Spoken Word in the UK is a comprehensive and in-depth introduction to spoken word performance in the UK – its origins and development, its performers and audiences, and the vast array of different styles and characteristics that make it unique. Drawing together a wide range of authors including scholars, critics, and practitioners, each chapter gives a new perspective on performance poetics. The six sections of the book cover the essential elements of understanding the form and discuss how this key aspect of contemporary performance can be analysed stylistically, how its development fits into the context of performance in the UK, the ways in which its performers reach and engage with their audiences, and its place in the education system. Each chapter is a case study of one key aspect, example, or context of spoken word performance, combining to make the most wide-ranging account of this form of performance currently available. This is a crucial and ground-breaking companion for those studying or teaching spoken word performance, as well as scholars and researchers across the fields of theatre and performance studies, literary studies, and cultural studies.

This electronic version has been made available under a Creative Commons (BY-NC-ND) open access license. Discusses the transition from a largely oral to a fundamentally literate society in the early modern period. During this period the spoken word remained of the utmost importance but development of printing and the spread of popular literacy combined to transform the nature of communication. Examines English, Scottish and Welsh Oral culture to provide the first pan-British study of the subject. Covers several aspects of oral culture ranging from tradition, to memories of the civil war, to changing mechanics for the settling of debts. The time-span concentrates on the period 1500-1800 but includes material from outside this time frame, covering a longer chronolgical span than most other studies to show the link between early modern and modern oral and literate cultures.

Award-winning poet Pete Bearder presents the unwritten history, science, and skill of spoken word and answers some strangely under-explored questions: What is the history of performance poetry in the UK? How does emotional contagion happen in live literature? What has spoken word got to do with hypnotism and ecstatic states? This groundbreaking book explores a thriving ecology of artistry, and how it can serve us for cultural, social and political renewal. -- Publisher.

With this dazzling modern myth in verse, Kae Tempest became the youngest winner of the prestigious Ted Hughes Award for New Work in Poetry. Yes, the gods are on the park bench, the gods are on the bus, / The gods are all here, the gods are in us. / The gods are timeless, fearless, fighting to be bold, / conviction is a heavy hand to hold, / grip it, winged sandals tearing up the pavement -- / you, me, everyone: Brand New Ancients. Kae Tempest's words in Brand New Ancients are written to be read aloud; the book combines poem, rap, and humanist sermon, by turns tender and fierce. Set in Southeast London, Brand New Ancients finds the mythic in the mundane. It is the story of two half-brothers, Thomas and Clive, unknown to each other -- Thomas the result of an affair between his mother and Clive's father. Tempest, with wide-ranging empathy, takes us inside the passionless marriage of Jane and Kevin -- the man who suspects Thomas is not his son, but loves him just the same -- and the neighboring home of Mary and Brian, where betrayal has not been so placidly accepted. The sons of these two households -- quiet, creative Thomas and angry, destructive Clive -- will cross paths in adolescence, their fates converging with mortal fury. These characters' loves, their infidelities, their disappointments and their small comforts -- these, Tempest argues, are timeless. Our lives and our choices are no less important than those of history and myth. Awarded the Ted Hughes Award for New Work in Poetry, Brand New Ancients insists on our importance as individuals -- and asserts Kae Tempest's importance as a talent impossible to ignore.

The papers in this volume all examine the nature of spoken word production in aphasia, and how this can inform current theories of language processing. It comprises 7 papers by some of the foremost researchers in the field. The first paper in the volume is an introduction by the editor (Dr Lyndsey Nickels), which reviews the 'state of the art' of the cognitive neuropsychology of spoken word production both in terms of theory and methodology. The individual papers address a range of topical issues including the levels of processing in speech production (Lambon-Ralph, Moriarty, Sage et al.; Wilshire); the nature of the interaction between levels of processing (Goldrick & Rapp);and effects of different factors on naming (word class and context: Berndt, Burton, Haendiges & Mitchum; phonemic and orthographic cues: Best, Herbert, Hickin, Osborne & Howard); lexical stress: Howard & Smith). Taken together this volume provides the reader with an insight into the cutting edge of research in spoken word production.

This volume focuses on the remediation of impairments of word production in aphasia. It is restricted to studies focusing on single word production and comprises papers by some of the researchers most active in this field worldwide. The scope of the papers is broad and includes many relatively under-researched areas and techniques. All the papers have in common a methodological rigour and the use of a single case or case-series approach. A range of treatment tasks are evaluated: 'phonological' tasks such as phonological cueing and word repetition, and judgements regarding the phonological form; 'orthographic' tasks such as orthographic cueing, word reading and writing to dictation; 'semantic' tasks such as semantic cueing; the use of gesture; computer presentation of tasks and even just repeated attempts at naming. In addition, the individuals treated using these techniques varied in the nature of their impairments and/or level of impairment that was targeted. The majority aimed to improve word retrieval generally, but one treatment was aimed specifically at verb retrieval, and another at improving accuracy of word production for an individual with a phonological encoding impairment. Each paper relates the outcome of treatment to theoretical accounts of impairment, and one explicitly uses the results of therapy to inform these theories. Taken together these papers provide a snapshot of the 'state of the art' in the rehabilitation of word production in aphasia.

Word Frequencies in Written and Spoken English is a landmark volume in the development of vocabulary frequency studies. Whereas previous books have in general given frequency information about the written language only, this book provides information on both speech and writing. It not only gives information about the language as a whole, but also about the differences between spoken and written English, and between different spoken and written varieties of the language. The frequencies are derived from a wide ranging and up-to-date corpus of English: the British National Corpus, which was compiled from over 4,000 written texts and spoken transcriptions representing the present day language in the UK. The book is based on a new version of the corpus (available from 2001) providing more accurate grammatical information, which is essential (for example) for distinguishing words like leaves (noun) and leaves (verb) with different meanings. The book begins with a general introduction, explaining why such information is important and highlighting interesting linguistic findings that emerge from the statistical analysis of the British National Corpus vocabulary. It also contains twenty four 'interest boxes' which highlight and comment on different aspects of frequency - for example, the most common colour words in English in order of frequency, and a comparison of male words (e.g. man) and female words (e.g. woman) in terms of their frequency.

‘The title is Search Party – the idea being that we’re all out here looking for something, and my poems are my way of finding myself.’ A young black poet blending spoken word and rap; an inner city upbringing with a Cambridge education; a social consciousness with a satirical wit and infectious rhythm – George The Poet is the voice of a new generation. Search Party is a thought-provoking and deeply autobiographical collection. From the overtly political ‘Go Home’ to the deeply personal ‘Full-time’; the narrative poems that offer vivid and unapologetic snapshots of inner-city life, such as ‘His Mistakes’, ‘Believer’ and the anthemic ‘My City’; to the provocative social commentary in ‘Lazy Dog’ and ‘YOLO’; to the inspiring, idea-driven pieces such as ‘The Power of Collaboration’ and ‘School Blues’, George takes poetry into new territories and to new audiences, offering a different way to talk about the things that matter, to explore his own experience and ideas, and encourage others explore theirs. George The Poet’s mesmerising and unforgettable live performances have earned him critical acclaim. From sell-out headline gigs and YouTube hits, to recording his own music, and now his first collection of poetry, George uses his work to speak truth to power and challenge our preconceived ideas about the society we’re living in. Whether you’re searching for yourself, for answers, for change – join the search party.

Sarah Kay's powerful spoken word poetry performances have gone viral, with more than 10 million online views and thousands more in global live audiences. In her second single-poem volume, Kay takes readers along a lyrical road toward empowerment, exploring the promise and complicated reality of being a woman. During her spoken word poetry performances, audiences around the world have responded strongly to Sarah Kay's poem The Type. As Kay wrote in The Huffington Post: "Much media attention has been paid to what it means to 'be a woman,' but often the conversation focuses on what it means to be a woman in relation to others. I believe these relationships are important. I also think it is possible to define ourselves solely as individuals... We have the power to define ourselves: by telling our own stories, in our own words, with our own voices." Never-before-published in book form, The Type is illustrated throughout and perfect for gift-giving.

From rebels to writers, athletes to astronauts, join Kate Fox takes on an entertaining and eye-opening journey through the lives of these extraordinary women whose lives and achievements have too long been hidden.