, DeJTida, Lyotard and others. Throughout, I explore the parallels between the performance and the poets' respective works, as well as the socio-political contexts of each event. In the conclusion, I draw upon this versatility to problematize certain aspects of 'the performance of authorship' that appears in previous studies, before turning to speculate upon further developments that might make this-and the current-period of poetry seem a little less 'off-piste' in the future. 1
APA, Harvard, Vancouver, ISO, and other styles
6

Willey, Stephen. "Bob Cobbing 1950-1978 : performance, poetry and the institution." Thesis, Queen Mary, University of London, 2012. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8307.

Full text
Abstract:
Bob Cobbing (1920-2002) was a poet known for his performances and as an organiser of poetry events, as a participant in the British Poetry Revival, as a late-modernist and as a sound and concrete poet. This thesis seeks to reconfigure our view of Cobbing as a performer by considering his performances across a range of institutions to argue that this institutionalised nature was their defining aspect. It maps the transition from Cobbing’s defence of amateurism and localism in the 1950s to his self-definition as a professional poet in the mid 1960s and his attempt to professionalise poetry in the 1970s. This process was not uncontested: at each stage the idea of the poet and the reality of what it meant to live as a poet were at stake The first chapter considers Cobbing’s poems and visual artworks of the 1950s in the context of Hendon Arts Together, the suburban amateur arts organisation he ran for ten years, and it situates both in Britain’s postwar social and cultural welfare system. Chapter two analyses Cobbing’s transition from Finchley’s local art circles to his creative and organisational participation in London’s international counterculture, specifically the Destruction in Art Symposium (9-11 September 1966). Chapter three considers ABC in Sound in the context of the International Poetry Incarnation (11 June 1965) and analyses Cobbing’s emergence as a professional poet. Chapter four examines Cobbing’s tape-based poems of 1965-1970 and their associated visual scores in the context of audio technology, and the role they played in Cobbing’s professionalisation. The final chapter examines Cobbing’s performances at the Poetry Society (1968- 1978) in order to investigate the effects of subsidy and friendship on poetic performance.
APA, Harvard, Vancouver, ISO, and other styles
7

Hall-Downs, Liz. "My arthritic heart : a collection of poetry; and, Making a writer : poetry, fiction, performance and illness /." [St. Lucia, Qld.], 2001. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16739.pdf.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bean, Heidi R. "Poetry 'n acts: the cultural politics of twentieth-century American poets' theater." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/638.

Full text
Abstract:
"Poetry 'n Acts: The Cultural Politics of Twentieth-Century American Poets' Theater," focuses on the disciplinary blind spot that obscures the productive overlap between poetry and dramatic theater and prevents us from seeing the cultural work that this combination can perform. Why did 2100 people turn out in 1968 to see a play in which most of the characters speak only in such apparently nonsensical phrases as "Red hus the beat trim doing going" and "Achtung swachtung"? And why would an Obie award-winning playwright move to New Jersey to write such a play in the first place? What led to the founding in 1978 of the San Francisco Poets Theatre by L=A=N=G=U=A=G=E writers, and why have those plays and performers been virtually ignored by critics despite the admitted centrality of performance to L=A=N=G=U=A=G=E writing's textual politics? Why would the renowned Yale Repertory Theatre produce in the 1990s the poetic, plotless plays of a theater newcomer twice in as many years--even when audiences walked out? What vision for the future of theater could possibly involve episodic drama with footnotes? In each example, part of the story is missing. This dissertation begins to fill in that gap. Attending to often overlooked aspects of theater language, this dissertation examines theatrical performances that use poetic devices to intervene in narratives of cultural oppression, often by questioning the very suitability of narrative as a primary means of social exchange. While Gertrude Stein must be seen as a forerunner to contemporary poets' theater, chapter one argues that the Living Theatre's late 1950s and early 1960s anti-authoritarian theater demonstrates key alliances between poetry and theater at mid-century. The remaining chapters closely examine particular instances of poets' theater by Amiri Baraka (known equally as poet and playwright), Carla Harryman (associated with West Coast poetry), and Suzan-Lori Parks (a critically acclaimed playwright). These productions put poetic theater on the backs of tractors in Harlem streets, in open gallery spaces, and in more conventional black box and proscenium architectures, and each case develops the importance of performance contexts and production histories in determining plays' cultural effects.
APA, Harvard, Vancouver, ISO, and other styles
9

Aiello, Traoré Flavia. "Continuitiy and change in Zanzibari Taarab performance and poetry." Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-91009.

Full text
Abstract:
Taarab in contemporary Zanzibar currently experiences great changes since the Nineties with the emerging and growing success of modern taarab. This has shocked the fans of the traditional style (taarab asilia) with musical and instrumental innovations, including powerful amplifiers and more danceable rhythms, but also textual innovations, using in their songs, commonly called mipasho, a sort of language and poetical imagery very open and non-disguised (Khamis 2002: 200). The perception of a split between the two musical and poetical styles is widely shared among the artists and fans of traditional taarab, but it actually tends to simplify the dynamics of continuity and change of this art deeply rooted within the social and political life of Zanzibar islands.
APA, Harvard, Vancouver, ISO, and other styles
10

Ferreira, Annemari. "The politics of performance in Viking Age skaldic poetry." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:1aa55225-8e44-4fea-a9ff-55f72209e590.

Full text
Abstract:
This thesis examines the political functions of the performance of skaldic poetry during the Viking Age. It aims to establish the vital role that skaldic verse plays in the establishment and maintenance of power, as well as the importance of skaldic performance in the negotiation of that power in the inter-community relations between various courts both within and outside of Viking Age Scandinavia. The first chapter provides a contextual understanding of Viking Age power structures by considering the central ideological constructs surrounding the concept of óðal (ancestral property). Óðal-derived power, it will be shown, is based on ruler-presence (which extends to ancestral presence) in the landscape, which is perceived as a crucial element in the legitimisation of authority and power. My second chapter will consider the political significance of skaldic performance within the context of ruler itinerancy, which develops in response to political practices based on the importance of óðal-derived legitimacy. Of particular importance in this respect, will be the use of 'presencing' proper- and praise-names in skaldic poetry that effect both spatial and temporal itinerancies in a highly distributable format. My third chapter will establish the representational features of skaldic performance and elaborate on the definition of Performance not only as action (in the Austinian sense), but also as a type of action that is defined by its artifice, its temporal continuity and its emergent dialogism. This will provide the theoretical context for my fourth and final chapter which will aim to examine the employment of skaldic Performance in Viking Age diplomatic praxes. Here the phenomenologically perceived 'binding' of the Self through the dialogic rhythmicity that arises out of skaldic ambiguity and crypticism will be of central importance.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Poetry and performance"

1

Stricker, Meredith. Alphabet theater: Performance poetry. Middletown, Conn: Wesleyan University Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Alphabet theater: Performance poetry. Middletown, CT: Wesleyan University Press, 2003.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Gibson, Abraham. Violently tender: Performance poetry. 2nd ed. London: Pen Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Performing poetry: Body, place and rhythm in the poetry performance. Amsterdam: Rodopi, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Giggs, Rebecca, and Scott-Patrick Mitchell. Performance poets. North Fremantle, Western Australia: Fremantle Press, 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wham! it's a poetry jam: Discovering performance poetry. Honesdale, Pa: Wordsong/Boyds Mill Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Jane, Yolen, ed. Wham! it's a poetry jam: Discovering performance poetry. Honesdale, PA: Boyds Mills Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Holbrook, Sara. Wham! it's a poetry jam: Discovering performance poetry. Honesdale, PA: Boyds Mills Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Knox, C. M. Circum-evolution: A poetry performance. [s.l.]: CMK & Associates, 1991.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Poetry and narrative in performance. Basingstoke: Macmillan, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Poetry and performance"

1

Shem-Tov, Naphtaly. "Performance poetry." In Israeli Theatre, 136–56. London ; New York : Routledge, 2021. | Series: Routledge Jewish studies series: Routledge, 2021. http://dx.doi.org/10.4324/9781351009089-7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Schmid, Susanne. "4.3 Reception as Performance." In Romantic Poetry, 461–72. Amsterdam: John Benjamins Publishing Company, 2002. http://dx.doi.org/10.1075/chlel.xvii.29sch.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Würth, Stefanie. "Skaldic Poetry and Performance." In Medieval Texts and Cultures of Northern Europe, 263–81. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.tcne-eb.3.4077.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Sutton-Spence, Rachel. "The Poem and Performance." In Analysing Sign Language Poetry, 128–47. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230513907_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Oliver, Douglas. "Rule and Performance." In Poetry and Narrative in Performance, 1–5. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Oliver, Douglas. "Narrative in Performance." In Poetry and Narrative in Performance, 117–29. London: Palgrave Macmillan UK, 1989. http://dx.doi.org/10.1007/978-1-349-10445-1_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Vautrin, Éric. "Performance and Poetry: Crossed Destinies." In Contemporary French Theatre and Performance, 149–61. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305663_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Holman, Bob. "Notes toward Exploding “Exploding Text: Poetry Performance”." In Poetry & Pedagogy, 295–98. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11449-5_23.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Rokem, Freddie. "Discursive Practices and Narrative Models: History, Poetry, Philosophy." In History, Memory, Performance, 19–35. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137393890_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Sidnell, Michael J. "‘Written Speech’: Writing, Hearing and Performance." In Yeats’s Poetry and Poetics, 19–38. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24988-6_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Poetry and performance"

1

Nguyen Thi, Yen. "The Three-Tiered World (Tam Phu) of the Tay People in Vietnam through the Performance of Then Rituals." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.13-3.

Full text
Abstract:
The Tay people represent an ethnic minority in the mountainous north of Vietnam. As do Shaman rituals in all regions, the Shaman of the Tay people in Vietnam exhibit uniqueness in their languages and accommodation of their society’s world view through their ‘Then’ rituals. The Then rituals require an integration of many artistically positioned and framed elements, including language (poetry, vows, chanting, the dialogue in the ritual), music (singing, accompaniment), and dance. This paper investigates The Art of Speaking of the Tay Shaman, through their Then rituals, which include use of language to describe the imaginary journey of the Shaman into the three-tiered world (Muong fa - Heaven region (Thien phu); Muong Din - Mountain region (Nhac phu); Muong Nam - Water region (combination of Thuy phu and Dia phu) to describe dealings with deities and demons, and to describe the phenomenon of possession. The methodic framework of the paper thus includes discussions of in the comparison between the concept of the three-storey world in the Then ritual of the Tay people with the concept of Tam Tu phu in the Len dong ceremony of the Kinh in Vietnam. Thereby, it clearly shows the concept of Tay people of the universe, the world of gods, demons, the existence of the soul and the body, and the existence of human soul after death. The study contributes to Linguistics and Anthropology in that it observes and describes the world views of a Northern Vietnamese ethnicity, and their negotiation with spirituality, through languages of both a spiritualistic medium and society.
APA, Harvard, Vancouver, ISO, and other styles
2

Kataoka, Kuniyoshi. "Poetics through Body and Soul: A Plurimodal Approach." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-1.

Full text
Abstract:
In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.
APA, Harvard, Vancouver, ISO, and other styles
3

Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

Full text
Abstract:
The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
APA, Harvard, Vancouver, ISO, and other styles
4

Aliel, Luzilei, Rafael Fajiolli, and Ricardo Thomasi. "Tecnofagia: A Multimodal Rite." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10454.

Full text
Abstract:
This is a concert proposal of Brazilian digital art, which brings in its creative core the historical and cultural aspects of certain locations in Brazil. The term ​ Tecnofagia derives from an allusion to the concept of anthropophagic movement (artistic movement started in the twentieth century founded and theorized by the poet Oswald de Andrade and the painter Tarsila do Amaral). The anthropophagic movement was a metaphor for a goal of cultural swallowing where foreign culture would not be denied but should not be imitated. In his notes, Oswald de Andrade proposes the "cultural devouring of imported techniques to re-elaborate them autonomously, turning them into an export product." The ​ Tecnofagia project is a collaborative creative and collective performance group that seeks to broaden aspects of live electronic music, video art, improvisation and performance, taking them into a multimodal narrative context with essentially Brazilian sound elements such as:accents and phonemes; instrumental tones; soundscapes; historical, political and cultural contexts. In this sense, ​ Tecnofagia tries to go beyond techniques and technologies of interactive performance, as it provokes glances for a Brazilian art-technological miscegenation. That is, it seeks emergent characteristics of the encounters between media, art, spaces, culture, temporalities, objects, people and technologies, at the moment of performance.
APA, Harvard, Vancouver, ISO, and other styles
5

Mshaï Mwangola, S. "Bury my bones but keep my words." In SOIMA 2015: Unlocking Sound and Image Heritage. International Centre for the Study of the Preservation and Restoration of Cultural Property, 2017. http://dx.doi.org/10.18146/soima2015.1.01.

Full text
Abstract:
The author’s experiences preparing and presenting at the 2013 (Nairobi, Kenya) and 2015 (Brussels, Belgium) SOIMA conferences form the basis for this reflection on the work of custodians safeguarding the sound and image heritage of the past. Drawing inspiration from the artistic reflections of acclaimed master poet Ko Awonoor and accomplished writer Yvonne Owuor on death and life viewed through the prism of the dirge singer, the paper explores what it means to be a facilitator bridging the past and the future through the present. Using performance as a catalyst, she identifies three opportunities open to professional archivists seeking to secure the legacy of the past for generations to come: to create within collections conditions for availability, accessibility and adoptability.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Poetry and performance' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography