But then, if the criteria for positing the kinship of African American speech
is the etymology and continuity of the dominant lexicon and not continuity in the rules of grammar, this prompts the question, why is there a double standard?
His remarkable ear for what has been called illiterate Midwestern American speech
enabled him to create searing portraits of familiar American types-baseball players, boxers, a talkative nurse, a song writer, a Hollywood producer, etc.
A major characteristic of my poetry, at least for its wide circulation, has been its quality of American speech
, idiomatic and vernacular, a diction drawn from living language and clarity of vocalization.
His experiments in prosody led him to develop the " variable foot " to express the rhythms, cadences, and sounds of American speech
, a technique he refined and used with great delicacy in the three - line units of such late poems as " Asphodel, That Greeny Flower.
She loved movies -- and literature -- that made honest, direct and imaginative use of plain American speech
London, Jan 14 (ANI): Google has been named the word of the decade by a group of American speech
From the melodic cadence of Native American speech
to good old boys and their drawls to a charming Southern gentleman to the passionately involved Cree Black, Fields covers them all with remarkable consistency and depth.
The discussion continues in the same vein, showing that Southern American speech
patterns, cuisine, and quilt making were all influenced by enslaved Africans.
How does American Speech
(the periodical) define "The arrogant young person with wealth derived easily through the Internet?
Beyond language: Ebonies, proper English, and identity in a Black American speech
For example, professional organizations such as the Division for Early Childhood (DEC), the American Occupational Therapy Association (AOTA), and the American Speech
and Hearing Association (ASHA) show that their members are primarily white and female (DEC, 1997a; AOTA, 1996; ASHA, 1995a, 1995b).
Along with the pioneering studies of Steven Moore and John Kuehl, Knight's book should prove to be a valuable introduction to one of the most important novelists alive today, one who is not only the most talented ventriloquist of various forms of American speech
but, as Knight forcefully argues, a profound satirist who always returns, with encyclopedic breadth, to the oldest but still most urgent questions of ethics: How should we live and how might we work against the self-destructive tendencies of human history?
Wanting to find a rhythm suited to American speech
, he experimented with a version of free verse he termed versos sueltos ("loose verses"), which makes use of the triadic stanza and a "variable foot" measure.