Demonstrates how oral interpretation scholars can enrich their understanding of the empathic process. Analyzes several concepts of empathy in social cognition research and relates them to various processes interpreters have identified as empathic. Discusses pedagogical implications. (PD)

The author presents a rationale for using the oral interpretation approach to literature. (SJL)

Discusses metafiction (contemporary fiction) and the new relationship between subject and reader that challenges traditional practice of point of view in fiction. Suggests ways for the interpreter to deal with the performance of metafiction. (JMF)

Presents the text of an interview with John Hodgson, British proponent of educational theater. His use of improvisation as a teaching technique and contrasts between the American and British systems of educational theater are discussed. (JMF)

Suggests that oral interpretation units in language arts courses have value in themselves in addition to their value in helping students improve their writing skills. (DD)

Notes that a premium has been placed on written composition in American schools. Discusses classroom research that demonstrates the power of oral composition. Suggests that to help all children become better composers, educators must involve them in authentic oral, as well as written, composition. (SR)

A discussion is launched for examining the possibility of extending the notion of translational norms to oral interpretation. It attempts to pinpoint factors that encumber both the formation and extrapolation of norms for interpretation, and it examines the validity of subsuming these under the existing discussions and norms in written…

In many literacy classrooms, students engage in public performances in which they use various texts, movements of their bodies, and verbal interactions. How do we interpret such events? In this article, we critique a representational mode of interpretation and describe an alternate mode. We argue that literacy performances are often about creating…

It is a surprising fact that a student of speech can compete in prose, poetry, drama, and program oral interpretation without ever needing to develop two characters, without ever needing to establish two separate focal points in the same piece, and without ever learning to adapt to a new style of writing. This can be done if the student simply…

Student interest in individual events in intercollegiate forensics competition is on the rise in the United States. Not only does the individual events tournament format reward depth of analysis, it also rewards students' abilities to transfer their critical insights into appropriate physical and vocal cues. The individual events tournament…

Frame analysis is an approach to social situations that can be applied profitably to literature and performance. A frame is the reality status of a situation; keys are the characteristics that define a frame. Most literary works are keying on real life frameworks. Literary works that are based on other literary works, such as parodies, are…

Suggests areas of future research for oral interpretation scholars: (1) the effects of performance on classroom audience and performers, (2) performance in nonacademic contexts, (3) the functions of nondramatic performance, and (4) the history of performed literature. (PD)

Describes the development of reading fluency and expression, noting connections among oral reading fluency, word recognition, and spelling. The article presents a model of the stages of literacy development that recognizes the role of tacit knowledge in learning to read and write. A spelling inventory for teachers is included. (SM)

Offers the author's narrative of the recent history of performance studies, focusing on the current place of literature, its instability as a recognizable genre of discourse, and its uncertain value in the academic market. Discusses the problem of literature's loss of "academic capital." (SR)

Oral interpretation of translated Chinese poetry is both difficult and audacious. However, non-native readers are less bound by the Chinese literary canon than native readers and therefore are more free to develop their personal taste and discover new modes of expression. As a result, these performers are potentially ideal translators of Chinese…