front cover of The African American Newspaper
The African American Newspaper
Voice of Freedom
Patrick S. Washburn
Northwestern University Press, 2006
Winner, 2007 Tankard Award

In March of 1827 the nation's first black newspaper appeared in New York City—to counter attacks on blacks by the city's other papers. From this signal event, The African American Newspaper traces the evolution of the black newspaper—and its ultimate decline--for more than 160 years until the end of the twentieth century.

The book chronicles the growth of the black press into a powerful and effective national voice for African Americans during the period from 1910 to 1950--a period that proved critical to the formation and gathering strength of the civil rights movement that emerged so forcefully in the following decades. In particular, author Patrick S. Washburn explores how the Pittsburgh Courier and the Chicago Defender led the way as the two most influential black newspapers in U.S. history, effectively setting the stage for the civil rights movement's successes. Washburn also examines the numerous reasons for the enormous decline of black newspapers in influence and circulation in the decades immediately following World War II. His book documents as never before how the press's singular accomplishments provide a unique record of all areas of black history and a significant and shaping affect on the black experience in America.
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Anti-Indianism in Modern America
A Voice from Tatekeya's Earth
Elizabeth Cook-Lynn
University of Illinois Press, 2000

Addressing Native American studies past, present, and future, the essays in New Indians, Old Wars tackle the discipline head-on, presenting a radical revision of the popular view of the American West in the process. Instead of luxuriating in the West's past glories or accepting the widespread historians' view of it as a shared place, Elizabeth Cook-Lynn argues that the American West should be fundamentally understood as stolen.

Cook-Lynn says that the Indian Wars of Resistance to the nineteenth- and twentieth-century colonial effort to seize native lands and resources must be given standing in the face of the ever-growing imperial narrative of America--because the terror the world is now witnessing may be the direct consequence of events which began in America's earliest dealings with the natives of this continent. Cook-Lynn's story examines the ongoing and perennial relationship of conflict between colonizers and indigenous people, and it is a story that every American must read.

Cook-Lynn understands that the story of the American West teaches the political language of land theft and tyranny. She argues that to remedy this situation, Native American studies must be considered and pursued as its own discipline, rather than as a subset of history or anthropology. She makes an impassioned claim that such a shift, not merely an institutional or theoretical change, could allow Native American studies to play an important role in defending the sovereignty of indigenous nations today.

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Arcticness
Power and Voice from the North
Ilan Kelman
University College London, 2017
Climate change and globalization are opening up the Arctic for resource development and exploitation. But what about the views, interests, and needs of the peoples who already live in the region? Featuring essays by both academics and Arctic peoples themselves, this new book covers the social, legal, political, geographical, scientific, environmental, and creative questions related to Arcticness and addresses the exceptional challenges faced by the Arctic region and its local communities. 
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The Art of Accompanying and Coaching
Kurt Adler
University of Minnesota Press, 1965

The Art of Accompanying and Coaching was first published in 1965. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

Kurt Adler, former conductor and chorus master of the Metropolitan Opera, provides a comprehensive guide to musical accompanying and coaching, based in his extensive experience, which will be helpful, if not indispensable, to music teachers, students, coaches, accompanists, orchestral and choral conductors, and performing vocal and instrumental artists.

The first part of the book gives the historical and technical background of the subject and explains in detail the mechanics of string instruments, piano, celeste, organ, harmonium, and voice. The next section offers a thorough guide to the singing diction of five languages— Italian, Latin, French, German, and English. The author continues with a discussion of the elements of musical style, describing, with the use of ample musical illustrations, tempo, rhythm, dynamics, phrasing and articulation, and ornamentation. This section closes with an analysis of the German lied style and the French art song style.

Mr. Adler goes on to synthesize the various elements of accompanying and coaching. He stresses the importance of psychological and spiritual rapport between accompanists and artist and shows ways of achieving this. He explains the differences and similarities among opera, oratorio, and song coaching. In a section on program arranging, he offers advice about planning concerts of various kinds, citing examples of programs given by outstanding artists. He writes about particular aspects of accompanying — self accompanying, the difference between piano accompanying and soloistic piano playing, and accompanying for singers, instrumentalists, and dancers. In conclusion, he describes the qualities of an ideal accompanist and the rewards derived from excellence in performance.

University and college music departments, schools of music, choral groups, voice teachers, singers, pianists, and other musicians will find the book of inestimable value, either as a text or as a reference work. It will be especially helpful to pianists who aspire to become accompanists.

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Aurality
Listening and Knowledge in Nineteenth-Century Colombia
Ana María Ochoa Gautier
Duke University Press, 2014
In this audacious book, Ana María Ochoa Gautier explores how listening has been central to the production of notions of language, music, voice, and sound that determine the politics of life. Drawing primarily from nineteenth-century Colombian sources, Ochoa Gautier locates sounds produced by different living entities at the juncture of the human and nonhuman. Her "acoustically tuned" analysis of a wide array of texts reveals multiple debates on the nature of the aural. These discussions were central to a politics of the voice harnessed in the service of the production of different notions of personhood and belonging. In Ochoa Gautier's groundbreaking work, Latin America and the Caribbean emerge as a historical site where the politics of life and the politics of expression inextricably entangle the musical and the linguistic, knowledge and the sensorial.
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Behind the Mask of the Strong Black Woman
Voice and the Embodiment of a Costly Performance
Tamara Beauboeuf-Lafontant
Temple University Press, 2009
The defining quality of Black womanhood is strength, states Tamara Beauboeuf-Lafontant in Behind the Mask of the Strong Black Woman. But, she argues, the idea of strength undermines its real function: to defend and maintain a stratified social order by obscuring Black women’s experiences of suffering, acts of desperation, and anger. This provocative book lays bare the common perception that strength is an exemplary or defining quality of “authentic” Black womanhood.

The author, a noted sociologist, interviews 58 Black women about being strong and proud, to illustrate their “performance” of invulnerability. Beauboeuf-Lafontant explains how such behavior leads to serious symptoms for these women, many of whom suffer from eating disorders and depression.

Drawing on Black feminist scholarship, cultural studies, and women’s history, Behind the Mask of the Strong Black Woman traces the historical and social influences of normative Black femininity, looking at how notions of self-image and strength create a distraction from broader forces of discrimination and power.
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Between Silences
A Voice from China
Ha Jin
University of Chicago Press, 1990
"Mixing autobiography with invented other voices, this book is an extraordinary meditation on what it means to have lived the history of China in the second half of the twentieth century. At its best, Ha Jin's language is as accessible, penetrating, and mysterious as Pound's Cathay. This is a profound book, an event."—Frank Bidart

"In these poems Ha Jin gives voice to the millions whose lives were altered and whose tongues were silenced by the Cultural Revolution. . . .If Ha Jin speaks in tongues in these poems, we feel him behind those voices—the hidden director behind the scenes—never as a presence filled with stridency and self-congratulation; he brings a great empathy and compassion to his depiction of the fallible men and women whose acts and attitudes together make up history."—Roger Gilbert, Hungry Mind Review
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Beyond Betrayal
The Priest Sex Abuse Crisis, the Voice of the Faithful, and the Process of Collective Identity
Patricia Ewick and Marc W. Steinberg
University of Chicago Press, 2019
In 2002, the national spotlight fell on Boston’s archdiocese, where decades of rampant sexual misconduct from priests—and the church’s systematic cover-ups—were exposed by reporters from the Boston Globe. The sordid and tragic stories of abuse and secrecy led many to leave the church outright and others to rekindle their faith and deny any suggestions of institutional wrongdoing. But a number of Catholics vowed to find a middle ground between these two extremes: keeping their faith while simultaneously working to change the church for the better.

Beyond Betrayal charts a nationwide identity shift through the story of one chapter of Voice of the Faithful (VOTF), an organization founded in the scandal’s aftermath. VOTF had three goals: helping survivors of abuse; supporting priests who were either innocent or took risky public stands against the wrongdoers; and pursuing a broad set of structural changes in the church. Patricia Ewick and Marc W. Steinberg follow two years in the life of one of the longest-lived and most active chapters of VOTF, whose thwarted early efforts at ecclesiastical reform led them to realize that before they could change the Catholic Church, they had to change themselves. The shaping of their collective identity is at the heart of Beyond Betrayal, an ethnographic portrait of how one group reimagined their place within an institutional order and forged new ideas of faith in the wake of widespread distrust.
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Blood and Voice
Navajo Women Ceremonial Practitioners
Maureen Trudelle Schwarz
University of Arizona Press, 2003
Adulthood in the Navajo world is marked by the onset of menstruation in females and by the deepening of the voice in males. Accordingly, young adults must accept responsibility over the powers manifest in blood and voice: for women, the forces that control reproduction and growth; for men, the powers of protection and restoration of order that come through maintaining Navajo oral tradition.

The maintenance of the latter tradition has long been held to be the function of the Navajo singer, a role usually viewed as male. But despite this longstanding assumption, women can and do fill this role. Drawing on interviews with seventeen Navajo women practitioners and five apprentices, Maureen Trudelle Schwarz explicates women's role as ceremonial practitioners and shows that it is more complex than has previously been thought. She examines gender differences dictated by the Navajo origin story, details how women came to be practitioners, and reveals their experiences and the strategies they use to negotiate being both woman and singer.

Women who choose careers as singers face complex challenges, since some rules prohibit menstruating women from conducting ceremonies and others regarding sexual continence can strain marital relationships. Additionally, oral history places men in charge of all ceremonial matters. Schwarz focuses on how the reproductive life courses of Navajo women influence their apprenticeships and practices to demonstrate how they navigate these issues to preserve time-honored traditions. Through the words of actual practitioners, she shows how each woman brings her own unique life experience to the role. While differing among individuals, these experiences represent a commitment to shared cultural symbols and result in a consensus that sustains social cohesion.

By showing the differences and similarities between the apprenticeship, initiation, and practice of men and women singers, Blood and Voice offers a better understanding of the role of Navajo women in a profession usually viewed as a male activity—and of the symbolic construction of the self in Navajo culture. It also addresses classic questions concerning the sexual division of labor, menstrual taboos, gender stereotypes, and the tension between tradition and change that will enlighten students of other cultures.
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Blues Mamas and Broadway Belters
Black Women, Voice, and the Musical Stage
Masi Asare
Duke University Press, 2024
In Blues Mamas and Broadway Belters, songwriter, scholar, and dramatist Masi Asare explores the singing practice of black women singers in US musical theatre between 1900 and 1970. Asare shows how a vanguard of black women singers including Gertrude “Ma” Rainey, Bessie Smith, Ethel Waters, Pearl Bailey, Juanita Hall, Lena Horne, Eartha Kitt, Diahann Carroll, and Leslie Uggams created a lineage of highly trained and effective voice teachers whose sound and vocal techniques continue to be heard today. Challenging pervasive narratives that these and other black women possessed “untrained” voices, Asare theorizes singing as a form of sonic citational practice—how the sound of the teacher’s voice lives on in the student’s singing. From vaudeville-blues shouters, black torch singers, and character actresses to nightclub vocalists and Broadway glamour girls, Asare locates black women of the musical stage in the context of historical voice pedagogy. She invites readers not only to study these singers, but to study with them—taking seriously what they and their contemporaries have taught about the voice. Ultimately, Asare speaks to the need to feel and hear the racial history in contemporary musical theatre.
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Broadcasting, Voice, and Accountability
A Public Interest Approach to Policy, Law, and Regulation
Steve Buckley, Kreszentia Duer, Toby Mendel, and Seán Ó Siochrú
University of Michigan Press, 2008
Participatory development and government accountability depend in part on the existence of media that provide broad access to information from varied sources and that equip and encourage people to raise and debate issues and develop public opinion. Conducive policies, laws, and regulations are essential for media to develop that are independent and widely accessible and that enable the expression of diverse perspectives and sources of information. Broadcasting, Voice, and Accountability presents a framework to inform analysis of existing policies and support the development of a vigorous media sector, with a particular emphasis on broadcasting. It focuses on broadcasting because that is the medium with the greatest potential to reach and involve society at large, including the most disadvantaged and illiterate segments of society in developing countries. Information on good practices in broadcasting policy is in demand in countries of every region—particularly in countries that are opening their economies, democratizing, and decentralizing public service delivery.
This book provides development practitioners with a wide overview of the key policy and regulatory issues involved in supporting freedom of information and expression and enabling development of a pluralistic, independent, and robust broadcasting sector. Policy, regulation, capacity, and institutional development are important development levers that shape the ownership, content, and social impacts of broadcasting systems. The guide shows the importance of enabling a mix of ownership and uses, commonly classified in terms of commercial, public service, and community broadcasting, that serves the public interest. With the guidance of this book, broadcasting policy and regulation can be tackled as a mainstream development topic, with important consequences for government transparency, government accountability, and enabling disadvantaged constituencies to voice their concerns and press for action.
This book is the World Bank's first publication presenting good practices from around the world in media and broadcasting policy and regulation and complements existing work in governance, public sector reform, and access to information. It is a useful tool for policymakers, reform managers, development practitioners, and students alike.
"Most books on the state of broadcasting in the third world tend either to lament the lack of governance, accountability and competence, or to speak down to their readers. This book is part of a new generation that acknowledges ability and a willingness to move forward into the twenty-first century with integrity and imagination. It is not patronizing, and it is certainly not boring. It focuses on really useful approaches to setting up, sustaining, and governing broadcasting systems across the world. This is an excellent book whose combination of sound scholarship and intelligent advice will be welcomed by policymakers and broadcasters alike. It is relevant, interesting, and a jolly good read."
---Ruth Teer-Tomaselli, UNESCO Chair in Communication for Southern Africa, Culture, Communication and Media Studies, University of KwaZulu-Natal

digitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.

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Caribbean Literary Discourse
Voice and Cultural Identity in the Anglophone Caribbean
Barbara Lalla
University of Alabama Press, 2013
A study of the multicultural, multilingual, and Creolized languages that characterize Caribbean discourse, especially as reflected in the language choices that preoccupy creative writers

Caribbean Literary Discourse opens the challenging world of language choices and literary experiments characteristic of the multicultural and multilingual Caribbean. In these societies, the language of the master— English in Jamaica and Barbados—overlies the Creole languages of the majority. As literary critics and as creative writers, Barbara Lalla, Jean D’Costa, and Velma Pollard engage historical, linguistic, and literary perspectives to investigate the literature bred by this complex history. They trace the rise of local languages and literatures within the English speaking Caribbean, especially as reflected in the language choices of creative writers.

The study engages two problems: first, the historical reality that standard metropolitan English established by British colonialists dominates official economic, cultural, and political affairs in these former colonies, contesting the development of vernacular, Creole, and pidgin dialects even among the region’s indigenous population; and second, the fact that literary discourse developed under such conditions has received scant attention.

Caribbean Literary Discourse explores the language choices that preoccupy creative writers in whose work vernacular discourse displays its multiplicity of origins, its elusive boundaries, and its most vexing issues. The authors address the degree to which language choice highlights political loyalties and tensions; the politics of identity, self-representation, and nationalism; the implications of code-switching—the ability to alternate deliberately between different languages, accents, or dialects—for identity in postcolonial society; the rich rhetorical and literary effects enabled by code-switching and the difficulties of acknowledging or teaching those ranges in traditional education systems; the longstanding interplay between oral and scribal culture; and the predominance of intertextuality in postcolonial and diasporic literature.
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Communicative Biocapitalism
The Voice of the Patient in Digital Health and the Health Humanities
Olivia Banner
University of Michigan Press, 2017
The Precision Medicine Initiative, Apple’s HealthKit, the FitBit—the booming digital health industry asserts that digital networks, tools, and the scientific endeavors they support will usher in a new era of medicine centered around “the voice of the patient.” But whose “voices” do such tools actually solicit? And through what perspective will those voices be heard? Digital health tools are marketed as neutral devices made to help users take responsibility for their health. Yet digital technologies are not neutral; they are developed from an existing set of assumptions about their potential users and contexts for use, and they reflect dominant ideologies of health, dis/ability, gender, and race. Using patient-networking websites, the Quantified Self, and online breast cancer narratives,  Communicative Biocapitalism examines the cultural, technological, economic, and rhetorical logics that shape the “voice of the patient” in digital health to identify how cultural understandings and social locations of race, gender, and disability shape whose voices are elicited and how they are interpreted.
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The Computer's Voice
From Star Trek to Siri
Liz W. Faber
University of Minnesota Press, 2020

A deconstruction of gender through the voices of Siri, HAL 9000, and other computers that talk

Although computer-based personal assistants like Siri are increasingly ubiquitous, few users stop to ask what it means that some assistants are gendered female, others male. Why is Star Trek’s computer coded as female, while HAL 9000 in 2001: A Space Odyssey is heard as male? By examining how gender is built into these devices, author Liz W. Faber explores contentious questions around gender: its fundamental constructedness, the rigidity of the gender binary, and culturally situated attitudes on male and female embodiment.

Faber begins by considering talking spaceships like those in Star Trek, the film Dark Star, and the TV series Quark, revealing the ideologies that underlie space-age progress. She then moves on to an intrepid decade-by-decade investigation of computer voices, tracing the evolution from the masculine voices of the ’70s and ’80s to the feminine ones of the ’90s and ’00s. Faber ends her account in the present, with incisive looks at the film Her and Siri herself.

Going beyond current scholarship on robots and AI to focus on voice-interactive computers, The Computer’s Voice breaks new ground in questions surrounding media, technology, and gender. It makes important contributions to conversations around the gender gap and the increasing acceptance of transgender people. 

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Culturally Speaking
The Rhetoric of Voice and Identity in a Mediated Culture
Amanda Nell Edgar
The Ohio State University Press, 2019
Winner, 2020 Outstanding Book Award, Critical/Cultural Studies Division of the National Communication Association

Recent pieces by NPR, the BBC, and Forbes have called attention to the power of voice—positing that “your voice is the secret to getting hired” and that “voice can accelerate or hold back a career.” While it has become clearer that such things as pitch and intonation can be tied to assumptions about one’s gender, race/ethnicity, and class, studying voice as a socially constructed artifact carries with it unique challenges. In response, Culturally Speaking: The Rhetoric of Voice and Identity in a Mediated Culture presents an innovative approach to studying the spoken voice in media, showing how racial and gendered oppression bubble beneath the surface of American culture’s most recognized speaking voices, spreading invisible messages about which kinds of vocal identities are privileged and which kinds should be silenced.
 
Through her analysis of prominent voices in American culture—including Morgan Freeman, Tina Fey, Barack Obama, Adele, Dave Chappelle, Richard Pryor, and George Lopez—Amanda Nell Edgar argues that voices carry a residue of the particular cultural environments in which they are formed, and that these environments can be traced and analyzed to add a sonic dimension to our understanding of race and gender as rhetorically situated identities—pushing back against the often-unnoticed systems of sound-based discrimination.
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The Diva's Mouth
Body, Voice, and Prima Donna Politics
Leonardi, Susan J.
Rutgers University Press, 1996
Like the divine, divas, it seems, are omnipresent. From the sirens to Madonna, from castrati to Callas, from opera stage to drag shows to TV commercials, from George Eliot to writers of detective fiction, the diva has been worshipped, feared, maligned, parodied, and appropriated. The Diva's Mouth: Bodies, Voice, and Prima Donna Politics examines how and why, from the eighteenth century to the present, divas have been talked about with so much passion and written up, down, and over with so much ambiguity and contradiction. The book explores the myriad roles the diva plays in masculinist, feminist, and queer imaginations--in opera itself and in other fictions, films, and fantasies, including the divas' (and the authors') own. Finally, it examines how and why pop and "pomo" singers, like Madonna, Annie Lennox, and Diamanda Galas, in very explicit ways both flirt with and fling off the fantasy of the woman with a voice. In this very witty and highly readable book, the authors tell everything you always wanted to know and make you want to know even more about the diva.
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Divining the Oracle
Monteverdi's Seconda prattica
Massimo Ossi
University of Chicago Press, 2003
Claudio Monteverdi's historical position in music has been compared to that of Shakespeare in literature: almost exact contemporaries, each worked from traditional beginnings to transform nearly every genre he attempted. In this book, Massimo Ossi delves into the most significant aspect of Monteverdi's career: the development, during the first years of the seventeenth century, of a new compositional style he called the seconda prattica or "second manner."

Challenged in print for the unconventional aspects of his music, Monteverdi found himself at the center of a debate between defenders of Renaissance principles and the newest musical currents of the time. The principles of the seconda prattica, Ossi argues in this sophisticated analysis of Monteverdi's writings, music, and approaches to text-setting, were in fact much more significant to the course of Monteverdi's career than previously thought by modern scholars-not only did Monteverdi continue to pursue their aesthetic and theoretical implications for the rest of his life, but they also affected his dramatic compositions as well as his chamber vocal music and sacred works.

Ossi "divines the oracle" of Monteverdi's ambiguous theoretical concepts in a clear way and in terms of pure music; his book will enhance our understanding of Monteverdi as one of the most significant figures in western music history.
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Exit, Voice, and Loyalty
Responses to Decline in Firms, Organizations, and States
Albert O. Hirschman
Harvard University Press, 1970

An innovator in contemporary thought on economic and political development looks here at decline rather than growth. Albert O. Hirschman makes a basic distinction between alternative ways of reacting to deterioration in business firms and, in general, to dissatisfaction with organizations: one, “exit,” is for the member to quit the organization or for the customer to switch to the competing product, and the other, “voice,” is for members or customers to agitate and exert influence for change “from within.” The efficiency of the competitive mechanism, with its total reliance on exit, is questioned for certain important situations. As exit often undercuts voice while being unable to counteract decline, loyalty is seen in the function of retarding exit and of permitting voice to play its proper role.

The interplay of the three concepts turns out to illuminate a wide range of economic, social, and political phenomena. As the author states in the preface, “having found my own unifying way of looking at issues as diverse as competition and the two-party system, divorce and the American character, black power and the failure of ‘unhappy’ top officials to resign over Vietnam, I decided to let myself go a little.”

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Feminist Readings of Native American Literature
Coming to Voice
Kathleen M. Donovan
University of Arizona Press, 1998
Who in a society can speak, and under what circumstances? These questions are at the heart of both Native American literature and feminist literary and cultural theory. Despite the recent explosion of publication in each of these fields, almost nothing has been written to date that explores the links between the two. With Feminist Readings of Native American Literature, Kathleen Donovan takes an important first step in examining how studies in these two fields inform and influence one another. Focusing on the works of N. Scott Momaday, Joy Harjo, Paula Gunn Allen, and others, Donovan analyzes the texts of these well-known writers, weaving a supporting web of feminist criticism throughout. With careful and gracefully offered insights, the book explores the reciprocally illuminating nature of culture and gender issues.

The author demonstrates how Canadian women of mixed-blood ancestry achieve a voice through autobiographies and autobiographical novels. Using a framework of feminist reader response theory, she considers an underlying misogyny in the writings of N. Scott Momaday. And in examining commonalities between specific cultures, she discusses how two women of color, Paula Gunn Allen and Toni Morrison, explore representations of femaleness in their respective cultures. By synthesizing a broad spectrum of critical writing that overlaps women's voices and Native American literature, Donovan expands on the frame of dialogue within feminist literary and cultural theory. Drawing on the related fields of ethnography, ethnopoetics, ecofeminism, and post-colonialism, Feminist Readings of Native American Literature offers the first systematic study of the intersection between two dynamic arenas in literary studies today.
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From Voice to Influence
Understanding Citizenship in a Digital Age
Edited by Danielle Allen and Jennifer S. Light
University of Chicago Press, 2015
How have online protests—like the recent outrage over the Komen Foundation’s decision to defund Planned Parenthood—changed the nature of political action? How do Facebook and other popular social media platforms shape the conversation around current political issues? The ways in which we gather information about current events and communicate it with others have been transformed by the rapid rise of digital media. The political is no longer confined to the institutional and electoral arenas, and that has profound implications for how we understand citizenship and political participation.

With From Voice to Influence, Danielle Allen and Jennifer S. Light have brought together a stellar group of political and social theorists, social scientists, and media analysts to explore this transformation. Threading through the contributions is the notion of egalitarian participatory democracy, and among the topics discussed are immigration rights activism, the participatory potential of hip hop culture, and the porous boundary between public and private space on social media. The opportunities presented for political efficacy through digital media to people who otherwise might not be easily heard also raise a host of questions about how to define “good participation:” Does the ease with which one can now participate in online petitions or conversations about current events seduce some away from serious civic activities into “slacktivism?”

 Drawing on a diverse body of theory, from Hannah Arendt to Anthony Appiah, From Voice to Influence offers a range of distinctive visions for a political ethics to guide citizens in a digitally connected world.
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Gaze and Voice as Love Objects
SIC 1
Renata Salecl and Slavoj Žižek, eds.
Duke University Press, 1996
The gaze entices, inspects, fascinates. The voice hypnotizes, seduces, disarms. Are gaze and voice part of the relationship we call love . . . or hate? If so, what part? How do they function? This provocative book examines love as the mediating entity in the essential antagonism between the sexes, and gaze and voice as love's medium. The contributors proceed from the Lacanian premise that "there is no sexual relationship," that the sexes are in no way complementary and that love—figured in the gaze and the voice —embodies the promise and impossibility of any relation between them.

The first detailed Lacanian elaboration of this topic, Gaze and Voice as Love Objects examines the status of gaze, voice, and love in philosophy from Plato to Kant, in ideology from early Christianity to contemporary cynicism, in music from Hildegard of Bingen to Richard Wagner, in literature from Edith Wharton's Age of Innocence to Kazuo Ishiguro's The Remains of the Day, and in cinema from Michael Powell's Peeping Tom to Kieslowski's A Short Film on Love. Throughout, the contributors seek to show that the conflict between the sexes is the site of a larger battle over the destiny of modernity. With insights into the underlying target of racist and sexist violence, this book offers surprising revelations into the nature of an ancient enigma—love.

Contributors. Elisabeth Bronfen, Mladen Dolar, Fredric Jameson, Renata Salecl, Slavoj Žižek, Alenka Zupancic

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A Gift of Madrigals and Motets
Edited by H. Colin Slim
University of Chicago Press, 1972
Near the end of the third decade of the sixteenth century, a five-volume set of madrigal and motet partbooks was assembled in Florence and sent as a gift—or "musical embassy"—to the English court of Henry VIII. The manuscript set—minus the missing altus part—has been owned since 1935 by the Newberry Library in Chicago; but until H. Colin Slim's exhaustive efforts, no thorough study of the history or contents of the partbooks had been undertaken.

At first encounter, these partbooks yield no clues concerning their provenance, their composers' names, or the reasons for their dispatch to England. In his search for this information, Professor Slim used the musicologists' customary tools, namely, biobibliography, concordances, and textual and musical analysis. But he also used bibliographers' tools not always employed by musicologists: watermarks, bindings, script, orthography, and illuminations.

As a result of his efforts, the author was able to identify nearly all the works' composers and the manuscripts' expert illuminator. He also presents a detailed description of the binding process and the probably background of the scribe, places the political and social references in the works, and determines the route the volumes may have taken after they left Henry's library.

By placing the date of the partbooks' arrival in England around 1528, Professor Slim suggests that the musical culture of the early Tudor court was less French than has hitherto been thought. Indeed, the presence of the partbooks in Henry's library makes them the earliest evidence of the Italian madrigal in England. The author also provides new and significant data on the artistic and historical position of Philippe Verdelot, the partbooks' most extensively represented composer.

Volume I of this set contains two parts. The first, dealing with the manuscript itself, contains the history of the partbooks, information on their origin, composers, texts, and their importance as a gift to Henry VIII. Part II, dealing with the music, discusses general musical traits, the motets, the madrigals, the results of collation, and the appearance of some of the Newberry motets and madrigals in other sources.
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Giving Voters a Voice
The Origins of the Initiative and Referendum in America
Steven L. Piott
University of Missouri Press, 2003
Giving Voters a Voice studies the origins of direct legislation, one of the most important political reforms enacted during the Progressive Era. Steven L. Piott begins with the source of the idea in the United States and proceeds to the earliest efforts aimed at generating a national movement to expand the parameters of popular democracy in the 1890s. He then broadens his examination to include the unique ways in which twenty-two states came to enact legislation allowing for the statewide initiative and referendum between 1898 and 1918. The book’s appendix offers the only comprehensive listing of all the ballot propositions and vote totals for the period.
Most historians of the Progressive Era have concluded that narrow self-interest prevented labor, farmers, and the middle class from working together to achieve important reforms. Giving Voters a Voice demonstrates that middle-class reformers, trade unionists, and farm organizers formed loose political coalitions and directed grass-roots campaigns to gain passage of initiative and referendum statutes because direct legislation offered the best means to correct political, economic, and social abuses. But there was more than just a shared sense of common interest that brought these seemingly oppositional groups together. What really made them willing to speak, lobby, and work together was quite simply the frustration felt by voters who sensed that they had become economically dependent and politically powerless.
Each state in which proponents conducted an active campaign to win adoption of direct legislation is studied in detail. The book analyzes the crucial roles played by individuals who led the movement to empower voters by enabling them to enact or veto legislation directly, and reveals the arguments, the stumbling blocks, and political compromises that are often slighted in generalized overviews. Each state possessed its own political dynamic. Giving Voters a Voice offers the reader a richness of detail and a completeness of coverage not found elsewhere.
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The Grain of the Voice
Interviews 1962-1980
Roland Barthes
Northwestern University Press, 2009

This book brings together the great majority of Barthes’s interviews that originally appeared in French in Le Figaro Littéraire, Cahiers du Cinéma, France-Observateur, L'Express, and elsewhere. Barthes replied to questions—on the cinema, on his own works, on fashion, writing, and criticism—in his unique voice; here we have Barthes in conversation, speaking directly, with all his individuality. These interviews provide an insight into the rich, probing intelligence of one of the great and influential minds of our time.

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Grains of the Voice
Poems
Christina Pugh
Northwestern University Press, 2013

Christina Pugh’s Grains of the Voice exhibits a pervasive fascination with sound in all its manifestations. The hu­man voice, musical instruments, the sounds produced by the natural and man-made worlds—all serve at one time or another as both the framework of poems and the occa­sion for their lightning-quick changes of direction, of tone, of point of reference. The poems are eclectic in their al­lusiveness, filled with echoes—and sometimes the words themselves—of other poets, but just as often of songs both popular and obscure, of the noise of pop culture, and of philosophers’ writings. But Pugh always wears her learn­ing lightly. Beneath the jewellike surfaces of her poems is a strenuous investigation of the nature of and need for communication and a celebration of the endless variety of its forms. 

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The Great Woman Singer
Gender and Voice in Puerto Rican Music
Licia Fiol-Matta
Duke University Press, 2017
Licia Fiol-Matta traces the careers of four iconic Puerto Rican singers—Myrta Silva, Ruth Fernández, Ernestina Reyes, and Lucecita Benítez—to explore how their voices and performance style transform the possibilities for comprehending the figure of the woman singer. Fiol-Matta shows how these musicians, despite seemingly intractable demands to represent gender norms, exercised their artistic and political agency by challenging expectations of how they should look, sound, and act. Fiol-Matta also breaks with conceptualizations of the female pop voice as spontaneous and intuitive, interrogating the notion of "the great woman singer" to deploy her concept of the "thinking voice"—an event of music, voice, and listening that rewrites dominant narratives. Anchored in the work of Lacan, Foucault, and others, Fiol-Matta's theorization of voice and gender in The Great Woman Singer makes accessible the singing voice's conceptual dimensions while revealing a dynamic archive of Puerto Rican and Latin American popular music.
[more]

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Handel as Orpheus
Voice and Desire in the Chamber Cantatas
Ellen T. Harris
Harvard University Press, 2004

Handel wrote over 100 cantatas, compositions for voice and instruments that describe the joy and pain of love. In Handel as Orpheus, the first comprehensive study of the cantatas, Ellen Harris investigates their place in Handel's life as well as their extraordinary beauty.

The cantatas were written between 1706 and 1723--from the time Handel left his home in Germany, through the years he spent in Florence and Rome, and into the early part of his London career. In this period he lived as a guest in aristocratic homes, and composed these chamber works for his patrons and hosts, primarily for private entertainments. In both Italy and England his patrons moved in circles in which same-sex desire was commonplace--a fact that is not without significance, Harris reveals, for the cantatas exhibit a clear homosexual subtext.

Addressing questions about style and form, dating, the relation of music to text, rhythmic and tonal devices, and voicing, Handel as Orpheus is an invaluable resource for the study and enjoyment of the cantatas, which have too long been neglected. This innovative study brings greater understanding of Handel, especially his development as a composer, and new insight into the role of sexuality in artistic expression.

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Hearing Things
Voice and Method in the Writing of Stanley Cavell
Timothy Gould
University of Chicago Press, 1998
What does philosophy have to do with the human voice? Has contemporary philosophy banished the "voice" from the field of legitimate investigation? Timothy Gould examines these questions through the philosopher most responsible for formulating them, Stanley Cavell. Hearing Things is the first work to treat systematically the relation between Cavell's pervasive authorial voice and his equally powerful, though less discernible, impulse to produce a set of usable philosophical methods.

Gould argues that a tension between voice and method unites Cavell's broad and often perplexing range of interests. From Wittgenstein to Thoreau, from Shakespeare to the movies, and from opera to Freud, Gould reveals the connection between the voice within Cavell's writing and the voices Cavell appeals to through the methods of ordinary language philosophy. Within Cavell's extraordinary productivity lies a new sense of philosophical method based on elements of the act of reading. Hearing Things is both an important study of Cavell's work and a major contribution to the construction of American philosophy.

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Hemingway and Women
Female Critics and the Female Voice
Lawrence R. Broer
University of Alabama Press, 2003
Female scholars reevaluate gender and the female presence in the life and work of one of America’s foremost writers

Ernest Hemingway has often been criticized as a misogynist because of his portrayal of women. But some of the most exciting Hemingway scholarship of recent years has come from women scholars who challenge traditional views of Hemingway and women. The essays in this collection range from discussions of Hemingway’s famous heroines Brett Ashley and Catherine Barkley to examinations of the central role of gender in his short stories and in the novel The Garden of Eden. Other essays address the real women in Hemingway’s life—those who cared for him, competed with him, and, ultimately, helped to shape his art. While Hemingway was certainly influenced by traditional perceptions of women, these essays show that he was also aware of the struggle of the emerging new woman of his time. Making this gender struggle a primary concern of his fiction, these critics argue, Hemingway created women with strength, depth, and a complexity that readers are only beginning to appreciate.
 
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In the Voice of Others
Chinese Music Bureau Poetry
Joseph R. Allen
University of Michigan Press, 1992
In the Voice of Others applies new critical methods to medieval works in the genre known as Music Bureau poetry (yuefu shi), stripping away layers of ossified conventional reading to expose the genre’s vital core. Arguing that Music Bureau poetry is best understood in terms of the imitative poetics now known as intratextuality, Allen explores the evolution of yuefu poetry and issues central to all genre formation. In the Voice of Others culminates in an in-depth consideration of the acknowledged master of Music Bureau poetry, the Tang poet Li Bo (Li Po).
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Jane Froman
Missouri's First Lady of Song
Ilene Stone
University of Missouri Press, 2003
Once asked to name the ten best female singers, the renowned musical producer Billy Rose replied, “There is Jane Froman and nine others.” A legend in her time, Jane Froman (1907–1980) was one of Missouri’s greatest success stories. Her singing career, which spanned over three decades, included radio and television, recordings, nightclub performances, Broadway shows, and Hollywood movies.
 
Born in University City, Froman spent her childhood in the small town of Clinton and her adolescence in Columbia. After earning her associate degree from Christian (now Columbia) College, she auditioned as a vocalist for WLW, a Cincinnati radio station, and in 1934 was voted the top “girl singer” of the day in a poll of listeners.
 
At the height of her career, during World War II, Froman volunteered to travel for the USO. On February 22, 1943, her plane crashed into the Tagus River near Lisbon, Portugal. Although she suffered horrible injuries that plagued her for the rest of her life, she continued her singing career. On crutches, she entertained the troops, giving ninety-five shows throughout Europe. Her courageous return was the focus of the 1952 movie With a Song in My Heart,starring Susan Hayward. For scenes that required singing performances, Froman sang the songs through dubbing, and the movie soundtrack became a best-selling record album. Froman’s popularity led to her own television show from 1952 to 1955. In 1961, Froman retired from singing and returned to Columbia, Missouri, where she was active in volunteer work and lived out her remaining years.
 
Drawing upon an autobiography that Froman started but never finished, Ilene Stone skillfully uses the singer’s own words, along with other resource materials and extensive interviews with people who knew Froman, to produce the first biography of this extraordinary woman. Written in a clear and accessible style, Jane Froman: Missouri’s First Lady of Song will be of great value to anyone interested in Missouri history, women’s studies, or the history of popular entertainment in the twentieth century.
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King's Vibrato
Modernism, Blackness, and the Sonic Life of Martin Luther King Jr.
Maurice O. Wallace
Duke University Press, 2022
In King’s Vibrato Maurice O. Wallace explores the sonic character of Martin Luther King Jr.’s voice and its power to move the world. Providing a cultural history and critical theory of the black modernist soundscapes that helped inform King’s vocal timbre, Wallace shows how the qualities of King’s voice depended on a mix of ecclesial architecture and acoustics, musical instrumentation and sound technology, audience and song. He examines the acoustical architectures of the African American churches where King spoke and the centrality of the pipe organ in these churches, offers a black feminist critique of the influence of gospel on King, and outlines how variations in natural environments and sound amplifications made each of King’s three deliveries of the “I Have a Dream” speech unique. By mapping the vocal timbre of one of the most important figures of black hope and protest in American history, Wallace presents King as the embodiment of the sound of modern black thought.
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The Madrigals of Michelangelo Rossi
Michelangelo Rossi
University of Chicago Press, 2002
Michelangelo Rossi's two books of five-voice polyphonic madrigals are among the most expressive works of their kind ever composed. Showing the influence of Gesualdo, the madrigals were probably written in Rome between 1624 and 1629, when Rossi was in the service of Cardinal Maurizio of Savoy. They were apparently never published, and there is only one complete manuscript source, which once belonged to Queen Christina of Sweden and now forms the principal source for Brian Mann's critical edition.

In his extensive introduction, Mann considers in detail the biographical, cultural, and stylistic milieu in which the madrigals were written. The scholarly edition of the music, based on a thorough examination of all the known sources, includes a complete critical commentary.

Mann's work on Rossi's madrigals has already helped revive interest in them. In 1998 a CD recording of Book I appeared on the Virgin label, performed by Il Complesso Barocco under the direction of Alan Curtis, and based on this critical edition.
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Maternal Body and Voice in Toni Morrison, Bobbie Ann Mason, and Lee Smith
Paula Gallant Eckard
University of Missouri Press, 2002
Throughout human history, motherhood and maternal experience have been largely defined and written by patriarchal culture. Religion, art, medicine, psychoanalysis, and other bastions of male power have objectified the maternal and have disregarded female subjectivity. As a result, maternal perspectives have been ignored and the mother’s voice silenced. In recent literary texts, however, more substantial attention has been given to motherhood and to the physical, psychological, social, and cultural dynamics affecting maternal experience. In Maternal Body and Voice in Toni Morrison, Bobbie Ann Mason, and Lee Smith, Paula Gallant Eckard examines how maternal experience is depicted in selected novels by three American writers, emphasizing how they focus on the body and the voice of the mother. These novels include: The Bluest Eye, Sula, and Beloved by Morrison; In Country, Spence + Lila, and Feather Crowns by Mason; and Oral History, Fair and Tender Ladies, and Saving Grace by Smith.
By employing this focus, these writers lessen the objectification the maternal has received and restore a rich subjectivity that foregrounds the mother’s perspective. Moreover, their fiction reflects a deep concern for history and culture and for a woman’s experience of her world. They challenge the traditional representations of black and white motherhood that have appeared in southern literature and society, rendering complex portrayals of motherhood that defy cultural stereotypes.
Eckard incorporates historical perspectives on African American and southern motherhood, utilizing the works of Elizabeth Fox-Genovese, Sally McMillen, Deborah White, Jacqueline Jones, and others. She draws upon the feminist criticism of Adrienne Rich, Elaine Showalter, Naomi Schor, Tillie Olsen, Karla F. C. Holloway, Barbara Christian, and others, and the linguistic and psychoanalytic theories of Julia Kristeva, Hélène Cixous, and Luce Irigaray. The author also addresses the cross-cultural connections shared by Morrison, Mason, and Smith, showing that, despite their racial and cultural differences, striking similarities can be found in their renderings of maternity.
The three women writers employ related image patterns, metaphors, and symbols involving the maternal body. By centering maternity so strongly in their novels, Morrison, Mason, and Smith establish the primacy of the mother and obviate the neglect to which maternal perspectives have been subjected. They restore the mother’s lost voice and her diminished subjectivity. Together they depict the maternal as a powerful force that shapes human lives and communities.
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Moral Spectatorship
Technologies of Voice and Affect in Postwar Representations of the Child
Lisa Cartwright
Duke University Press, 2008
Why were theories of affect, intersubjectivity, and object relations bypassed in favor of a Lacanian linguistically oriented psychoanalysis in feminist film theory in the 1980s and 1990s? In Moral Spectatorship, Lisa Cartwright rethinks the politics of spectatorship in film studies. Returning to impasses reached in late-twentieth-century psychoanalytic film theory, she focuses attention on theories of affect and object relations seldom addressed during that period. Cartwright offers a new theory of spectatorship and the human subject that takes into account intersubjective and affective relationships and technologies facilitating human agency. Seeking to expand concepts of representation beyond the visual, she develops her theory through interpretations of two contexts in which adult caregivers help bring children to voice. She considers several social-problem melodramas about deaf and nonverbal girls and young women, including Johnny Belinda, The Miracle Worker, and Children of a Lesser God. Cartwright also analyzes the controversies surrounding facilitated communication, a technological practice in which caregivers help children with communication disorders achieve “voice” through writing facilitated by computers. This practice has inspired contempt among professionals and lay people who charge that the facilitator can manipulate the child’s speech.

For more than two decades, film theory has been dominated by a model of identification tacitly based on the idea of feeling what the other feels or of imagining oneself to be the other. Building on the theories of affect and identification developed by André Green, Melanie Klein, Donald W. Winnicott, and Silvan Tomkins, Cartwright develops a model of spectatorship that takes into account and provides a way of critically analyzing the dynamics of a different kind of identification, one that is empathetic and highly intersubjective.

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The Motet Books of Andrea Antico
Edited by Martin Picker
University of Chicago Press, 1987
This volume is the latest in a distinguished series of Renaissance editions, Monuments of Renaissance Music, which was founded by Edward E. Lowinsky and is now edited by Howard Mayer Brown. Four of the seven volumes published in the series to date have received the Otto Kinkeldey Award of the American Musicological Society.

Andrea Antico was one of the earliest and most important music publishers. Starting in Rome in 1510 and continuing in Venice, Antico produced elegant books of polyphonic music, cut with incredible skill on wood blocks. The repertory he published is central to understanding sixteenth-century music. It includes, for example, many pieces sung regularly in the Sistine Chapel. Since the best-represented composer in Antico's volumes if Jean Mouton, chapel master to the French king, these motet books provide insights into the character of music both at the Vatican and at the French court at the height of the Renaissance.

Martin Picker provides an exemplary edition of the four volumes of motets published by Antico in the early 1520s. His edition includes, in modern notation, all of the contents of these volumes not previously published in the Medici Codex (Monuments of Renaissance Music, Volumes III-V). Picker prefaces his edition with a history of Antico's publishing career and a discussion of each piece and its sources. The list of concordant sources and the discussions of important variants will be of enormous value to Renaissance scholars.
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My Heart Is Bound Up with Them
How Carlos Montezuma Became the Voice of a Generation
David Martínez
University of Arizona Press, 2023
Carlos Montezuma is well known as an influential Indigenous figure of the turn of the twentieth century. While some believe he was largely interested only in enabling Indians to assimilate into mainstream white society, Montezuma’s image as a staunch assimilationist changes dramatically when viewed through the lens of his Yavapai relatives at Fort McDowell in Arizona.

Through his diligent research and transcription of the letters archived in the Carlos Montezuma Collection at Arizona State University Libraries, David Martínez offers a critical new perspective on Montezuma’s biography and legacy. During an attempt to force the Fort McDowell Yavapai community off of their traditional homelands north of Phoenix, the Yavapai community members and leaders wrote to Montezuma pleading for help. It was these letters and personal correspondence from his Yavapai cousins George and Charles Dickens, as well as Mike Burns that sparked Montezuma’s desperate but principled desire to liberate his Yavapai family and community—and all Indigenous people—from the clutches of an oppressive Indian Bureau.

Centering historically neglected Indigenous voices as his primary source material, Martínez elevates Montezuma’s correspondence and interactions with his family and their community and shows how it influenced his advocacy. Martínez argues that Montezuma’s work in Arizona directly contributed to his national projects. For his Yavapai community, Montezuma set an example as a resistance fighter and advocate on behalf of his people and other Indigenous groups. Martínez offers a critical exploration of history, memory, the formation of archival collections, and the art of writing biography.
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Phonetics and Diction in Singing
Italian, French, Spanish, German
Kurt Adler
University of Minnesota Press, 1967

Phonetics and Diction in Singing was first published in 1967. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions.

This book provides rules and illustrative examples for the study of songs and operas in the leading foreign languages of musical literature. The author is conductor and chorus master of the Metropolitan Opera. He has drawn the material from his larger book, The Art of Accompanying and Coaching,to provide a handbook or textbook especially suitable for use by voice teachers, singers, students in high schools, colleges, and schools of music, and members of choruses, church choirs, and opera workshops and their directors. Following a general discussion of phonetics and diction in singing there are separate chapters on Italian, French, Spanish, and German phonetics and diction. The text is illustrated with drawings and diagrams of vocal techniques and musical examples.

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A Question of Voice
Philosophy and the Search for Legitimacy
Ron Scapp
University of Michigan Press, 2020
A Question of Voice: Philosophy and the Search for Legitimacy offers an explicit and comprehensive consideration of voice as a complex of rethinking aspects of the history of philosophy through issues of power, as well as contemporary issues that include and involve the desire for and the dynamics of legitimacy, for individuals and communities. By identifying voice as a significant theme and means by which and through which we might better engage some important philosophical questions, Ron Scapp hopes to expand traditional philosophical discussion and discourse regarding questions about validity, legitimacy, empathy, and solidarity. He offers an innovative perspective that is informed and guided by multiculturalism, ethnic studies, queer studies, feminism, and thinkers and critics such as bell hooks, Barbara Christian, Angela Davis, Jacques Derrida, Michel Foucault, among others. A Question of Voice is an American investigation, but also suggests questions that emanate from contemporary continental thought as well as issues that arise from transnational perspectives—an approach that is motived by doing philosophy in an age of multiculturalism.
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Sound and Affect
Voice, Music, World
Edited by Judith Lochhead, Eduardo Mendieta, and Stephen Decatur Smith
University of Chicago Press, 2021
There is no place on earth that does not echo with the near or distant sounds of human activity. More than half of humanity lives in cities, meaning the daily soundtrack of our lives is filled with sound—whether it be sonorous, harmonious, melodic, syncopated, discordant, cacophonous, or even screeching. This new anthology aims to explore how humans are placed in certain affective attitudes and dispositions by the music, sounds, and noises that envelop us.

Sound and Affect maps a new territory for inquiry at the intersection of music, philosophy, affect theory, and sound studies. The essays in this volume consider objects and experiences marked by the correlation of sound and affect, in music and beyond: the voice, as it speaks, stutters, cries, or sings; music, whether vocal, instrumental, or machine-made; and our sonic environments, whether natural or artificial, and how they provoke responses in us. Far from being stable, correlations of sound and affect are influenced and even determined by factors as diverse as race, class, gender, and social and political experience. Examining these factors is key to the project, which gathers contributions from a cross-disciplinary roster of scholars, including both established and new voices. This agenda-setting collection will prove indispensable to anyone interested in innovative approaches to the study of sound and its many intersections with affect and the emotions.
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Speaking Chicana
Voice, Power, and Identity
D. Letticia Galindo
University of Arizona Press, 1999
Previous studies in the fields of applied linguistics, sociolinguistics, and gender studies have focused upon Chicano linguistic communities as a monolith or have focused entirely upon male-centered aspects of language use, leaving a tremendous gap in works about Chicanas, for Chicanas, and by Chicanas as they pertain to language-related issues. Speaking Chicana bridges that gap, offering for the first time an extensive examination of language issues among Chicanas. Flowing throughout this collection of essays are themes of empowerment and suppression of voice. Combining empirical studies and personal narratives in the form of testimonios, the editors expand the boundaries of linguistic study to include disciplines such as art, law, women's studies, and literature. The result is a multifaceted approach to the study of Chicana speech—one that provides a significant survey of the literature on Chicanas and language production. Ten contributors—from linguistic to lawyer, from poet to art historian—discuss language varieties and attitudes; bilinguality; codeswitching; cultural identity and language; language in literature and art; taboo language; and legal discourse. Speaking Chicana celebrates the complexity and diversity of linguistic contexts and influences reflected in Chicana speech. Various essays explore the speech of rural women; the evolution of linguistic forces over time; the influence of U.S. public education; linguistic dilemmas encountered by literary authors and women in the legal profession; and language used by pachucas and pintas.Speaking Chicana represents a significant contribution, not only to sociolinguistics, but also to other fields, including women's studies, Chicana/o studies, anthropology, and cultural studies. Contents
Part 1. Reconstruction: Language Varieties, Language Use, and Language Attitudes
1. Crossing Social and Cultural Borders: The Road to Language Hybridity, María Dolores Gonzales
2. Fighting Words: Latina Girls, Gangs, and Language Attitudes, Norma Mendoza-Denton
Part 2. Reflection: Testimonios
3. Speaking as a Chicana: Tracing Cultural Heritage through Silence and Betrayal, Jacqueline M. Martínez
4. The Power of Language: From the Back of the Bus to the Ivory Tower, Christine Marín
5. Challenging Tradition: Opening the Headgate, Ida M. Luján
6. Mexican Blood Runs through My Veins, Aurora E. Orozco
Part 3. Innovation: Speaking Creatively/Creatively Speaking
7. Searching for a Voice: Ambiguities and Possibilities, Erlinda Gonzales-Berry
8. Sacred Cults, Subversive Icons: Chicanas and the Pictorial Language of Catholicism, Charlene Villaseñor Black
9. Caló and Taboo Language Use among Chicanas: A Description of Linguistic Appropriation and Innovation, D. Letticia Galindo
10. Máscaras, Trenzas, y Greñas: Un/Masking the Self While Un/Braiding Latina Stories and Legal Discourse, Margaret E. Montoya
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Theatre Symposium, Vol. 3
Voice of the Dramaturg
Paul Castagno
University of Alabama Press, 1995
As both a verb and a noun, the word voice has many meanings and functions on multiple levels, a phenomenon that is remarkably analogous to the practice of dramaturgy. Thus, the topic title Voice of the Dramaturg allows for the requisite flexibility and provides a unifying theme for the third volume of Theatre Symposium. This volume of the proceedings from the June 1994 joint meeting of the Southeastern Theatre Conference and the Literary Managers and Dramaturgs in Atlanta, Georgia, addresses the question, What is Dramaturgy? Part I includes the contributions of the six symposium participants and concludes with the roundtable discussion by panelists. Part II is composed of refereed papers. These papers range from the highly theoretical to the practical and pedagogical. They reflect the diversity of what dramaturgy means in contemporary theatre.
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This Brain Had a Mouth
Lucy Gwin and the Voice of Disability Nation
James M. Odato
University of Massachusetts Press, 2021
Author, advocacy journalist, disability rights activist, feminist, and founder of Mouth magazine, Lucy Gwin (1943—2014) made her mark by helping those in "handicaptivity" find their voice. Gwin produced over one hundred issues of the magazine—one of the most radical and significant disability rights publications—and masterminded its acerbic, sometimes funny, and often moving articles about people from throughout the disability community.

In this engrossing biography, James M. Odato provides an intimate portrait of Gwin, detailing how she forged her own path into activism. After an automobile accident left her with a brain injury, Gwin became a tireless advocate for the equal rights of people she termed "dislabled." More than just a publisher, she fought against corruption in the rehabilitation industry, organized for the group Not Dead Yet, and much more. With Gwin's story at the center, Odato introduces readers to other key disability rights activists and organizations, and supplies context on current contentious topics such as physician-assisted suicide. Gwin's impact on disability rights was monumental, and it is time her story is widely known.
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Vivaldi
Voice of the Baroque
H. C. Robbins Landon
University of Chicago Press, 1996
Vivaldi boasted that he could compose a concerto faster than a scribe could copy one. Despite his prolificacy, The Four Seasons, and the majority of his already published work had fallen into obscurity by the time of his death in poverty in 1741. Most of his music-concertos, sonatas, operas, and sacral music-has been published only recently.

Very little has been written on Vivaldi for the nonspecialist, especially in English. Landon rediscovers the composer in this accessible and musically informed biography while presenting documentation of the musician's life discovered after the Baroque revival in the 1930s. This book includes illustrations of eighteenth-century Venice and several newly translated letters, thoroughly evoking the style of the time and revealing some of the more personal aspects of Vivaldi's life.

"Belongs on the shelf of every serious music student."—Kirkus

"Gives a good feel for Vivaldi's life and times . . . and describes particularly well how Vivaldi has been revived."—Booklist

"Robbins Landon is marvelously entertaining, extravagantly learned."—The Independent




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Voice and Equality
Civic Voluntarism in American Politics
Sidney Verba, Kay Lehman Schlozman, and Henry E. Brady
Harvard University Press, 1995

This book confirms Alexis de Tocqueville’s idea, dating back a century and a half, that American democracy is rooted in civil society. Citizens’ involvement in family, school, work, voluntary associations, and religion has a significant impact on their participation as voters, campaigners, donors, community activists, and protesters.

The authors focus on the central issues of involvement: how people come to be active and the issues they raise when they do. They find fascinating differences along cultural lines, among African-Americans, Latinos, and Anglo-Whites, as well as between the religiously observant and the secular. They observe family activism moving from generation to generation, and they look into the special role of issues that elicit involvement, including abortion rights and social welfare.

This far-reaching analysis, based on an original survey of 15,000 individuals, including 2,500 long personal interviews, shows that some individuals have a greater voice in politics than others, and that this inequality results not just from varying inclinations toward activity, but also from unequal access to vital resources such as education. Citizens’ voices are especially unequal when participation depends on contributions of money rather than contributions of time. This deeply researched study brilliantly illuminates the many facets of civic consciousness and action and confirms their quintessential role in American democracy.

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Voice and Grammatical Functions in Austronesian Languages
Edited by Peter K. Austin and Simon Musgrave
CSLI, 2005
This volume explores various problems in the syntax of Austronesian languages, which are found primarily in Malaysia and the Polynesian islands. Using the framework of constraint-based theories of syntax, contributors discuss the nature of these voice systems, the function of their verbal morphology, valence, verbal diathesis and transitivity in such languages, and the nature of their lexical categories. Each analysis is presented within the frameworks of lexical-functional grammar and head-driven phrase structure grammar.
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The Voice and Its Doubles
Media and Music in Northern Australia
Daniel Fisher
Duke University Press, 2016
Beginning in the early 1980s Aboriginal Australians found in music, radio, and filmic media a means to make themselves heard across the country and to insert themselves into the center of Australian political life. In The Voice and Its Doubles Daniel Fisher analyzes the great success of this endeavor, asking what is at stake in the sounds of such media for Aboriginal Australians. Drawing on long-term ethnographic research in northern Australia, Fisher describes the close proximity of musical media, shifting forms of governmental intervention, and those public expressions of intimacy and kinship that suffuse Aboriginal Australian social life. Today’s Aboriginal media include genres of country music and hip-hop; radio requests and broadcast speech; visual graphs of a digital audio timeline; as well as the statistical media of audience research and the discursive and numerical figures of state audits and cultural policy formation. In each of these diverse instances the mediatized voice has become a site for overlapping and at times discordant forms of political, expressive, and institutional creativity. 
 
 
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Voice and Phenomenon
Introduction to the Problem of the Sign in Husserl's Phenomenology
Jacques Derrida, Translated from the French by Leonard Lawlor
Northwestern University Press, 2011
Published in 1967, when Derrida is 37 years old, Voice and Phenomenon appears at the same moment as Of Grammatology and Writing and Difference. All three books announce the new philosophical project called “deconstruction.” Although Derrida will later regret the fate of the term “deconstruction,” he will use it throughout his career to define his own thinking. While Writing and Difference collects essays written over a 10 year period on diverse figures and topics, and Of Grammatology aims its deconstruction at “the age of Rousseau,” Voice and Phenomenon shows deconstruction engaged with the most important philosophical movement of the last hundred years: phenomenology. 

Only in relation to phenomenology is it possible to measure the importance of deconstruction. Only in relation to Husserl’s philosophy is it possible to understand the novelty of Derrida’s thinking. Voice and Phenomenon therefore may be the best introduction to Derrida’s thought in general. To adapt Derrida’s comment on Husserl’s Logical Investigations, it contains “the germinal structure” of Derrida’s entire thought. Lawlor’s fresh translation of Voice and Phenomenon brings new life to Derrida’s most seminal work.
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Voice and Vision
A Guide to Writing History and Other Serious Nonfiction
Stephen J. Pyne
Harvard University Press, 2009

It has become commonplace these days to speak of “unpacking” texts. Voice and Vision is a book about packing that prose in the first place. While history is scholarship, it is also art—that is, literature. And while it has no need to emulate fiction, slump into memoir, or become self-referential text, its composition does need to be conscious and informed.

Voice and Vision is for those who wish to understand the ways in which literary considerations can enhance nonfiction writing. At issue is not whether writing is scholarly or popular, narrative or analytical, but whether it is good. Fiction has guidebooks galore; journalism has shelves stocked with manuals; certain hybrids such as creative nonfiction and the new journalism have evolved standards, esthetics, and justifications for how to transfer the dominant modes of fiction to topics in nonfiction. But history and other serious or scholarly nonfiction have nothing comparable.

Now this curious omission is addressed by Stephen Pyne as he analyzes and teaches the craft that undergirds whole realms of nonfiction and book-based academic disciplines. With eminent good sense concerning the unique problems posed by research-based writing and with a wealth of examples from accomplished writers, Pyne, an experienced and skilled writer himself, explores the many ways to understand what makes good nonfiction, and explains how to achieve it. His counsel and guidance will be invaluable to experts as well as novices in the art of writing serious and scholarly nonfiction.

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The Voice as Something More
Essays toward Materiality
Edited by Martha Feldman and Judith T. Zeitlin
University of Chicago Press, 2019
In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith T. Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object.
 
Using Mladen Dolar’s influential A Voice and Nothing More as a reference point, The Voice as Something More reorients Dolar’s psychoanalytic analysis around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality.
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Voice, Choice, and Action
The Potential of Young Citizens to Heal Democracy
Felton Earls and Mary Carlson
Harvard University Press, 2020

Compiling decades of fieldwork, two acclaimed scholars offer strategies for strengthening democracies by nurturing the voices of children and encouraging public awareness of their role as citizens.

Voice, Choice, and Action is the fruit of the extraordinary personal and professional partnership of a psychiatrist and a neurobiologist whose research and social activism have informed each other for the last thirty years. Inspired by the 1989 United Nations Convention on the Rights of the Child, Felton Earls and Mary Carlson embarked on a series of international studies that would recognize the voice of children. In Romania they witnessed the consequences of infant institutionalization under the Ceaușescu regime. In Brazil they encountered street children who had banded together to advocate effectively for themselves. In Chicago Earls explored the origins of prosocial and antisocial behavior with teenagers. Children all over the world demonstrated an unappreciated but powerful interest in the common good.

On the basis of these experiences, Earls and Carlson mounted a rigorous field study in Moshi, Tanzania, which demonstrated that young citizens could change attitudes about HIV/AIDS and mobilize their communities to confront the epidemic. The program, outlined in this book, promoted children’s communicative and reasoning capacities, guiding their growth as deliberative citizens. The program’s success in reducing stigma and promoting universal testing for HIV exceeded all expectations.

Here in vivid detail are the science, ethics, and everyday practice of fostering young citizens eager to confront diverse health and social challenges. At a moment when adults regularly profess dismay about our capacity for effective action, Voice, Choice, and Action offers inspiration and tools for participatory democracy.

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Voice, Choice, and Action
The Potential of Young Citizens to Heal Democracy
Felton Earls and Mary Carlson
Harvard University Press

“A book for these times as we confront the fault lines in our democracy…A deeply provocative work about the place of children in strengthening our sense of community.”
—Alex Kotlowitz, author of There Are No Children Here

“Earls and Carlson have discovered…an aspect of development previously unrecognized: how children and youth can find their voice, feel empowered to use that voice, and translate that voice into political action. This is a remarkable book.”
—Gordon Harper, Journal of the American Academy of Child & Adolescent Psychiatry

“An inspiring vision of a newly inclusive democracy.”
Kirkus Reviews (starred review)

Voice, Choice, and Action is the fruit of the extraordinary personal and professional partnership between a psychiatrist and neurobiologist whose research and social activism have informed each other for the last thirty years. Inspired by the UN Convention on the Rights of the Child, Felton Earls and Mary Carlson embarked on a series of studies to help children find their voice in the adult world. In Romania, they saw the devastating consequences of infant institutionalization. In Brazil, they found street children who had banded together to advocate for themselves. In Chicago, Earls sought to understand the origins of antisocial behavior in teenagers, and in Tanzania, they piloted a program to guide children’s growth as deliberative citizens.

Here in vivid detail are the science, ethics, and everyday practices needed to foster young citizens eager to confront social challenges. At a moment when adults regularly decry the state of our democracy, Voice, Choice, and Action offers invaluable tools to build a new generation of active citizens.

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A Voice from the River
A Novel
Dan Gerber
Michigan State University Press, 2005

This novel is one of Dan Gerber's triumphs. From the author of American Atlas, Out of Control, and Grass Fires, Gerber's A Voice From the River followed Grass Fires to prominence on national bestseller lists. This novel once again affirms the Gerber's solid reputation for writing about the confrontation of the Spirit World and what some consider to be the Last of Days.

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Voice in the Drum
Music, Language, and Emotion in Islamicate South Asia
Richard Wolf
University of Illinois Press, 2017
Based on extensive research in India and Pakistan, this new study examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for instruments to be voice-like and carry textual messages in particular contexts. Richard K. Wolf employs a hybrid, novelistic form of presentation in which the fictional protagonist Muharram Ali, a man obsessed with finding music he believes will dissolve religious and political barriers, interacts with Wolf's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The result is a daring narrative that follows Muharram Ali on a journey that explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing.
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The Voice in the Drum
Music, Language, and Emotion in Islamicate South Asia
Richard K. Wolf
University of Illinois Press, 2014
Based on extensive field research in India and Pakistan, this new study examines the ways drumming and voices interconnect over vast areas of South Asia and considers what it means for instruments to be voice-like and carry textual messages in particular contexts. Richard K. Wolf employs a hybrid, novelistic form of presentation, in which a fictional protagonist interacts with Wolf's field consultants, to communicate ethnographic and historical realities that transcend the local details of any one person's life. The narrative explores how the themes of South Asian Muslims and their neighbors coming together, moving apart, and relating to God and spiritual intermediaries resonate across ritual and expressive forms such as drumming and dancing. Wolf weaves in the story of a family led by Ahmed Ali Khan, a North Indian ruler who revels in the glories of 19th century life, when many religious communities joined together harmoniously in grand processions. His journalist son Muharram Ali obsessively scours the subcontinent in pursuit of a music he naively hopes will dissolve religious and political barriers. The story charts the breakdown of this naiveté. A daring narrative of music, religion and politics in late twentieth century South Asia, The Voice in the Drum delves into the social and religious principles around which Muslims, Hindus, and others bond, create distinctions, reflect upon one another, or decline to acknowledge differences.
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The Voice in the Garden
Andrei Bolotov and the Anxieties of Russian Pastoral 1738-1833
Thomas Newlin
Northwestern University Press, 2001
A groundbreaking study of the pastoral ideal in eighteenth- and nineteenth-century Russia.
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The Voice in the Headphones
David Grubbs
Duke University Press, 2020
The voice in the headphones says, “you’re rolling” . . .

The Voice in the Headphones is an experiment in music writing in the form of a long poem centered on the culture of the recording studio. It describes in intricate, prismatic detail one marathon day in a recording studio during which an unnamed musician struggles to complete a film soundtrack. The book extends the form of Grubbs's previous volume Now that the audience is assembled, sharing its goal of musicalizing the language of writing about music. Mulling the insight that “studio is the absence of pushback”—now that no audience is assembled—The Voice in the Headphones details one musician's strategies for applying the requisite pressure to the proceedings, for making it count. The Voice in the Headphones is both a literary work and a meditation on sound recording, delivered at a moment in which the commercial recording studio shades into oblivion. It draws upon Grubbs's own history of several decades as a recording artist, and its location could be described as every studio in which he has set foot.
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Voice in the Wilderness
Conversations with Terry Tempest Williams
edited by Michael Austin
Utah State University Press, 2006

In her writings, Terry Tempest Williams repeatedly invites us as readers into engagement and conversation with both her and her subject matter, whether it is nature or society, environment or art. From her evocation, in Desert Quartet: An Erotic Landscape, of an eroticism of place that defines erotic as "in relation," to the spiritual connectivity and familial bonds she explores in Refuge: An Unnatural History of Family and Place and the political engagement she urges in The Open Space of Democracy, much of her work is about relationship, connection, and community. Like much good writing, her books invite readers into thoughtful dialogue with the text. Frequently in demand for workshops, lectures, and other speaking venues and well known as an environmental activist, Williams has a public persona and voice almost indistinguishable from her written ones.

Thus, the interviews she has often granted--in print, on the radio, on the Web--seamlessly elaborate the ideas and extend the explorations of her written texts. They also tell us much about the genesis, context, and intent of her books. With her distinctive, impassioned voice and familiar felicity of language, she talks about wilderness and wildlife, place and eroticism, art and literature, democracy and politics, family and heritage, Mormonism and religion, writing and creativity, and other subjects that engage her agile mind. The set of interviews gathered and introduced by Michael Austin in A Voice in the Wilderness represent the span of Terry Tempest Williams's career as a naturalist, author, and activist.

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A Voice in Their Own Destiny
Reagan, Thatcher, and Public Diplomacy in the Nuclear 1980s
Anthony M. Eames
University of Massachusetts Press, 2023

On June 8, 1982, Ronald Reagan delivered a historic address to the British Parliament, promising that the United States would give people around the world “a voice in their own destiny” in the struggle against Soviet totalitarianism. While British Prime Minister Margaret Thatcher celebrated Reagan’s visit and thanked him for putting “freedom on the offensive,” over 100,000 Britons marched from Hyde Park to Trafalgar Square to protest his arrival and call for nuclear disarmament. Reagan’s homecoming was equally eventful, with 1,000,000 protesters marking his return with a rally for nuclear disarmament in Central Park—the largest protest in American history up to that point.

Employing a wide range of previously unexamined primary sources, Anthony M. Eames demonstrates how the Reagan and Thatcher administrations used innovations in public diplomacy to build back support for their foreign policy agendas at a moment of widespread popular dissent. A Voice in Their Own Destiny traces how competition between the governments of Reagan and Thatcher, the Anglo-American antinuclear movement, and the Soviet peace offensive sparked a revolution in public diplomacy.

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"The Voice of Egypt"
Umm Kulthum, Arabic Song, and Egyptian Society in the Twentieth Century
Virginia Danielson
University of Chicago Press, 1997
Umm Kulthum, the "voice of Egypt," was the most celebrated musical performer of the century in the Arab world. More than twenty years after her death, her devoted audience, drawn from all strata of Arab society, still numbers in the millions. Thanks to her skillful and pioneering use of mass media, her songs still permeate the international airwaves. In the first English-language biography of Umm Kulthum, Virginia Danielson chronicles the life of a major musical figure and the confluence of artistry, society, and creativity that characterized her remarkable career.

Danielson examines the careful construction of Umm Kulthum's phenomenal popularity and success in a society that discouraged women from public performance. From childhood, her mentors honed her exceptional abilities to accord with Arab and Muslim practice, and as her stature grew, she remained attentive to her audience and the public reception of her work. Ultimately, she created from local precendents and traditions her own unique idiom and developed original song styles from both populist and neo-classical inspirations. These were enthusiastically received, heralded as crowning examples of a new, yet authentically Arab-Egyptian, culture. Danielson shows how Umm Kulthum's music and public personality helped form popular culture and contributed to the broader artistic, societal, and political forces that surrounded her.

This richly descriptive account joins biography with social theory to explore the impact of the individual virtuoso on both music and society at large while telling the compelling story of one of the most famous musicians of all time.

"She is born again every morning in the heart of 120 million beings. In the East a day without Umm Kulthum would have no color."—Omar Sharif
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Voice of Glory
The Life and Work of Davis Grubb
Thomas E. Douglass
University of Tennessee Press, 2017

Hailing from the small river town of Moundsville, West Virginia, Davis Grubb (1919–1980) became a key figure in the canon of Appalachian literature. The author of ten novels and dozens of short stories and radio plays, Grubb’s writings, as Tom Douglass observes, “catalogued his life”—and a turbulent life it was, marked by the traumatic loss of both the family home and his father during the Great Depression, the overbearing affections of his mother, the fear of failure, painful struggles with alcohol and drug abuse, profligate spending, and a conflicted sexuality.

Grubb originally aspired to be a visual artist but, thwarted by color blindness, turned to writing instead, honing his skills in the advertising industry. Today he is best remembered for his first novel, The Night of the Hunter (1953), a gripping story of a Depression-era serial killer and his pursuit of two young children along the Ohio River. This book spent twenty-eight weeks on The New York Times best-seller list and became the basis for a classic film directed by Charles Laughton, starring Robert Mitchum, Shelley Winters, and Lillian Gish. While his subsequent work never achieved that same level of popularity, the fierce thematic oppositions he set forth in his debut novel—between love and hate, good and evil, the corrupt and the pure, the rich and the poor—would inform his entire oeuvre. Although Grubb’s career took him to the great cities of New York, Philadelphia, and Los Angeles, his work was always rooted in key emblems of his Appalachian childhood—the river, the state penitentiary, and the largest Indian mound east of the Mississippi, all in his native Moundsville.

In his works, Douglass asserts, Grubb was “an avenging angel, righting the wrongs of the past in his own life, in his own country, and putting trust in his own vision of divine love.” Off the page, he was riven by personal demons, “more than once in danger of losing his life to self-annihilation and to the self-accusation that he was a fallen angel.” This biography, the first ever written of Grubb, captures his life and work in all their intriguing complexity.

THOMAS E. DOUGLASS, an associate professor of English at East Carolina University, is the author of A Room Forever: The Life, Work, and Letters of Breece D’J PancakeHe is also the fiction editor for the University of Tennessee Press’s Appalachian Echoes series.

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Voice of Glory
The Life and Work of Davis Grubb
Thomas E. Douglass
University of Tennessee Press, 2017

Hailing from the small river town of Moundsville, West Virginia, Davis Grubb (1919–1980) became a key figure in the canon of Appalachian literature. The author of ten novels and dozens of short stories and radio plays, Grubb’s writings, as Tom Douglass observes, “catalogued his life”—and a turbulent life it was, marked by the traumatic loss of both the family home and his father during the Great Depression, the overbearing affections of his mother, the fear of failure, painful struggles with alcohol and drug abuse, profligate spending, and a conflicted sexuality.

Grubb originally aspired to be a visual artist but, thwarted by color blindness, turned to writing instead, honing his skills in the advertising industry. Today he is best remembered for his first novel, The Night of the Hunter (1953), a gripping story of a Depression-era serial killer and his pursuit of two young children along the Ohio River. This book spent twenty-eight weeks on The New York Times best-seller list and became the basis for a classic film directed by Charles Laughton, starring Robert Mitchum, Shelley Winters, and Lillian Gish. While his subsequent work never achieved that same level of popularity, the fierce thematic oppositions he set forth in his debut novel—between love and hate, good and evil, the corrupt and the pure, the rich and the poor—would inform his entire oeuvre. Although Grubb’s career took him to the great cities of New York, Philadelphia, and Los Angeles, his work was always rooted in key emblems of his Appalachian childhood—the river, the state penitentiary, and the largest Indian mound east of the Mississippi, all in his native Moundsville.

In his works, Douglass asserts, Grubb was “an avenging angel, righting the wrongs of the past in his own life, in his own country, and putting trust in his own vision of divine love.” Off the page, he was riven by personal demons, “more than once in danger of losing his life to self-annihilation and to the self-accusation that he was a fallen angel.” This biography, the first ever written of Grubb, captures his life and work in all their intriguing complexity.

THOMAS E. DOUGLASS, an associate professor of English at East Carolina University, is the author of A Room Forever: The Life, Work, and Letters of Breece D’J PancakeHe is also the fiction editor for the University of Tennessee Press’s Appalachian Echoes series.

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Voice Of Southern Labor
Radio, Music, And Textile Strikes, 1929-1934
Vincent J. Roscigno
University of Minnesota Press, 2004

Vividly shows how music united striking workers

The 1934 strike of southern textile workers, involving nearly 400,000 mill hands, remains perhaps the largest collective mobilization of workers in U.S. history. How these workers came together in the face of the powerful and coercive opposition of management and the state is the remarkable story at the center of this book.

The Voice of Southern Labor chronicles the lives and experiences of southern textile workers and provides a unique perspective on the social, cultural, and historical forces that came into play when the group struck, first in 1929, and then on a massive scale in 1934. The workers’s grievances, solidarity, and native radicalism of the time were often reflected in the music they listened to and sang, and Vincent J. Roscigno and William F. Danaher offer an in-depth context for understanding this intersection of labor, politics, and culture. The authors show how the message of the southern mill hands spread throughout the region with the advent of radio and the rise of ex–mill worker musicians, and how their sense of opportunity was further bolstered by Franklin D. Roosevelt’s radio speeches and policies.
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The Voice of That Singing
Juliet Rodeman
Tupelo Press, 2017
Juliet Rodeman creates a visionary world in which the here and now—each remembered place, historical or mythical landscape, and moment alive with casual gesture—is redeemed by intimacy. Whimsical and sometimes shocking, these poems are filled with the heartbreak of what happens to our bodies. In a series of “anticipatory elegies” the poet journeys to the Underworld, moving through incantations and harmonies, hypnogogic terrors and quiet conversations under the stars, transforming individual grief with tenderness.
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The Voice of the Dawn
An Autohistory of the Abenaki Nation
Frederick Matthew Wiseman
University Press of New England, 2001
"[My] story is a sash woven of many strands of language. The first strand is the remembered wisdom of the Abenaki community. The second strand is our history and that of our relatives, written down by European, Native American, and Euroamerican observers. The third strand is what our Mother the Earth has revealed to us through the studies and writings of those who delve in her, the archaeologists and paleoecologists. The fourth strand is my own family history and its stories. The fifth strand is, of course, that which has come to me alone, stories which I create with my own beliefs and visions." So begins the first book about Abenaki history and culture written from the inside. Frederick Matthew Wiseman's extensive research and personal engagement breathe life into Voice of the Dawn, making it truly unique. Colin Calloway, Chair of Native American Studies at Dartmouth College, writes, "Going beyond all previous works on the Abenakis, Wiseman draws on family and community knowledge in a way that none of those authors could, speaks from an avowedly Abenaki perspective, and addresses aspects and issues ignored in other works. Moreover, no one that I know of has done as much work in locating and regathering items of Western Abenaki material culture. The quality and quantity of illustrations alone make this an attractive book, as well as a valuable visual record of change and persistence over time. As someone personally and pivotally involved in the Abenaki renaissance, Wiseman brings the story up to date without closing it."
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The Voice of the Masters
Writing and Authority in Modern Latin American Literature
By Roberto González Echevarría
University of Texas Press, 1985

By one of the most original and learned critical voices in Hispanic studies— a timely and ambitious study of authority as theme and authority as authorial strategy in modern Latin American literature.

An ideology is implicit in modern Latin American literature, argues Roberto González Echevarría, through which both the literature itself and criticism of it define what Latin American literature is and how it ought to be read. In the works themselves this ideology is constantly subjected to a radical critique, and that critique renders the ideology productive and in a sense is what constitutes the work. In literary criticism, however, too frequently the ideology merely serves as support for an authoritative discourse that seriously misrepresents Latin American literature.

In The Voice of the Masters, González Echevarría attempts to uncover the workings of modern Latin American literature by creating a dialogue of texts, a dynamic whole whose parts are seven illuminating essays on seminal texts in the tradition. As he says, "To have written a sustained, expository book ... would have led me to make the same kind of critical error that I attribute to most criticism of Latin American literature.... I would have naively assumed an authoritative voice while attempting a critique of precisely that critical gesture."

Instead, major works by Barnet, Cabrera Infante, Carpentier, Cortázar, Fuentes, Gallegos, García Márquez, Roa Bastos, and Rodó are the object of a set of independent deconstructive (and reconstructive) readings. Writing in the tradition of Derrida and de Man, González Echevarría brings to these readings both the penetrative brilliance of the French master and a profound understanding of historical and cultural context. His insightful annotation of Cabrera Infante's "Meta-End," the full text of which is presented at the close of the study, clearly demonstrates these qualities and exemplifies his particular approach to the text.

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The Voice of the Mother
Embedded Maternal Narratives in Twentieth-Century Women's Autobiographies
Jo Malin
Southern Illinois University Press, 2000

Every woman autobiographer is a daughter who writes and establishes her identity through her autobiographical narrative. In The Voice of the Mother, Jo Malin argues that many twentieth-century autobiographies by women contain an intertext, an embedded narrative, which is a biography of the writer/daughter’s mother.

Analyzing this narrative practice, Malin examines ten texts by women who seem particularly compelled to tell their mothers’ stories: Virginia Woolf, Sara Suleri, Kim Chernin, Drusilla Modjeska, Joan Nestle, Carolyn Steedman, Dorothy Allison, Adrienne Rich, Cherríe Moraga, and Audre Lorde. Each author is, in fact, able to write her own autobiography only by using a narrative form that contains her mother’s story at its core. These texts raise interesting questions about autobiography as a genre and about a feminist writing practice that resists and subverts the dominant literary tradition.

Malin theorizes a hybrid form of autobiographical narrative containing an embedded narrative of the mother. The textual relationship between the two narratives is unique among texts in the auto/biographical canon. This alternative narrative practice—in which the daughter attempts to talk both to her mother and about her—is equally an autobiography and a biography rather than one or the other. The technique is marked by a breakdown of subject/object categories as well as auto/biographical dichotomies of genre. Each text contains a “self” that is more plural than singular, yet neither.

            

In addition to being a theoretical and textual analysis, Malin’s book is also a mother-daughter autobiography and biography itself. She shares her own story and her mother’s story as a way to connect directly with readers and as a way to bridge the gap between theory and practice.

            

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The Voice of the Night
Complete Poetry and Prose of Chairil Anwar
Chairil Anwar
Ohio University Press, 1993

Chairil Anway (1922–1949) was the primary architect of the Indonesian literary revolution in both poetry and prose. In a few intense years he forged almost ingle-handedly a vital, mature literary language in Bahasa Indonesia, a language which formally came to exist in 1928. Anway led the way for the many Indonesian writers who have emerged during the past fifty years.

This volume contains all that has survived of Anwar’s writing. It not longer need the sort of introduction it did soem thirty years ago when Burton Raffel first published English translations of Anwar’s work. Raffel now presents the complete poems and the small amount of surviving prose in new translations with new interpretations.

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The Voice of the Poor
Essays in Economic and Political Persuasion
John Kenneth Galbraith
Harvard University Press, 1983
What is surprising about these essays is not the insight and grace with which they are written—we have come to expect that—but the fact that nobody has expressed matters in quite this way before. John Kenneth Galbraith writes about what advice the poor nations (as, avoiding euphemism, he calls them) ought to offer to the more fortunate countries. In this little book there are essential lessons to ponder—for the governments of the rich countries, for those of the poor lands, and for the concerned citizens of both.
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The Voice of the River
A Novel
Melanie Rae Thon
University of Alabama Press, 2011
Normal0falsefalsefalseMicrosoftInternetExplorer4Missing:  seventeen-year-old Kai Dionne and his dog Talia.
 
The search for these two spans a single day, morning twilight to late evening, from the time Kai leaps in a half-frozen river to save the dog to the hour he and Talia are recovered.  Each person who comes to the river brings his or her secret needs and desires; each has known loss, and all are survivors: a homeless boy tries to find himself, his lost twin, his double; a childless mother grieves for her son and daughter; a man who shot his father recalls a tender, intimate night  “when the father was kind, and not afraid, and not angry.”  Kai and Talia belong to, and are loved by, a whole community.  As strangers work together toward a single cause, they become family—bound by love not only to the ones lost, but to all who gather. 
 
The perceiving consciousness is oceanic and atmospheric, embracing all living beings, swirling around a person, a bird, a bear, trillium blooming in dark woods, snow, stones, pines singing—moving closer and closer, loving, finally merging, sensing and knowing as one, before lightly whirling out again to embrace and love another. This powerful current of shared memory and experience, this ceaseless prayer, is a celebration of life,  all  life, mystery and miracle within an immense animate landscape, a song of praise, the voice of the river.
Melanie Rae Thon opens a new genre: call it Eco Avant-Garde, a confession of faith, and a love song to the world.
 
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The Voice of the Rural
Music, Poetry, and Masculinity among Migrant Moroccan Men in Umbria
Alessandra Ciucci
University of Chicago Press, 2022
A moving portrait of the contemporary experiences of migrant Moroccan men.

Umbria is known to most Americans for its picturesque rolling hills and medieval villages, but to the many migrant Moroccan men who travel there, Umbria is better known for the tobacco fields, construction sites, small industries, and the outdoor weekly markets where they work. Marginalized and far from their homes, these men turn to Moroccan traditions of music and poetry that evoke the countryside they have left— l-‘arubiya, or the rural. In this book, Alessandra Ciucci takes us inside the lives of Moroccan workers, unpacking the way they share a particular musical style of the rural to create a sense of home and belonging in a foreign and inhospitable nation. Along the way, she uncovers how this culture of belonging is not just the product of the struggles of migration, but also tied to the reclamation of a noble and virtuous masculine identity that is inaccessible to Moroccan migrants in Italy.
 
The Voice of the Rural allows us to understand the contemporary experiences of migrant Moroccan men by examining their imagined relationship to the rural through sound, shedding new light on the urgent issues of migration and belonging.  
 
 
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A Voice Of Their Own
The Woman Suffrage Press, 1840-1910
Martha Solomon
University of Alabama Press, 1991
A Voice of Their Own explores the consciousness-raising role of the American Suffrage press of the latter half of the 19th century.  From the first women's rights convention--a modest gathering of three hundred sympathizers led by Elizabeth Cady Stanton--grew the ever-expanding movement for equal rights, greater protection, and improved opportunities.  Although the leaders of that and subsequent conventions realized that such public rallies, with their exhortative speeches, were crucial in gaining support for the movement, they also recognized the potentioal impact of another medium--woman's suffrage periodicals, written and published by and expressly for women.  The eleven essays of this volume demonstrate how the suffrage press-- in such works as Woman's Journal, Woman's Tribune, Woman's Exponent, and Farmer's Wife-- was able to educate an audience of women readers, crate a sense of community among them, and help alter their self-image.
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A Voice of Thunder
A BLACK SOLDIER'S CIVIL WAR
Edited by Donald Yacovone
University of Illinois Press, 1997
      George E. Stephens, the most
        important African-American war correspondent of his era, served in the
        famed black Fifty-fourth Massachusetts Regiment, subject of the film Glory.
        His letters from the front, published in the New York Weekly Anglo-African,
        brilliantly detail two wars: one against the Confederacy and one against
        the brutal, debilitating racism within his own Union Army. Together with
        Donald Yacovone's biographical introduction detailing Stephens's life
        and times, they provide a singular perspective on the greatest crisis
        in the history of the United States.
      Stephens chronicled the African-American
        quest for freedom in reports from southern Maryland and eastern Virginia
        in 1861 and 1862 that detailed, among other issues of the day, the Army
        of the Potomac's initial encounter with slavery, the heroism of fugitive
        slaves, and the brutality both Southerners and Union troops inflicted
        on them.
      From the inception of the
        Fifty-fourth early in 1863 Stephens was the unit's voice, telling of its
        struggle against slavery and its quest to win the pay it had been promised.
        His description of the July 18, 1863, assault on Battery Wagner near Charleston,
        South Carolina, and his writings on the unit's eighteen-month campaign
        to be paid as much as white troops are gripping accounts of continued
        heroism in the face of persistent insult.
      The Weekly Anglo-African
        was the preeminent African-American newspaper of its time. Stephens's
        correspondence, intimate and authoritative, takes in an expansive array
        of issues and anticipates nearly all modern assessments of the black role
        in the Civil War. His commentary on the Lincoln administration's wartime
        policy and his conviction that the issues of race and slavery were central
        to nineteenth-century American life mark him as a major American social
        critic.
 
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The Voice of Toil
Nineteenth-Century British Writings about Work
David J. Bradshaw
Ohio University Press, 1999

One of the most recurrent and controversial subjects of nineteenth–century discourse was work. Many thinkers associated work with honest pursuit of doing good, not the curse accompanying exile from Eden but rather “a great gift of God.” Sincerely undertaken work comprised a mission entailing a commitment to serve others and promote a better future for all.

Satisfaction with what work could do for individuals had its counterbalance in the anger and dismay expressed at the conditions of those whom Robert Owen, in 1817, first called the “working class.” What working–class people confronted both at the labor site and at their lodgings was construed as oppressive, and the misery of their lives became the subject of sentimental poetry, government report, popular fiction, and journalistic expose. Perhaps as heated as the discussion about conditions of lower–class workers was the conversation about separate spheres of work for men and women. This conversation, too, found its way into the literature and public discourse of the day.

In The Voice of Toil, the editors have collected the central writings from a pivotal place and time, including poems, stories, essays, and a play that reflect four prominent ways in which the subject of work was addressed: Work as Mission, Work as Opportunity, Work as Oppression, and (Separate) Spheres of Work. The resulting anthology offers a provocative text for students of nineteenth-century British literature and history and a valuable resource for scholars.

The text includes readings from John Wesley, William Blake, Elizabeth Gaskell, William Wordsworth, Charles Dickens, Florence Nightingale, William Morris, Joanna Baillie, Friedrich Engels, Matthew Arnold, Angela Burdett–Coutts, John Stuart Mill, Elizabeth Barrett Browning, Bernard Shaw and many others.

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A Voice
Selected Poems
Anzhelina Polonskaya
Northwestern University Press, 2004
Anzhelina Polonskaya is considered one of the freshest voices among young Russian poets. Unlike most of her contemporaries, she was not educated in the classic literary tradition, nor nurtured by the well-known Moscow and Petersburg journals. This has freed her from self-consciously struggling under the weight of her country's literary tradition, and her independent, even idiosyncratic, voice informs poems filled with sharp images, acute observations, and both the pains and joys of personal experience.

Drawn from her most recent Russian collections, A Voice: Selected Poems explores the poet's ongoing fascinations—desolate places, long journeys, a synesthesia of sensory stimulation, and the presence of death. Also on display is her Chekhovian gift for unexpected closure. This is a promising English-language debut from a poet already gaining international attention.
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Voice, Silence, and Self
Negotiations of Buraku Identity in Contemporary Japan
Christopher Bondy
Harvard University Press, 2015

The Burakumin. Stigmatized throughout Japanese history as an outcaste group, their identity is still “risky,” their social presence mostly silent, and their experience marginalized in public discourse. They are contemporary Japan’s largest minority group—between 1.5 and 3 million people. How do young people today learn about being burakumin? How do they struggle with silence and search for an authentic voice for their complex experience?

Voice, Silence, and Self examines how the mechanisms of silence surrounding burakumin issues are reproduced and challenged in Japanese society. It explores the ways in which schools and social relationships shape people’s identity as burakumin within a “protective cocoon” where risk is minimized. Based on extensive ethnographic research and interviews, this longitudinal work explores the experience of burakumin youth from two different communities and with different social movement organizations.

Christopher Bondy explores how individuals navigate their social world, demonstrating the ways in which people make conscious decisions about the disclosure of a stigmatized identity. This compelling study is relevant to scholars and students of Japan studies and beyond. It provides crucial examples for all those interested in issues of identity, social movements, stigma, and education in a comparative setting.

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Vote and Voice
Women's Organizations and Political Literacy, 1915-1930
Wendy B. Sharer
Southern Illinois University Press, 2007
Wendy B. Sharer explores the rhetorical and pedagogical practices through which two prominent postsuffrage organizations—the League of Women Voters and the Women’s International League for Peace and Freedom—challenged the conventions of male-dominated political discourse and trained women as powerful rhetors.

Vote and Voice is the first book-length study to address the writing and speaking practices of members of women’s political organizations in the decade after the suffrage movement. During those years, women still did not have power within deliberative and administrative organs of politics, despite their recent enfranchisement. Because they were largely absent from diplomatic circles and political parties, post-suffrage women’s organizations developed rhetorical practices of public discourse to push for reform within traditional politics.

Vote and Voice is historically significant as well as pedagogically beneficial for instructors who connect rhetorical education with public participation by integrating writing and speaking skills into a curriculum that aims to prepare educated students and active citizens.
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With Pen and Voice
A Critical Anthology of Nineteenth-Century African-American Women
Shirley Wilson Logan
Southern Illinois University Press, 1995

"Owoman, woman! upon you I call; for upon your exertions almost entirely depends whether the rising generation shall be any thing more than we have been or not. Owoman, woman! your example is powerful, your influence great."—Maria W. Stewart, "An Address Delivered Before the Afric-American Female Intelligence Society of Boston" (1832)

Here—in the only collection of speeches by nineteenth-century African-American women—is the battle of words these brave women waged to address the social ills of their century. While there have been some scattered references to the unique roles these early "race women" played in effecting social change, until now few scholars have considered the rhetorical strategies they adopted to develop their powerful arguments.

In this chronological anthology, Shirley Wilson Logan highlights the public addresses of these women, beginning with Maria W. Stewart’s speech at Franklin Hall in 1832, believed to be the first delivered to an audience of men and women by an American-born woman. In her speech, she focused on the plight of the Northern free black. Sojourner Truth spoke in 1851 at the Akron, Ohio, Women’s Rights Convention not only for the rights of black women but also for the rights of all oppressed nineteenth-century women. Frances Ellen Watkins Harper struggled with the conflict between universal suffrage and suffrage for black men. Anna Julia Cooper chastised her unique audience of black Episcopalian clergy for their failure to continue the tradition of the elevation of womanhood initiated by Christianity and especially for their failure to support the struggling Southern black woman. Ida B. Wells’s rhetoric targeted mob violence directed at Southern black men. Her speech was delivered less than a year after her inaugural lecture on this issue—following a personal encounter with mob violence in Memphis. Fannie Barrier Williams and Victoria Earle Matthews advocated social and educational reforms to improve the plight of Southern black women. These speeches—all delivered between 1832 and 1895—are stirring proof that, despite obstacles of race and gender, these women still had the courage to mount the platform in defense of the oppressed.

Introductory essays focus on each speaker’s life and rhetoric, considering the ways in which these women selected evidence and adapted language to particular occasions, purposes, and audiences in order to persuade. This analysis of the rhetorical contexts and major rhetorical tactics in the speeches aids understanding of both the speeches and the skill of the speakers. A rhetorical timeline serves as a point of reference.

Historically grounded, this book provides a black feminist perspective on significant events of the nineteenth century and reveals how black women of that era influenced and were influenced by the social problems they addressed.

"A government which can protect and defend its citizens from wrong and outrage and does not is vicious. A government which would do itand cannot is weak; and where human life is insecure through either weakness or viciousness in the administration of law, there must be a lack of justice, and where this is wanting nothing can make up the deficiency."—Frances Ellen Watkins Harper, "Duty to Dependent Races," National Council of Women of the United States, Washington, D.C. (1891)

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