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Advocates of speed reading claim it can be a bad habit that slows reading and comprehension, but some researchers say this is a fallacy since there is no actual speaking involved. Instead, it may help skilled readers to read since they are using the phonological code to understand words (e.g., the difference between PERmit and perMIT). [17] [18 ...
Subvocalization, or silent speech, is the internal speech typically made when reading; it provides the sound of the word as it is read. [1] [2] This is a natural process when reading, and it helps the mind to access meanings to comprehend and remember what is read, potentially reducing cognitive load.
In order to read, information concerning the written text is sent from visual areas 17, 18, and 19 to the angular gyrus (area 39) and from there to Wernicke's area, for silent reading or, together with Broca's area, for reading out loud. This model is now obsolete. [1]
An audiobook (or a talking book) is a recording of a book or other work being read out loud.A reading of the complete text is described as "unabridged", while readings of shorter versions are abridgements.
Peter Hershock, in discussing these terms in the context of performative utterances, points out the difference between telling someone that one is laughing out loud and actually laughing out loud: "The latter response is a straightforward action. The former is a self-reflexive representation of an action: I not only do something but also show ...
A soliloquy (/ s ə ˈ l ɪ l. ə. k w i, s oʊ ˈ l ɪ l. oʊ-/, from Latin solo "to oneself" + loquor "I talk", [1] [a] plural soliloquies) is a monologue addressed to oneself, thoughts spoken out loud without addressing another person. [2] [3] Soliloquies are used as a device in drama. In a soliloquy, a character typically is alone on a ...
Actor Christopher Walken performing a monologue in the 1984 stage play Hurlyburly. In theatre, a monologue (from Greek: μονόλογος, from μόνος mónos, "alone, solitary" and λόγος lógos, "speech") is a speech presented by a single character, most often to express their thoughts aloud, though sometimes also to directly address another character or the audience.
The performance of magic almost always involves the use of language. Whether spoken out loud or unspoken, words are frequently used to access or guide magical power. In The Magical Power of Words (1968), S. J. Tambiah argues that the connection between language and magic is due to a belief in the inherent ability of words to influence the universe.