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The aim of this book is to explore the phenomenon of the electrified voice through interdisciplinary approaches such as media and technology studies, social history, and comparative cultural studies. The book focuses on three problem clusters: reflections on the societal level about the task of electronic voice transmission; the mediation of gender- and occupation-specific vocal stereotypes in audio and audio-visual formats; and the genesis of such vocal stereotypes in national radio and film cultures. Such a historicizing approach to societal experience in the field of voice mediation, including the use and interpretation of voice media, is today of great relevance in light of the collective learning processes currently triggered by rapid advances in technology.
Paul Robeson's Voices is a meditation on Robeson's singing, a study of the artist's life in song. Music historian Grant Olwage examines Robeson's voice as it exists in two broad and intersecting domains: as sound object and sounding gesture, specifically how it was fashioned in the contexts of singing practices, in recital, concert, and recorded performance, and as subject of identification. Olwage asks: how does the voice encapsulate modes of subjectivity, of being? Combining deep archival research with musicological theory, this book is a study of voice as central to Robeson's sense of self and his politics. Paul Robeson's Voices charts the dialectal process of Robeson's vocal and self-discovery, documenting some of the ways Robeson's practice revised the traditions of concert singing in the first half of the twentieth century and how his voice manifested as resistance.
This book describes Yogi Ashokananda's unique, down-to-earth approach to meditation - one with strong connections to ancient Indian traditions but that is also fully adapted to the demands of modern Western living. Using evidence from medical and scientific research, Yogi explains the importance of relaxation, and draws on the wisdom of tantra to guide the reader to understanding the energy we control within our body. Unlike other meditation techniques, Yogi's method starts with the body rather than the mind as the centre for meditation, since his emphasis is on embracing our human side as well as our higher self. Challenging the body physically and focusing attention on the lower chakras allows us to bridge the gap between our material and spiritual self, to heal any conflicts or splits arising from living in today's society and to explore all aspects of our personality. The link between the body and the emotions is scientifically well-established, and the exchange and union between the body and mind that takes place in Yogi's meditations is particularly effective for relaxation. By using breath control and simple arm movements to channel and direct energy flow, Yogi also demonstrates how to create perfect balance in the body and rid it of samskaras, the energetic residue of our emotional scars, which can make us lethargic, depressed, stressed and anxious. The benefits of distributing breath and energy evenly are felt at every level: the essence of the five elements within the body's organs is balanced; emotional and spiritual renewal and transformation occurs; self-awareness, vitality, clarity, and a sense of calm, balance and harmony are increased; and the digestive, cardiovascular and nervous systems are all positively affected.
Drawing on clues from Aristotle, Plato, Hobbes, Locke, Jacobson, Condillac, and Diderot, Appelbaum investigates the vocalized, acoustical aspect of audible expression. He analyzes the tendency to equate voice with speaking, and speaking with writing, the result being that vocalizing is equivalent to thinking aloud. Appelbaum affirms the body's role in vocalizing expression by proposing a new and radical interpretation of the truth of voice: that it is true if it provides a disclosure of our human contradictions. Sound, or the acoustical properties of a person's voice, is able to bring about the revolutionary new set of conditions which reveal the truth of one's condition. The author provides a unique account of the subjugation of voice by thought, indicating means for reversing the authority of the sound and for freeing up the voice. He concludes with the argument that poetic voice reconciles the search for semantic meaning with the raw, acoustical effect that the free voice causes.
Emotions suffuse our lives: a symphony of feeling - usually whispering and murmuring in pianissimo but occasionally screaming and shouting in fortissimo crescendo - filling every waking moment and even invading our dreams. We can always be conscious of how happy, sad, annoyed, or anxious we feel, and also of the feelings we have relative to other persons: pride, envy, guilt, jealousy, trust, respect, or resentment. Developments in brain imaging and in capturing nuances of nonverbal display now enable the objective study of emotion and how biologically-based primary emotions relate to higher-level social, cognitive, and moral emotions. This book presents an integrated developmental-interactionist theory of emotion, viewing subjective feelings as voices of the genes: an affective symphony composed of dissociable albeit interactive neurochemical modules. These primordial voices do not control, but rather cajole our behavior with built-in flexibility, enabling the mindful application of learning, reason, and language.
In Hindu India both orality and sonality have enjoyed great cultural significance since earliest times. They have a distinct influence on how people approach texts. The importance of sound and its perception has led to rites, models of cosmic order, and abstract formulas. Sound serves both to stimulate religious feelings and to give them a sensory form. Starting from the perception and interpretation of sound, the authors chart an unorthodox cultural history of India, turning their attention to an important, but often neglected aspect of daily religious life. They provide a stimulating contribution to the study of cultural systems of perception that also adds new aspects to the debate on orality and literality.
Both science and spirituality agree that every particle of matter, every phenomenon we experience, is a form of resonance or vibration. The human voice is quite literally a mouthpiece of this truth; there is no form of expression more personal, more tied to our identities, than our voices. With simple inspirational exercises, this book by renowned voice teacher Chloe Goodchild gives readers the tools to guide them in a process of sound healing and soul communication that is guaranteed to open the heart and restore forgiveness, compassion, and interconnectedness between individuals and in their communities. At the heart of every human journey exists the longing to feel at home in one's self and in the world. In a unique response to meet this longing, Chloe Goodchild invites you on a compelling adventure of self-discovery and creative fulfillment through a direct experience of your own authentic voice--the voice of your personal authority, the song of your soul. Going beyond traditional vocal training guides, this book will appeal to anyone wishing to encounter themselves at a primal level through the medium of the voice.
An organic farmer relates her family's experiences and struggles in the industry as they faced challenges ranging from inclement weather to the threat of eminent domain.
Brazilian Literature as World Literature is not only an introduction to Brazilian literature but also a study of the connections between Brazil's literary production and that of the rest of the world, particularly European and North American literatures. It highlights the tension that has always existed in Brazilian literature between the imitation of European models and forms and a yearning for a tradition of its own, as well as the attempts by modernist writers to propose possible solutions, such as aesthetic cannibalism, to overcome this tension.