For More Than One Voice

Toward a Philosophy of Vocal Expression

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Author: Adriana Cavarero

Publisher: Stanford University Press

ISBN: 0804749558

Category: Language Arts & Disciplines

Page: 264

View: 539

The human voice does not deceive. The one who is speaking is inevitably revealed by the singular sound of her voice, no matter "what" she says. Starting from the given uniqueness of every voice, Cavarero rereads the history of philosophy through its peculiar evasion of this embodied uniqueness.

The Midnight Party

Poems for More Than One Voice

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Author: Richard Brown

Publisher: N.A

ISBN: 9780521445870

Category: Education

Page: 56

View: 1623

A major reading scheme for the teaching of reading and the development of literacy throughout the primary years.

Adriana Cavarero

Resistance and the Voice of Law

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Author: Elisabetta R. Bertolino

Publisher: Routledge

ISBN: 1351259547

Category: Law

Page: 179

View: 764

Critical legal scholars have made us aware that law is made up not only of rules but also of language. But who speaks the language of law? And can one lawfully speak in one’s voice? For the Italian philosopher Adriana Cavarero, to answer these questions we must not separate who is speaking from the very act of speaking; moreover, we must recuperate the material singularity and relationality of the mouth that speaks. Drawing on Cavarero’s work, this book focuses on the potentiality of the voice for resisting law’s sovereign structures. For Cavarero, it is the voice that expresses one’s living and unrepeatable singularity in a way that cannot be subsumed by the universalities and standards of law. The voice is essentially a material and singular passage of air and vibration that necessarily reveals one’s uniqueness in relationality. Speaking discloses this uniqueness, and so one’s vulnerability. It therefore leads to possibilities of resistance that, here, bring a fresh approach to longstanding legal theoretical concerns with singularity, ethics and justice.

Poetics and Precarity

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Author: Myung Mi Kim,Cristanne Miller

Publisher: SUNY Press

ISBN: 1438470002

Category:

Page: 248

View: 3308

Poets and critics address the potential of language to address the increasing level of discord and precarity in the twenty-first century. At a time when wars, acts of terrorism, and ecological degradation have intensified and isolationism, misogyny, and ethnic divisiveness have been given distinctively more powerful voice in public discourse, language itself often seems to have failed. The poets and critics in this book argue that language has the potential to address this increasing level of discord and precarity, and they negotiate ways to understand poetics, or the role of the poetic, in relation to language, the body politic, the human body, breath, the bodies of the natural environment, and the body of form. Poetry makes urgent issues audible and poetics helps to theorize those issues into critical consciousness. Poetry also functions as a cry to protest late capitalist imperialism, misogyny, racism, climate change, and all the debilitating conditions of everyday life. Hubs of concern merge and diverge; precarity takes differently gendered, historied, embodied, geopolitical manifestations. The contributors articulate a poetics that renders what has not yet been crystallized as discourse into fields of force. They also acknowledge the beauties of sound, poetry, and music, and celebrate the power of community, marking the surge of energy that can occur at a particular place at a particular moment. Ultimately, Poetics and Precarity fosters further conversations that will imagine the concerns of poetics as a continuously emerging field.

Human Rights and the Body

Hidden in Plain Sight

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Author: Dr Annabelle Mooney

Publisher: Ashgate Publishing, Ltd.

ISBN: 1472422619

Category: Political Science

Page: 234

View: 859

Human Rights and the Body is a response to the crisis in human rights, to the very real concern that without a secure foundation for the concept of human rights, their very existence is threatened. While there has been consideration of the discourses of human rights and the way in which the body is written upon, research in linguistics has not yet been fully brought to bear on either human rights or the body. Drawing on legal concepts and aspects of the law of human rights, Mooney aims to provide a universally defensible set of human rights and a foundation, or rather a frame, for them. She argues that the proper frames for human rights are firstly the human body, seen as an index reliant on the natural world, secondly the globe and finally, language. These three frames generate rights to food, water, sleep and shelter, environmental protection and a right against dehumanization. This book is essential reading for researchers and graduate students in the fields of human rights and semiotics of law.

Whisked Away

Poems for More than One Voice

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Author: Richard Brown

Publisher: Cambridge University Press

ISBN: 9780521445887

Category: Juvenile Nonfiction

Page: 56

View: 7928

A major reading scheme for the teaching of reading and the development of literacy throughout the primary years. Whisked Away is a compelling collection of new poems, written especially for more than one voice. Read aloud, these poems become conversations, chants, demands and spoken thoughts. Strange stories come alive with drama and atmosphere. Notes at the back give practical guidance - on volume, pace, actions and sound effects - ensuring that you get the most out of every poem . . . and every poem gets the most out of you! Whisked Away is one of eleven books that make up Extended Reading Level B, for children in Year 6/Primary 7. This phase of Cambridge Reading aims to develop children's knowledge about language, its vocabulary, forms, structures and styles.

Music for More than One Piano

An Annotated Guide

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Author: Maurice Hinson

Publisher: Indiana University Press

ISBN: 9780253113061

Category: Music

Page: 256

View: 1263

Now in paperback! Music for More than One Piano An Annotated Guide Maurice Hinson When one piano is simply not enough. "Maurice Hinson's [Music for More than One Piano] ought not only to stand in the bookshelf for reference, but as a true dictionary in the best sense, it should mainly be read for pleasure and enlightenment." -- Konrad Wolff In an alphabetic listing by composer, this guide describes works for two or more keyboard instruments composed mainly since 1700. The range of combinations is considerable: works for two, three, four, or more pianos; for two or more pianos with other instruments, voice, or tape; for piano and harpsichord; for two player pianos; and for two pianos tuned a quarter-tone apart. There are compositions to be performed on two pianos by one, two, three, and four players, as well as one work for two players, two left hands. Maurice Hinson's remarks about the style, the performance problems, and the history of specific pieces are, as ever, insightful and delightful. A treasure map for teachers, students, and performers! Maurice Hinson, Senior Professor Emeritus of Piano at the Southern Baptist Theological Seminary, was founding editor of the Journal of the American Liszt Society and is a contributor to the New Grove Dictionary of American Music. He is known for his many articles, videos, and lecture recitals, especially those on early American piano music. He is author of several books on piano literature, including the indispensable Guide to the Pianist's Repertoire, 3rd edition (Indiana University Press). March 2001 (cloth 1983)256 pages, 6 1/8 x 9 1/4paper 0-253-21457-2 $22.95 s / £17.50

The Concert Song Companion

A Guide to the Classical Repertoire

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Author: Charles Osborne

Publisher: Springer Science & Business Media

ISBN: 1475700490

Category: Music

Page: 285

View: 6575

W HAT I H A V E attempted in this book is a survey of song; the kind of song which one finds variously described as 'concert', 'art', or sometimes even 'classical song'. 'Concert song' seems the most useful, certainly the least inexact or misleading, of some descriptions, especially since 'art song' sounds primly off putting, and 'classical song' really ought to be used only to refer to songs written during the classical period, i. e. the 18th century. Concert song clearly means the kind of songs one hears sung at concerts or recitals. Addressing myself to the general music-lover who, though he possesses no special knowledge of the song literature, is never theless interested enough in songs and their singers to attend recitals of Lieder or of songs in various languages, I have naturally confined myself to that period of time in which the vast majority of these songs was composed, though not necessarily only to those composers whose songs have survived to be remembered in recital programmes today. I suppose this to be roughly the three centuries covered by the years 1650-1950, though most of the songs we, as audiences, know and love were composed in the middle of this period, in other words in the 19th century.

Music, Madness, and the Unworking of Language

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Author: John T Hamilton

Publisher: Columbia University Press

ISBN: 0231512546

Category: Music

Page: 272

View: 2756

In the romantic tradition, music is consistently associated with madness, either as cause or cure. Writers as diverse as Kleist, Hoffmann, and Nietzsche articulated this theme, which in fact reaches back to classical antiquity and continues to resonate in the modern imagination. What John Hamilton investigates in this study is the way literary, philosophical, and psychological treatments of music and madness challenge the limits of representation and thereby create a crisis of language. Special focus is given to the decidedly autobiographical impulse of the late eighteenth and early nineteenth centuries, where musical experience and mental disturbance disrupt the expression of referential thought, illuminating the irreducible aspects of the self before language can work them back into a discursive system. The study begins in the 1750s with Diderot's Neveu de Rameau, and situates that text in relation to Rousseau's reflections on the voice and the burgeoning discipline of musical aesthetics. Upon tracing the linkage of music and madness that courses through the work of Herder, Hegel, Wackenroder, and Kleist, Hamilton turns his attention to E. T. A. Hoffmann, whose writings of the first decades of the nineteenth century accumulate and qualify the preceding tradition. Throughout, Hamilton considers the particular representations that link music and madness, investigating the underlying motives, preconceptions, and ideological premises that facilitate the association of these two experiences. The gap between sensation and its verbal representation proved especially problematic for romantic writers concerned with the ineffability of selfhood. The author who chose to represent himself necessarily faced problems of language, which invariably compromised the uniqueness that the author wished to express. Music and madness, therefore, unworked the generalizing functions of language and marked a critical limit to linguistic capabilities. While the various conflicts among music, madness, and language questioned the viability of signification, they also raised the possibility of producing meaning beyond significance.

Music, Politics, and Violence

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Author: Susan Fast,Kip Pegley

Publisher: Wesleyan University Press

ISBN: 0819573396

Category: Music

Page: 320

View: 1963

Music and violence have been linked since antiquity in ritual, myth, and art. Considered together they raise fundamental questions about creativity, discourse, and music’s role in society. The essays in this collection investigate a wealth of issues surrounding music and violence—issues that cross political boundaries, time periods, and media—and provide cross-cultural case studies of musical practices ranging from large-scale events to regionally specific histories. Following the editors’ substantive introduction, which lays the groundwork for conceptualizing new ways of thinking about music as it relates to violence, three broad themes are followed: the first set of essays examines how music participates in both overt and covert forms of violence; the second section explores violence and reconciliation; and the third addresses healing, post-memorials, and memory. Music, Politics, and Violence affords space to look at music as an active agent rather than as a passive art, and to explore how music and violence are closely—and often uncomfortably—entwined. CONTRIBUTORS include Nicholas Attfield, Catherine Baker, Christina Baade, J. Martin Daughtry, James Deaville, David A. McDonald, Kevin C. Miller, Jonathan Ritter, Victor A. Vicente, and Amy Lynn Wlodarski.