Informative Speech

One example of a choric speech is found in William Shakespeare's play "Othello," where the character Emilia delivers a speech reflecting on the nature of male-female relationships, societal expectations, and the complexities of love and loyalty. Choric speeches are often used in plays to offer a broader perspective on the themes and events unfolding in the story.

There is no piece of legislation called the Category of Speech Act. However, a speech act is a linguistics term used to describe an utterance that has a function as a performance of communicating something.

Some speech occasions are:

Weddings

School/Community events

Fundraisers

Funerals

Church

Grand Openings

Birthday parties

Each of these events have a different audience. To be most effective when delivering your message, be sure to aim your speech at addressing the mood of the audience at these events. I would suggest looking at the 'G plan.'

An oratorical speech is a memorized rendition of an address or part of an address by a well-known orator. For example, you may have heard someone read Daniel Webster's speech, "Liberty and Union" or Abraham Lincoln's "Gettysburg Address." SOURCE: Toastmaster's Interpretive Reading Advanced Communication Manual. Project 5.

Declamation speech is a type of public speaking that involves delivering a famous or notable speech or text with emotional intensity and skillful interpretation. It typically aims to evoke a strong reaction from the audience and convey the original message effectively. Declamation speeches are often used in competitions or performances to showcase speaking abilities and connect with listeners on a deeper level.

Speech and spoken words have always played a big role in the individual and collective lives of the people. Wars have been won, blood has been shed, men have sacrificed their lives, and peace agreements have been made because of the magical words of a few who knew how to give life to their words. And this is one thing that hasn't changed even with the development of various technologies. We are yet to see something as powerful as speech that influences the minds and thoughts of the whole mankind.

A speech to actuate aims to inspire and motivate the audience to take action or change their behavior. It is designed to move people to do something or make a decision, often by appealing to their emotions and values. This type of speech typically includes a call to action and uses persuasive techniques to incite the desired response.

1. "The Road Not Taken" by Robert Frost
2. "Stopping by Woods on a Snowy Evening" by Robert Frost
3. "If" by Rudyard Kipling
4. "Invictus" by William Ernest Henley
5. "The Jabberwocky" by Lewis Carroll

An oration piece is a speech or discourse that is typically given in a formal setting, often to persuade, inform, or inspire an audience. It is a well-structured and carefully crafted presentation that showcases the speaker's eloquence and ability to effectively communicate their message.

Searle has introduced the notion of an 'indirect speech act', which in his account is meant to be, more particularly, an indirect 'illocutionary' act. Applying a conception of such illocutionary acts according to which they are (roughly) acts of saying something with the intention of communicating with an audience, he describes indirect speech acts as follows: "In indirect speech acts the speaker communicates to the hearer more than he actually says by way of relying on their mutually shared background information, both linguistic and nonlinguistic, together with the general powers of rationality and inference on the part of the hearer." An account of such act, it follows, will require such things as an analysis of mutually shared background information about the conversation, as well as of rationality and linguistic conventions. In connection with indirect speech acts, Searle introduces the notions of 'primary' and 'secondary' illocutionary acts. The primary illocutionary act is the indirect one, which is not literally performed. The secondary illocutionary act is the direct one, performed in the literal utterance of the sentence (Searle 178). In the example: : (1) Speaker X: "We should leave for the show or else we'll be late." : (2) Speaker Y: "I am not ready yet." Here the primary illocutionary act is Y's rejection of X's suggestion, and the secondary illocutionary act is Y's statement that she is not ready to leave. By dividing the illocutionary act into two subparts, Searle is able to explain that we can understand two meanings from the same utterance all the while knowing which is the correct meaning to respond to. With his doctrine of indirect speech acts Searle attempts to explain how it is possible that a speaker can say something and mean it, but additionally mean something else. This would be impossible , or at least it would be an improbable case, if in such a case the hearer had no chance of figuring out what the speaker means (over and above what she says and means). Searle's solution is that the hearer can figure out what the indirect speech act is meant to be, and he gives several hints as to how this might happen. For the previous example a condensed process might look like this: : Step 1: A proposal is made by X, and Y responded by means of an illocutionary act (2). : Step 2: X assumes that Y is cooperating in the conversation, being sincere, and that she has made a statement that is relevant. : Step 3: The literal meaning of (2) is not relevant to the conversation. : Step 4: Since X assumes that Y is cooperating; there must be another meaning to (2). : Step 5: Based on mutually shared background information, X knows that they cannot leave until Y is ready. Therefore, Y has rejected X's proposition. : Step 6: X knows that Y has said something in something other than the literal meaning, and the primary illocutionary act must have been the rejection of X's proposal. Searle argues that a similar process can be applied to any indirect speech act as a model to find the primary illocutionary act (178). His proof for this argument is made by means of a series of supposed "observations" (ibid., 180-182). In order to generalize this sketch of an indirect request, Searle proposes a program for the analysis of indirect speech act performances, whatever they are. He makes the following suggestion: : Step 1: Understand the facts of the conversation. : Step 2: Assume cooperation and relevance on behalf of the participants. : Step 3: Establish factual background information pertinent to the conversation. : Step 4: Make assumptions about the conversation based on steps 1-3. : Step 5: If steps 1-4 do not yield a consequential meaning, then infer that there are two illocutionary forces at work. : Step 6: Assume the hearer has the ability to perform the act the speaker suggests. The act that the speaker is asking be performed must be something that would make sense for one to ask. For example, the hearer might have the ability to pass the salt when asked to do so by a speaker who is at the same table, but not have the ability to pass the salt to a speaker who is asking the hearer to pass the salt during a telephone conversation. : Step 7: Make inferences from steps 1-6 regarding possible primary illocutions. : Step 8: Use background information to establish the primary illocution (Searle 184). With this process, Searle concludes that he has found a method that will satisfactorily reconstruct what happens when an indirect speech act is performed. Searle (1975)[3] has set up the following classification of illocutionary speech acts: * assertives = speech acts that commit a speaker to the truth of the expressed proposition * directives = speech acts that are to cause the hearer to take a particular action, e.g. requests, commands and advice * commissives = speech acts that commit a speaker to some future action, e.g. promises and oaths * expressives = speech acts that expresses on the speaker's attitudes and emotions towards the proposition, e.g. congratulations, excuses and thanks * declaratives = speech acts that change the reality in accord with the proposition of the declaration, e.g. baptisms, pronouncing someone guilty or pronouncing someone husband and wife

to come up with a speech topic think about the things you believe in if you can't think of anything do it on world peace or something like that. it's easy and you can find a lot of quotes on it.

Impromptu speeches are given with little to no preparation, while extemporaneous speeches are delivered with some degree of preparation and research. In impromptu speeches, speakers rely more on their ability to think on their feet, whereas in extemporaneous speeches, speakers have more time to organize their thoughts and structure their arguments.

Oratorical speech is a formal public address delivered with a focus on eloquence, persuasion, and rhetorical devices to engage and influence the audience. It often involves structured arguments, emotional appeal, and the skillful use of language to deliver a powerful and memorable message. It is commonly used in settings such as debates, political speeches, and formal presentations.

A testimonial speech is a public address given by someone to express their endorsement or approval of a person, product, service, or organization. It typically includes personal experiences and perspectives to support the promotion or recommendation of the subject matter.

When used to mean "somewhat," kind of is informal: She's kind of cute. When used taxonomically to indicate classification, kind of is formal: Dingoes are a kind of wild dog.

A rhetorical question is a question which does not expect an answer. For example: "What's the use?" Rhetoric is speech which is more concerned with style than with content. Thus, a rhetorical speech would be a speech which sounds great, but doesn't say a whole lot.

They are:

VOICE QUALITY

• The ability to combine successfully the light, medium, and dark voices in

the choir (using these groups for their natural basic sounds and/or combining

them for special effects).

• The ability to communicate, through voice, reactions to thoughts or

emotions.

NUMBER OF VOICES

• The ability to add or subtract whole sections, banks, smaller groups, or

solo speakers to increase or diminish the power or riclmess of the sound to

better express the meaning.

BODILY MOVEMENT

• Ability to use gesture, choreography, or other movement to enhance

communication and better express meaning.

PITCH

• Pitch refers to the variations of the voice on the musical scale and is

generally referred to as inflection. Children generally have little problem with

pitch because they use it naturally and freely.

POWER

• Ability to use volume, force, or loudness as emphasis in appropriate places

to better express feeling and meaning. A power build should be related to the

elements of a sentence and/or growing emotion.

PHRASING AND RHYTHM

• Ability to use phrasing and rhythm as reinforcements for each other. Each

must blend together to better express the meaning of the verse.

TEMPO

• Tempo refers to the rate of speed at which a reading progresses. The

ability to balance the rhythm of a piece and the tempo of performance.

Tempo should relate to the central "beat" of the poem. (Too fast? Too slow?)

STAGING

• The ability to successfully organize and position the choir on stage or risers

for miximwn performance effect. The ability to stage entrances and exits

which enhance the mood ofthe poem and performance. The ability to

"costume" speakers in a way which also enhances the performance as a

whole.

Speech is a natural ability of humans to communicate verbally, developed over thousands of years. It is difficult to attribute its invention to a single individual, as communication through speech likely evolved as early humans interacted with each other and developed language skills.

The form of speech depends on the intention of the author, of what he wants to do: tell, describe, explain, defend a viewpoint or a proposed action. We distinguish five forms of discourse: the narrative, descriptive, argumentative and injunction.

Forget It If you see a tall fellow ahead of a crowd, A leader of men, marching fearless and proud, And you know of a tale whose mere telling aloud Would cause his proud head to in anguish be bowed, It's a pretty good plan to forget it. If you know of a skeleton hidden away In a closet, and guarded and kept from the day In the dark, and whose showing, whose sudden display, Would cause grief and sorrow and lifelong dismay, It's a pretty good plan to forget it. If you know of a thing which will darken the joy Of a man or woman, a girl or a boy, Which will wipe out a smile, or the least way annoy A fellow, or cause any gladness to cloy It's a pretty good plan to forget it.

This is a complex topic that involves moral, legal, and ethical considerations. While it is important to hold individuals accountable for their actions, it is also essential to consider rehabilitation and prevention of future crimes. Society benefits from a balance between punishment and efforts to address the underlying causes of criminal behavior.