More on Speech Presentation in the Charroi de Nîmes: In Which Otran and Harpin Begin to Speak

2005 ◽  
pp. 249-264
Keyword(s):  
Speech Presentation

The Rhetoric of Speech Presentation in the Israeli Press

1993 ◽  
Vol 34 (1) ◽  
pp. 53-78 ◽  
Author(s):  
Raphael Nir ◽  
Itzhak Roeh
Keyword(s):  
Speech Presentation

In other words: breaking the monologue in Whitman, Williams and Hughes

2000 ◽  
Vol 9 (1) ◽  
pp. 25-41 ◽  
Author(s):  
Chanita Goodblatt
Keyword(s):  
Cultural Exchange ◽  
American Poetry ◽  
Present Discussion ◽  
Lyric Voice ◽  
Narrative Frame ◽  
Speech Presentation ◽  
Context Of Utterance

One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.

Unnatural conversations in unnatural conversations: speech reporting in the discourse of spiritual mediumship

2009 ◽  
Vol 18 (4) ◽  
pp. 347-356 ◽  
Author(s):  
Katie Wales
Keyword(s):  
Public Domain ◽  
Practical Reasons ◽  
Contemporary Society ◽  
The Public ◽  
Speech Representation ◽  
The Common ◽  
Speech Presentation ◽  
Blended Spaces

Despite the popular attraction of spiritualism in contemporary society, the discourse of spiritual mediumship has attracted little attention from linguists or stylisticians. One of the practical reasons for this is probably the lack of material in the public domain. On the basis of a recording of a whole session between a professional medium and her client, this article looks at the reporting strategies used by the medium to convey alleged messages from those who have Passed Over: messages which are central to the claims of spiritualism and hence to the authority of the medium. It will be argued that the common accepted formalist terminology of speech representation is inadequate, failing to do justice to the blended spaces of this world and that Beyond and to the medium’s role as ‘intermediary’. Four types are illustrated (interpreted, relayed, dictated and unmediated speech). The methodology proposed might offer a useful approach to the complexities of speech presentation even in This World.

scholarly journals Wayang (Puppet) Character Transformation Model In Augmented Reality

2020 ◽  
Vol 3 (2) ◽  
pp. 54-63
Author(s):  
I Putu Ardiyasa
Keyword(s):  
Augmented Reality ◽  
Character Recognition ◽  
Transformation Model ◽  
Augmented Reality Application ◽  
Application Data ◽  
Puppet Show ◽  
Waterfall Model ◽  
Using Data ◽  
The Times ◽  
Speech Presentation

The art of wayang that thrives, are dynamic and always adapt to the times need to consider the regeneration of puppet show audiences. The presence of technology has changed the audience’s paradigm of verbal performances into visual performances. This wayang character transformation model is an offering of AR application-based art products that aim to become a medium for introducing wayang art from an early age and in various rooms. This study develops an Augmented Reality application. Data were collected using data collection methods in the form of observation, interviews and simple questionnaires and documentation studies. The results showed that there are two models, namely, the Tri Sandi and the Waterfall model. This modeling found the form of a puppet character recognition application product that contains plot, tetikesa, antawacana (speech presentation style), discourse, stage and melody.

Acceptance of background noise as a function of speech presentation level

2003 ◽  
Vol 113 (4) ◽  
pp. 2288-2288 ◽  
Author(s):  
Clifford A. Franklin ◽  
Anna K. Nabelek ◽  
Samuel B. Burchfield
Keyword(s):  
Background Noise ◽  
Presentation Level ◽  
Speech Presentation
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