Speaker vs author
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Press Kit vs. Speaker Press Kit
Style is the characteristic way in which people or texts, if you allow yourself to think of a text as something which behaves like a person choose to express themselves. In speaking or writing, people make choices among different ways of saying things, choosing among different words which have similar meanings, or between one sort of sentence structure and another.
When you meet someone in the street, for example, as a speaker of English you will have a whole range of possible greetings—each one a way to recognize another person in passing. But which one you choose will depend on who that person is, how well you know them, whether you like them, your mood at the time. One of the most important ways stylistic choices affect their readers or hearers is by projecting a speaking voice. Read the following two passages aloud since hearing may make the effect more clear :.
Fourscore and seven years ago our fathers brought forth on this continent, a new nation, conceived in liberty and dedicated to the proposition that all men are created equal.
In it Lincoln begins his address by immediately projecting a voice which is formal, controlled, thoughtful, yet also direct, authoritative and sensible. Passage 2, by contrast, is from a Time magazine satire by Oliver Jensen of the way President Eisenhower conducted his news conferences. Here the speaker seems tentative and disorganized, utterly without authority or conviction. The implications of this example are several.
Second, the examples also show how the voice projected is a product of words used, sentences written. What we perceive as the "voice" of the speaker is the product of the words the writer uses.
Third, and this is most important for the kind of analysis that you will be doing here, even for those English speakers who unlike you at this point! First, it will give you a chance to learn or review a set of basic linguistic and writing concepts. Second, seeing how various writers employ particular language choices in order to accomplish certain purposes should also put you in a better position to make such choices as a writer yourself. And third, it will help you become a more empirically grounded close-reader of language.
Whether you have thought about it before or not, whether you want to or not, reading and on the generative side its sibling writing well absolutely requires that you be aware of the range of stylistic options the language supplies you.
What sorts of stylistic particulars does an audience intuitively respond to? First, we are well trained to respond to explicit Characterizing Cues, certain features of language through which a text both characterizes its speaker and audience, and establishes a particular relationship between the two.
That sounds complicated, but sending and receiving such cues is something speakers and listeners do all the time. Through various stylistic choices, we make ourselves seem friendly or distant, stuffy or informal, straightforward or comic. In fact, whether you know it or not, whether you wish to or not, you can neither listen nor speak to someone else without responding, or causing your audience to respond, to one language-defined role or another.
To become aware of this process, you only have to think of the different tones of voice you would use to or hear from a baby as opposed to a college professor, your mother as opposed to your lover, your best friend as opposed to the mayor of Seattle, your worst enemy to whom you wish never again to say a word, as opposed to your worst enemy to whom you still speak!
Part of knowing a language is knowing that the way we speak to one person will not always be appropriate to the way we speak to other people. We are, in fact, constantly at work adopting and interpreting roles—though we often do so without any conscious awareness of the process. These Situational Cues are important; at times, in fact, they may have even more force than lexical meanings, though more usually they work along with lexical meanings to constitute the whole speech act.
The study of such extra-lexical linguistic effects is called Pragmatics. Remember that there is simply no way to avoid causing some kind of effect. Words create response whether we want them to or not. The question here concerns how we can become more skilled in characterizing our own responses when we read, and more effective in creating responses in our readers when we write.
For the most part, the kinds of judgments involved here are those which you are already quite accustomed to making—though again, usually without even noticing it—in ordinary speaking, reading, and writing.
If so, how would you describe that character? Does she seem old? What makes you think so? Keep in mind that English has hundreds of words that can characterize tone. Often you will need several in order to capture a full sense of your speaker. How learned say? Or nervous? Or humorous? Or cynical? Or earnest? How does the language reflect the sorts of things this speaker knows?
Is she a mother? Is he a kid brother, a student? Is she sixteen? From the East? Are you to be respectful? If you feel yourself attacked, for example, the speaker may seem correspondingly accusing, or offensive, or just plain pushy. Or does the speaker seem to coddle you? What sort of character would do that? Or does the writer simply ignore you? Again, what sort of character would do that?
Making clear your general responses to a speaker is a good way to start an analysis. Alternatively, if you had a sense that a speaker seemed to be expecting a great deal of sophistication and education from you, your task would be to point to specific words, phrases, or syntactic structures which you felt led you to the response you made.
Perhaps there are a number of passive constructions, or the diction is heavily Latinate, or the subject matter is relatively abstruse, or there are allusions to classical authors, made with the brevity one would use only with those for whom such allusions are mere reminders of what they already know.
Any or all of these stylistic characteristics would tend to create a sense that the speaker is educated, complex, maybe even academic, and, correspondingly, that you, as reader, ought to be able to handle relatively complex matters. To help you with this step, the following considerations will help you to be specific about which features of the text have given rise to your intuitions:.
Are they simple, and often common, monosyllabic predominantly from Germanic roots? Are they abstruse or recondite! Do you notice any other peculiarities of diction? Does the writer use neologisms? If the speaker does use slang, HOW are the words slangy? Is it the slang of dialect? Are words used out of their proper contexts are levels of diction mixed? And when medium or long, how does the writer manage to create such sentences? See a, b and c. Is there variation? What elements are in parallel?
How often? Is there antithesis? Or passive? First, for form: does the writer use phonetic patterns? Are sounds repeated? Is there Alliteration, for example, or Assonance?
Are there rhythmic patterns? Or does the writer repeat words or structures to create patterns of words or sentences?
If so, what effects do you judge these usages to have? Second, for metaphors: does the writer use them at all? If so, are they new and imaginative, or dead or dying?
From what sort of background are they drawn? The sky and the heavens? If they ARE drawn from special areas, what does that say about the speaker? If they are from barnyards, for example, what sort of speaker would know about barnyards?
If they are computer talk, who knows that? If so, how do they shape your perception of the writer? Third, for images metaphoric and not : are there any? If so, to what senses do they appeal? Sound, sight, taste, touch, smell, movement? This Style Checklist is not complete—there are other choices writers can make. Moreover, neither will everything on the list be interesting in every piece of writing, nor does the list suggest very fully what sorts of effects are generally created by each of these characterizing cues.
As I have already suggested, that is something the speakers of any language actually already know a great deal about, and finding ways to bring that knowledge to bear in conscious ways is a major goal in working with specific examples in class. Some of these cues will certainly occur in the passages you deal with, and you will first need to identify them if you are then to explain the effects you have intuitively and provisionally hypothesized.
The last step of the analysis has two parts. The first is simply to check and refine your original responses. You may even find that your original response—for whatever reasons—misfired, and that what you originally took to be an honest, straightforward style, for example, now seems to you ironic, or satirical. First responses are not sacrosanct, though they are still strong evidence with which to begin your work.
In a composition textbook, for example, does the writer urge us to write simple and clear prose while using the jargon of education courses and an intimidating array of complex and periodic sentences? For writing well very much depends not just upon a clear understanding of what responses we want from any given writing we do, but also upon our knowing what resources the language provides with which those responses can be pursued.
speaker vs. poet
Think of it as reality. You may not like it, but you and your audience know and understand your position. It just is. So there is not such thing as a bad position; just bad positioning. For example, I love creating content of all kinds. That can be blog posts like this, videos, public presentations and even private, small group presentations for our customers.
Poetry Explications
Style is the characteristic way in which people or texts, if you allow yourself to think of a text as something which behaves like a person choose to express themselves. In speaking or writing, people make choices among different ways of saying things, choosing among different words which have similar meanings, or between one sort of sentence structure and another. When you meet someone in the street, for example, as a speaker of English you will have a whole range of possible greetings—each one a way to recognize another person in passing. But which one you choose will depend on who that person is, how well you know them, whether you like them, your mood at the time. One of the most important ways stylistic choices affect their readers or hearers is by projecting a speaking voice. Read the following two passages aloud since hearing may make the effect more clear :. Fourscore and seven years ago our fathers brought forth on this continent, a new nation, conceived in liberty and dedicated to the proposition that all men are created equal.
Top 15 Motivational Speakers
Have a Question? Contact us at: ruccl. Padma explored rainforests and coral reefs, led diversity efforts at a university, served as chief scientist on ships where she was the only female and only person of color, taught and directed a school in England, obtained a doctorate in oceanography from the College of William and Mary, and conducted environmental engineering research at Johns Hopkins University, before becoming a full-time author. When she was nineteen, she left India on her own and is now an American.
About Ross
A poetry explication is a relatively short analysis which describes the possible meanings and relationships of the words, images, and other small units that make up a poem. This handout reviews some of the important techniques of approaching and writing a poetry explication, and includes parts of two sample explications. How did the poem affect you as a reader? This can encompass thoughts, emotions, moods, ideas, etc. You can ask yourself what affective, or emotional, atmosphere the poem produced, even if something about it is difficult to describe. What adjective would you use to describe the tone of the poem?
SOAPSTone: A Strategy for Reading and Writing
The lyrical subject , lyrical speaker or lyrical I is the voice or person in charge of narrating the words of a poem or other lyrical work. The lyrical subject may be an anonymous, non-personal, or stand-alone entity; the author as a subject; the author's persona [2] or some other character appearing and participating within the story of a poem an example would be the lyrical speaker of The Raven by Edgar Allan Poe - a lonely man who misses his lost love Leonor, not Edgar Allan Poe , whether fictitious or factual. Therefore, the lyrical subject is the character to which the author intends to give life in his text. Although sometimes the author can refer to himself, he will always do so in the form of a speaker and not directly. The subject functions as a revealing agent of experiences and the emotions of the poem.
GUEST SPEAKERS
Click to see full answer. Also question is, what is an example of a persona? Some examples of different personas include: A politician wants to come off to voters as a regular, nice guy who cares about normal people.
Do you have to be a native speaker to be a good materials writer?
RELATED VIDEO: Ev Elx speaker Vs the Presonus ULT 15.In poetry, the speaker is the voice behind the poem—the person we imagine to be saying the thing out loud. It's important to note that the speaker is not the poet. Even if the poem is biographical, you should treat the speaker as a fictional creation because the writer is choosing what to say about himself. Besides, even poets don't speak in poetry in their everyday lives—although it would be cool if they did. In some poems, it's not even clear who the speaker is.
Ever since infancy I have had the habit of leaving my blocks carts chairs and such like ordinaries where people would be pretty sure to fall forward over them in the dark. Forward, you understand, and in the dark. Frost responds in a letter the date is unclear to ask Thomas for further comment on the poem, hoping to hear that Thomas understood that it was at least in part addressing his own behavior. A tap would have settled my poem. Tone of voice is responsible for creating trust between the reader and the speaker, in seducing the reader to lose him or herself in the experience; it is responsible for letting a reader be enraptured by the poem.
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Yes you said right
It's a pity that I can't speak now - I'm late for the meeting. But I will return - I will definitely write what I think on this issue.
Please do not put THIS on display
I apologise, but, in my opinion, you commit an error. I can prove it. Write to me in PM, we will discuss.