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'Which writer today is not a writer of the Holocaust?' asked the late Imre Kertész, Hungarian survivor and novelist, in his Nobel acceptance speech: 'one does not have to choose the Holocaust as one's subject to detect the broken voice that has dominated modern European art for decades'. Robert Eaglestone attends to this broken voice in literature in order to explore the meaning of the Holocaust in the contemporary world, arguing, again following Kertész, that the Holocaust will 'remain through culture, which is really the vessel of memory'. Drawing on the thought of Hannah Arendt, Eaglestone identifies and develops five concepts—the public secret, evil, stasis, disorientalism, and kitsch—in a range of texts by significant writers (including Kazuo Ishiguro, Jonathan Littell, Imre Kertész, W. G. Sebald, and Joseph Conrad) as well as in work by victims and perpetrators of the Holocaust and of atrocities in Africa. He explores the interweaving of complicity, responsibility, temporality, and the often problematic powers of narrative which make up some part of the legacy of the Holocaust.
In this international bestseller, father and advocate for Autism awareness Arthur Fleischmann blends his daughter Carly’s own words with his story of getting to know his remarkable daughter—after years of believing that she was unable to understand or communicate with him. At the age of two, Carly Fleischmann was diagnosed with severe autism and an oral motor condition that prevented her from speaking. Doctors predicted that she would never intellectually develop beyond the abilities of a small child. Carly remained largely unreachable through the years. Then, at the age of ten, she had a breakthrough. While working with her devoted therapists, Carly reached over to their laptop and typed “HELP TEETH HURT,” much to everyone’s astonishment. Although Carly still struggles with all the symptoms of autism, she now has regular, witty, and profound conversations on the computer with her family and her many thousands of supporters online. One of the first books to explore firsthand the challenges of living with autism, Carly’s Voice brings readers inside a once-secret world in the company of an inspiring young woman who has found her voice and her mission
Melissa Hurd tells how she grew up in Potter and Adams counties, Pennsylvania, moved through the foster care system, and suffered abuse only to grow up and become an abuser herself. Then God intervened. The Voice of the Broken is deep, reflective, and rich with a gritty humility that speaks to the power of God to change lives, redirect hearts, and bring good out of even the worst of experiences.
(Berklee Guide). Connect to your authentic singing voice with this holistic guide to a healthy and expressive singing life. This collection of technical discussions, exercises, and insights will help you improve all aspects of using your voice from healthy sound production to exercises for greater vocal facility to guidance on rehearsing with your band. Interviews with Patty Austin, Ysaye Barnwell, and others lend their perspectives to singing, the mind-body connection, and a natural/wellness focused approach to musicianship. The accompanying online audio supports the practice exercises and approaches to learning new songs.
The essays collected here raise a simple but rarely asked question: just what, exactly, is voice? From this founding question, many others proliferate: Is voice an animal category, as Aristotle thought? Or is it distinctively human? Is it essentially related to language? To music? To song and singing? Is it a mark of presence or of absence? Is it a kind of object? How is our sense of voice affected by the development of recording technology? The authors in this volume approach such questions primarily by turning away from a general idea of voice and instead investigating what can be learned by attending to the qualities and acts of particular voices. The range is wide: from Poe’s “Leigeia” to Woolf’s The Waves, from Jussi Björling to Waltraud Meier, from song to oratorio to opera and beyond. Throughout, consistent with the volume’s origin in papers delivered at the eighth biennial meeting of the International Association for Word and Music Studies, the role of voice in joining or separating words and music is paramount. These studies address key topics in musicology, literary criticism, philosophy, aesthetics, and performance studies, and will also appeal to practicing musicians.
Voice Made Visible is an exploration of voice training and performance practice based on the use and application of Multi-Octave Vocal Range techniques. "Multi-Octave" is understood as the arsenal of sounds that exists uniquely within each human voice, beyond the comfortable average octave that we use in everyday life. In Voice Made Visible, Rafael Lopez-Barrantes builds on the voice work created by Alfred Wolfsohn and developed by Roy Hart and his company in France to assist students, artists, and those interested in the performing arts with their vocal practice. He draws from over three decades of multi-cultural performance and teaching, sharing the three fundamental pillars of his system: Fiction, News, and Body Source. This book will help readers unfold their understanding of the voice by strengthening it and inspire them to create new vocal paths for the stage, camera, and voice acting, as well as for their own personal expressive growth. Voice Made Visible is an invaluable resource for students of Acting and Voice courses, as well as working performing artists. For supplemental material, including pedagogical audio-visual clips, please visit www.barrantesvoicesystem.com.
The changing adolescent voice counts among the most awkward of topics voice teachers and choir directors face. Adolescent voice students already find themselves at a volatile developmental time in their lives, and the stresses and possible embarrassments of unpredictable vocal capabilities make participation in voice-based music an especially fraught event. In this practical teaching guide, author Bridget Sweet encourages a holistic approach to female and male adolescent voice change. Sweet's approach takes full consideration of the body, brain, and auditory system; vocal anatomy and physiology in general, as well as during male and female voice change; and the impact of hormones on the adolescent voice, especially for female singers. Beyond the physical, it also addresses the emotional and psychological components: ideas of resolve and perseverance that are essential to adolescent navigation of voice change; and exploration of portrayals and stereotypes in pop culture that influence how people anticipate voice change experiences for teens and 'tweens, from The Brady Bunch to The Wonder Years to The Simpsons. As a whole, Teaching Outside the Voice Box encourages music educators to more effectively and compassionately assist students through this developmental experience.
This fast paced novel begins at the Potter Inn on the Wire Road. It is a dangerous time, not only for fifteen year-old Jethro Potter but for his sixteen year old sister Vienna, the reconstruction era following the Civil War. It was a time when outlaws roamed the land, a time when the Blacks began realizing they were free, a time when the Ku Klux Klan was organized, grew larger and larger, and harassed both the blacks and whites if they gambled, or resorted to stealing, and that time thousands of people were making ready to pour into the Oklahoma Territory. Jethro's life is disrupted when the Silmon gangsters kill their parents, and hang Jim Lucky, their hired Black man, and outlaws steal all of the Potter horses, $500 in gold, kidnapp Vienna and Jethro, and set out for their hide-out in the Oklahoma Territory. Turtle Ann trails the outlaws all the way to Camden Town in Arkansas, enabling the Black Militia to follow them. The militia overtakes the outlaw band near Camden, and during the pitched battle, Jethro escapes, and walks in to Camden Town. He uses his father's good name and borrows enough money to hire a posse to go after the outlaws, and in a furious chase, the posse catches up with the outlaws in the Oklahoma Territory.
Perspectives on the voice and technology, from discussions of voice mail and podcasts to reflections on dance and sound poetry. Voice has returned to both theoretical and artistic agendas. In the digital era, techniques and technologies of voice have provoked insistent questioning of the distinction between the human voice and the voice of the machine, between genuine and synthetic affect, between the uniqueness of an individual voice and the social and cultural forces that shape it. This volume offers interdisciplinary perspectives on these topics from history, philosophy, cultural theory, film, dance, poetry, media arts, and computer games. Many chapters demonstrate Lewis Mumford's idea of the “cultural preparation” that precedes technological innovation—that socially important new technologies are foreshadowed in philosophy, the arts, and everyday pastimes. Chapters cover such technologies as voice mail, podcasting, and digital approximations of the human voice. A number of authors explore the performance, performativity, and authenticity [(or 'authenticity effect') of voice in dance, poetry, film, and media arts]; while others examine more immaterial concerns—the voice's often-invoked magical powers, the ghostliness of disembodied voices, and posthuman vocalization. [The chapters evoke an often paradoxical reassertion of the human in the use of voice in mainstream media including recorded music, films, and computer games. Contributors Mark Amerika, Isabelle Arvers, Giselle Beiguelman, Philip Brophy, Ross Gibson, Brandon LaBelle, Thomas Levin, Helen Macallan, Virginia Madsen, Meredith Morse, Norie Neumark, Andrew Plain, John Potts, Theresa M. Senft, Nermin Saybasili, Amanda Stewart, Axel Stockburger, Michael Taussig, Martin Thomas, Theo van Leeuwen, Mark Wood
Eight years after the tumultuous events of THE MASTER OF VERONA, Pietro Alaghieri is living in exile in Ravenna, enduring the loss of his famous father while secretly raising Cesco, the bastard heir to Verona's prince, Cangrande della Scala. But when word of Cangrande's death reaches him, Pietro must race back to Verona to prevent Cesco's rivals from usurping his rightful place. But young Cesco is determined not to be anyone's pawn. Willful and brilliant, he defies even the stars. And far behind the scenes is a mastermind pulling the strings, one who stands to lose - or gain - the most. Born from Shakespeare's Italian plays, this novel explores the danger, deceit, and deviltry of early Renaissance Italy, and the terrible choices one must make just to stay alive.