A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and (...) singing emperors blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience. (shrink)

The article examines the situation of the presence of virtual voices in modern reality. The voices of virtual assistants model a new relationship between voice and face, with anonymity and depersonalization being a priority. The closeness of the face from the voice peculiar to virtual assistants, the detachment of the voice from the facial "accompaniment", the fundamental possibility of the existence of a voice without a face — all this gives the voice as an anthropological (...) and cultural phenomenon of modernity fundamentally new parameters. Digital "logic" implies a departure from the human logos, which can be clearly seen in the example of the problem of "gender" of artificial assistants. Special attention is paid to the problem of correlation of voice and artificial intelligence. Artificial intelligence as an organizational form of cognition acquires a voice, merges with a voice, becomes a voice. The universal scale of the claims of virtual voices requires theological reflection, because the religious experience of "working" with voices, represented in a wide range of world religions, is able to offer a unique interpretation of the role of the voice in modern times. Internet voices can be called into the liturgical space, where they will be asked to sound in new registers and keys. Digital religion appears as a new liturgical reality, a new common cause. It is significant that the non-spiritual technogenic environment can only offer emptiness — the emptiness of digital dehumanization. Digital-humanitarian unity can be built on the adoption of a spiritual foundation, based on the conclusion of a "pact" on cooperation between the spiritual experience of mankind and cyber-information perspectives. (shrink)

Purpose Voice assistant technology is one of the fastest-growing artificial intelligence applications at present. However, the burgeoning scholarship argues that there are ethical challenges relating to this new technology, not the least related to privacy, which affects the technology’s acceptance. Given that the media impacts public opinion and acceptance of VA and that there are no studies on media coverage of VA, the study focuses on media coverage. In addition, this study aims to focus on media coverage in Indonesia, (...) a country that has been underrepresented in earlier research. Design/methodology/approach The authors used critical discourse analysis of media texts, focusing on three levels to study how VA technology was discussed in the Indonesian context and what power relations frame the representation. In total, 501 articles were collected from seven national media in Indonesia from 2010 to 2020 and the authors particularly focus on the 45 articles that concern ethics. Findings The ethical topics covered are gender issues, false marketing, ethical wrongdoing, ethically positive effects, misuse, privacy and security. More importantly, when they are discussed, they are presented as constituting no real critical problem. Regarding discursive practices, the media coverage is highly influenced by foreign media and most of the articles are directed to well-educated Indonesians. Finally, regarding social practices, the authors hold that the government ideology of technological advancement is related to this positive portrayal of VAs. Originality/value First, to provide the first media discourse study about ethical issues of VAs. Second, to provide insights from a non-Western context, namely, Indonesia, which is underrepresented in the research on ethics of VAs. (shrink)

Music, as sung and listened to, has been described in many a tale as powerful and transformative. Yet, the important question is not so much if that claim is true or whether it may be verified, but what kind of power and transformation are alluded to in those mythical and literary sources? Taking these symbolic claims and elaborating on their possible meaning, alongside thinkers such as Carolyne Abbate or Roland Barthes, proceeds to find ways in which these claims may suggest (...) different roles that music and singing play in human lives. As much as current musicological and anthropological academic narratives point to the power and its negotiation in society, there is more to singing voices’ charms than this. The author points to an important transformation that happens when the human existential qualities found in the voice’s imperfections (its materiality) are matched with the music’s aesthetic qualities (its beauty, sublimity, its symmetry, its impression) to transform the listener and make her listen. (shrink)

By analyzing prefaces and other short excerpts written by different pseudonyms, this paper explores the pseudonymous authors’ relation to their spouses. It assumes that recurring motifs in the prefaces, such as ‘voice’ and the metaphor of ‘fertility,’ reveal, often in ironic tones, general gender-related aspects of identity in Kierkegaard’s works. The paper thus explores how the seemingly stereotyped and archaic conception of gender in the prefaces, such as the pseudonymous author’s assertion of superiority of reasoning through writing over the (...) immediacy represented in voice, reflect aspects of the individual’s disposition before God. (shrink)

This paper explores some aspects of the concept 'logic' and its relation to moral voice, and argues that Menssen uses it too narrowly in her respone to Orr's "Just the Facts. Ma'am" and the work of Carol Gilligan. Grounded in the work of the later Wittgenstein, it is argued that formalized logic misses much of natural logic: the concept of 'moral talk' is developed to theorize Gilligan's ethic of care; it is argued that this form of moral deliberation is (...) not argumentation in the formal sense; and the relationship between logic and epistemology is explored through the consideration of moral talk as a language-game which is woven into gendered forms of life. Finally, it is argued that the notion of a universal logic is the product of an oppressivc patriarchal culture and should not be defended by feminists. (shrink)

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. (shrink)

Who is the 'I' that performs? The arts of the twentieth and twenty-first centuries have pushed us relentlessly to reconsider our notions of the self, expression, and communication: to ask ourselves, again and again, who we think we are and how we can speak meaningfully to one another. Although in other performing arts studies, especially of theatre, the performance of selfhood and identity continues to be a matter of lively debate in both practice and theory, the question of how a (...) sense of self is manifested through musical performance has been neglected. The authors of 'Voices, Bodies, Practices' are all musician-researchers: the book employs artistic research to explore how embodied performing "voices" can emerge from the interactions of individual performers and composers, musical materials, instruments, mediating technologies, and performance contexts. (shrink)

Phenomenological healthcare research should include the lived experiences of a broad group of healthcare users. In this paper it is shown how shadowing can give a voice to people in vulnerable situations who are often excluded from interview studies. Shadowing is an observational method in which the researcher observes an individual during a relatively long time. Central aspects of the method are the focus on meaning expressed by the whole body, and an extended stay of the researcher in the (...) phenomenal event itself. Inherent in shadowing is a degree of ambivalence that both challenges the researcher and provides meaningful insights about the phenomenon. A case example of a phenomenological study on the experiences of elderly hospital patients is used to show what shadowing yields. (shrink)

This honest, forthright, and beautifully-written book introduces readers to the human variations on medical topics spoken of in abstract in the daily news--euthanasia, assisted suicide, abortion, "extreme procedures", genetic testing, experimental surgeries--and to the people who must agonize over those decisions regarding themselves and their loved ones.

This article revisits a forgotten, late project by the social psychologist Stanley Milgram: the ‘cyranoid’ studies he conducted from 1977 to 1984. These investigations, inspired by the play Cyrano de Bergerac, explored how individuals often fail to notice when others do not speak their own thoughts, but instead relay messages from a hidden source. We situate these experiments amidst the intellectual, cultural, and political concerns of late Cold War America, and show how Milgram’s studies pulled together a variety of ideas, (...) anxieties, and interests that were prevalent at that time and have returned in new guises since. In discussing the cyranoid project’s background and afterlife, we argue that its strikingly equivocal quality has lent itself to multiple reinterpretations by historians, psychologists, performers, artists, and others. Our purpose is neither to champion Milgram’s work nor to amplify the critiques already made of his methods. Rather, it is to consider the uncertain, allusive, and elusive aspects of the cyranoid project, and to seek to place that project in context, whilst asking where ‘context’ might end. We show how the experiments’ range of meanings, in different temporal registers, far exceeded the explanatory rubric that Milgram and his intellectual critics provided at that time, and ponder the risk for the historian of making anachronistic or teleological assumptions. In short, we argue, cyranoids invite our open-ended exploration of ‘voices offstage’ in social and psychological relations, and offer a useful tool for thinking about historical context and the nature of historical interpretations. (shrink)

The purpose of this paper is not to provide an overall picture of care ethics, but, rather, to reflect upon the concept of care, which has gained significance in particular scientific contexts. Undoubtedly, the importance of the subject of care represents a challenge on the level of fundamental philosophical positions and a diversified look into the occurring forms of the psychological and social suffering, dependency, and vulnerability. I will shed light on tenets that are considered central to the care ethics (...) and that have led to the setting up of the relationship between care and democracy. By introducing the basic aspects of Carol Gilligan’s and Joan Tronto’s theories, I will emphasize their vocation to be politically relevant. A discussion on the relationship between care and justice on the one hand, and needs and rights on the other, will follow. Can hearing voices of care make democracy more just? How can care ethics provide a concrete support for democracy? On the political level, care ethics builds on the assumptions of the necessary relatedness and equality between individuals who are decisive in the light of the welfare state perspective. Upon closer examination, one may see that the setting up of these relationships is not new to the liberal perspective. Liberalism is historically rooted in the fundamental interconnection between freedom and equality. Virtues such as care and meekness can be formulated in the language of politics, but they still remain unpolitical. On the one hand, engaging in a critical reflection upon such virtues might be an indispensable measuring instrument for distinguishing a good democracy from a bad one. On the other hand, care ethics does not prove to be a real alternative to the ethics of justice. In this regard, care ethics seems to show its feet of clay. (shrink)

Background Among the myriad voices advocating diverging ideas of what general practice ought to be, none seem to adequately capture its ethical core. There is a paucity of attempts to integrate moral theory with empirical accounts of the embodied moral knowledge of GPs in order to inform a general normative theory of good general practice. In this article, we present an empirically grounded model of the professional morality of GPs, and discuss its implications in relation to ethical theories to see (...) whether it might be sustainable as a general practice ethic. Methods We observed and interviewed sixteen GPs and GP residents working in health care centres in four Swedish regions between 2015–2017. In keeping with Straussian Grounded Theory, sampling was initially purposeful and later theoretically guided, and data generation, analysis and theoretical integration proceeded in parallel. The focal concept of this article was refined through multidimensional property supplementation. Results The voice of the profession is one of four concepts in our emerging theory that attempt to capture various motives that affect GPs’ everyday moral decisionmaking. It reflects how GPs appreciate the situation by passing three professional–moral judgments: Shall I see what is before me, or take a bird’s-eye view? Shall I intervene, or stay my hand? And do I need to speak up, or should I rather shut up? By thus framing the problem, the GP narrows down the range of considerations, allowing them to focus on its morally most pertinent aspects. This process is best understood as a way of heeding Løgstrup’s ethical demand. Refracted through the lens of the GP’s professional understanding of life, the ethical demand gives rise to specific moral imperatives that may stand in opposition to the express wishes of the other, social norms, or the GP’s self-interest. Conclusions The voice of the profession makes sense of how GPs frame problematic situations in moral terms. It is coherent enough to be sustainable as a general practice ethic, and might be helpful in explaining why ethical decisions that GPs intuitively understand as justified, but for which social support is lacking, can nevertheless be legitimate. (shrink)

"This book should be read by all who are interested in discerning the ethical teaching of representative African-American leaders of the nineteenth century whose voices have been long silenced by racism's insidious effects." Peter J. Paris, Princeton Theological SeminaryLaunching his investigation from H. Richard Niebuhr's enormously influential THE RESPONSIBLE SELF, Darryl Trimiew seeks to clarify and expand the implications of morally responsible behavior. He offers a corrective to Niebuhr's notion of the "fitting response" by taking the view of the marginalized (...) seriously. (shrink)

This volume explores irony – in its essence, saying other than one actually means – in the collected works of Xenophon. Xenophon's Other Voice argues that there are two voices in the author: one ostensible at the level of the literal text, which is available to everyone, while the sub-title designates the other voice, which is less obvious to the reader and indeed, an ironic one. It presents a unified view of the author's entire corpus and argues that (...) the function of Xenophontic irony is to offer critiques of the societies in which he finds himself. Rejecting both non-ironic and Straussian interpretations of Xenophon's writings, Yun Lee Too offers a wholly original perspective on the contemporary debate of how he should be read, which is underpinned by a series of incisive readings of the individual works. Beginning with Xenophon's representation of an ironic Socrates, who condemns the contemporary city and its more prominent citizens, the book moves on to consider how the author develops his own approach to irony. He deploys irony to criticize aspects of Athenian society, such as its understanding of wealth, its armed forces and sophistic education. The book then turns to his treatment of other Hellenic societies, including the Spartan city-state and laws, kingship in Syracuse and war amongst the Greek states. It finally considers Persia, covering Xenophon's depiction of Cyrus the Great and the expedition with Cyrus the Younger. (shrink)

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. (shrink)

The desire to voice the artistic revelation of the truth of a precarious, multi-faceted, yet integrated self lies behind much of Szymanowski's work. This self is projected through the voices of deities who speak languages of love. The unifying figure is Eros, who may be embodied as Dionysus, Christ, Narcissus or Orpheus, and the gospel he proclaims tells of the resurrection and freedom of the desiring subject. This book examines Szymanowski's exploration of the relationship between the authorial voice, (...) mythology and eroticism within the context of the crisis of the modern subject in Western culture. Stephen Downes analyses mythological and erotic aspects of selected songs from the composer's early career, moving to an interpretation of the voice of the homoerotic lover, embodied as a mad muezzin, in terms of heroic notions of Orphic elegy. Discussing the encounters of King Roger with the voices of Narcissus, the Siren and Dionysus, Downes shows how the composer uses the unifying Christ/Eros figure as a means of indicating that the King might be transformed from anguished despot to loving expressive subject. The book ends with an examination of Szymanowski's desire to fuse Slavonic and Middle-Eastern mythological inspirations in an attempt to fulfil a utopian vision of a pan-European culture bound together by the spirit of Eros. (shrink)

Alexis karpouzos is a visioner in the development of post-history sense of cosmic unity and the integral consciousness. For him, spirituality is not just about personal enlightenment but is deeply connected to moral action. He view ethical living as a natural outgrowth of spiritual awareness. In his worldview, the divine is not something distant or abstract but is present in every human being, and this awareness should lead to moral behavior that reflects love, justice, and equality. In many of his (...) writings, Alexis karpouzos calls for the realization of a moral society, one that is based on mutual respect, compassion, and the recognition of the divine essence in all people. His commitment to social reform, education, and the improvement of human welfare can be seen as an extension of his spiritual values, grounded in the belief that the divine resides within every person, regardless of their social or economic status. Alexis karpouzos believe that the process of spiritual growth was a deeply personal journey. He often spoke of the importance of inner freedom and self-realization. For him, true liberation was not something that could be granted from outside, but a state of consciousness that could only be attained through deep self-awareness and connection to the universe. This self-realization, however, did not mean renouncing the social and historical world; rather, it involved seeing the universal consciousness in all aspects of life and acting in alignment with it. (shrink)

Whistleblowing is recognized as an important function in promoting scientific integrity, and there is a recognized need to protect whistleblowers. There is not much information available in the literature about scientific whistleblowing. Because it appears that frequently scientific misconduct is uncovered by a whistleblower, it is useful to obtain more information about the activity. This paper is about whistleblowing from the perspective of the person blowing the whistle. Information about a few selected cases of whistleblowing is presented in an attempt (...) to augment the experiential aspect of the activity. (shrink)

While vocal acts, such as interpellation and speech acts, constitute a network of theoretical nodes in Butler’s writings, her theory of gender performativity neglects to theorize the mediation of such acts through the voice and its technologies. In a close reading of Butler’s influential texts, the paper examines the ramifications of a notion of gender performativity that ignores the performative aspects of the voice, asking what it means to think a body without a voice. What notions of (...) materiality and subjectivity does such a thinking it assume? How does it understand the relationship of performativity, performance and sound technology? I argue that the repression of the sonoric aspects of the voice can be read as a symptom of the role of materiality in the theory of gender performativity. Despite Butler’s attempts to attend to the material body within a discourse of the performative, the notion of materiality is constrained through the economy of the sign and remains subordinated to the realm of intelligibility, a hierarchy that Butler explicitly rejects. However, the material voice will finally supplement and subvert the theory of gender performativity. (shrink)

Much of classical political thought ascribed paramount importance to elite formation: what institutions and traditions would cultivate the best qualities in the ruling class, and curb their exorbitances. This volume consists of essays by political theorists who explore these questions in the works of aristocratic thinkers, both ancient and modern.

In this paper I consider one aspect of how student writing is supported in the university. I focus on the use of the 'writing frame', questioning its status as a vehicle for facilitating student voice, and in the process questioning how that notion is itself understood. I illustrate this by using examples from the story of the 1944 Hollywood film Gaslight and show that apparent means of facilitating voice can actually contribute to a state of voicelessness. The paper (...) considers what recovery of voice entails and the role of the 'voice coach' both in the film, and in the classroom. Drawing on the work of Stanley Cavell, his readings of Gaslight and of the American writers Thoreau and Emerson, I explore the themes of crisis and transformation in relation to the self and society. Thoreau's notion of the father tongue and his metaphor of the axe are considered in relation to the concept of voice and are shown to be suggestive of a mature relationship to language and of an Emersonian self-reliance that is denied by the mere technical skill and mastery learning of some current approaches to academic writing. (shrink)

This article examines the dog-like aspects and associations of two marine monsters of Graeco-Roman antiquity: Scylla and the κῆτος. Both harbour recognizably canine features in their depictions in ancient art, as well as being referenced as dogs or possessing dog-like attributes in ancient texts. The article argues that such distinctly canine elements are related to, and probably an extension of, the conceptualization of certain marine animals, most prominently sharks, as ‘sea dogs’. Accordingly, we should understand these two sea monsters and (...) the sea dogs as being interrelated in the ancient imagination. Such a canine resonance to certain sea creatures offers a valuable insight into the Graeco-Roman imagination of the marine element as being the abode of creatures reminiscent of terrestrial dogs. (shrink)

Some lines of poetry rhyme to certain readers and not to others because of how their words are pronounced in different accents. And because the accent in which a person speaks is tied in significant ways to aspects of their social identity (such as their age, race, gender, and class), some poems rhyme in the voices of the privileged and not in the voices of the disadvantaged. This paper argues that appreciators can incur aesthetic harms when they are excluded from (...) participating in aesthetic goods that are more fully available to others, and that these harms can constitute aesthetic injustices when they are part of a wider pattern of socio-economic hardship. Poems that embody objectionable gatekeeping practices can thus perpetuate aesthetic injustice. (shrink)

The authors conducted a qualitative analysis of thirty-seven issues of The DDU Review, a newsletter produced by residents of the Dual Diagnosis Unit, a residential unit for people who had diagnoses of developmental disability and serious mental illness in the Central State Hospital. The analysis of the newsletters produced between September 1988 and June 1992 revealed three major themes: 1) the mundane; 2) good behavior; and 3) advocacy. Contrary to the authors’ expectations, the discourse of medicalization—such as relations with physicians, (...) diagnoses, and medications—receive little attention. Instead, the patient-journalists focus on prosaic aspects of institutional life. The patients used their writing as a form self-definition and advocacy. The authors argue that even though it is tempting to consider the patients’ emphasis on good behavior as evidence of institutional control, internalized discipline, and medicalization, a more nuanced interpretation, which focuses on how the patients’ understood their own experiences, is warranted. Researchers must also recognize the ways in which The DDU Review reveals the patient-journalists’ experience of an institutional life that includes non-medical staff, varied social relationships among patients, and negotiated freedoms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.4 (2002) 717-733 [Access article in PDF] The Voice of Poetry in the Thought of Michael Oakeshott Efraim Podoksik The British philosopher Michael Oakeshott (1901-1990) is mostly known as a political thinker of conservative persuasion, and his general philosophy is usually analyzed only in connection with the social and political aspects of his thought, with most attention being paid to his discussion (...) of practical wisdom, rationalism, and tradition. 1 Yet social theory and politics were by no means Oakeshott's only preoccupation. Among the subjects of his books and essays are philosophies of history, science, and aesthetics. 2 A close look at these writings exposes a different Oakeshott, not a conservative defender of the importance of practice and tradition but a radical thinker familiar with the trends of his own time and deeply influenced by them.Among those philosophies aesthetics is perhaps the most obscure one. Indeed, the significance of aesthetics for Oakeshott is readily recognized by commentators. His thought is often portrayed as having a strong aesthetic dimension. Thus, the influence of the Renaissance and Romanticism on his worldview is emphasized, he is sometimes compared with European existentialists, and one commentator even described his life as "poetic, not prosaic." 3 But, there [End Page 717] are relatively few studies outlining the development of Oakeshott's aesthetic theory. 4 These are usually found in short chapters in general surveys of Oakeshott's philosophy. Thus, W. H. Greenleaf analyzes Oakeshott's theory of aesthetics in the context of the idealistic tradition exemplified by Hegel, Croce, and Collingwood; Robert Grant discusses and rejects what he sees as the deceptive parallels between Oakeshott and the Bloomsbury group, and Andrew Sullivan argues that an aesthetic dimension is present in Oakeshott's concepts of practice and politics. 5Reasons for this neglect may lie in the fact that Oakeshott wrote little about aesthetics and that he was very ambiguous in his views on the character of this form of human experience. He formulated his views on science and history relatively early and never departed from them afterwards. These are first presented in the philosophical treatise Experience and Its Modes (1933).By contrast, it took him a long time to elaborate a coherent theory of aesthetics. It appears only in the essay "The Voice of Poetry in the Conversation of Mankind," first published in 1959. This theory, however, occupies a central place in Oakeshott's mature philosophy as he radically defends "poetry" as one of the independent worldviews which constitute the character of modern experience. The purpose of this paper is to present the development of Oakeshott's view of the autonomy of aesthetic experience within its intellectual context.Oakeshott's interest in art is visible in his early publications in which he tends to recognize the independent character of aesthetic experience. He makes clear the attitude towards art he is defending in his first student article which discusses the character of Shylock in Shakespeare's drama. Oakeshott is attracted by Shakespeare's ability to describe a villain as a character and by his capacity for sympathy for a personality, some of whose traits he may have loathed. That such sympathy does not imply any absolute moral standard makes Shakespeare's description more profound, for "life is more complex than to foster heroes and villains of the conventional type." 6Oakeshott is opposed to the vulgar moralization of art and argues that the artist is able to present a deeper and more complex view of life whereall characters "have some intrinsic value of their own." 7 In the inter-war period in [End Page 718] which artists were often demanded to serve one or another social cause this position was not as commonplace as it is now. Oakeshott aligned himself with thetrend usually called "aestheticism" in England or l'art pour l'art in France, which had been at the peak of its influence at the end of the nineteenth and the beginning of the twentieth century and, while still quite popular in the twenties, was being... (shrink)

‘Teachers expect parents to teach you. Parents expect teachers to teach you. So actually you learn nothing and nobody wants to talk about it’. This quote from this research study is an adolescent girls’ cry for liberation from the silence related to sexuality because of the general reluctance of adults to talk to them about it. Given the growing concerns raised about the sexual and reproductive health of adolescents in South Africa, the aim of this study was to conduct research (...) with adolescent girls as subjects in order for girls’ voices to enhance adult researchers’ understanding of children’s need for support and guidance in the context of sexuality education. The purposively selected sample included 75 participants from three diverse high schools in the Western Cape. The research was conducted using a phenomenological approach that values the lived experiences of participants as significant in contributing to the knowledge on adolescent sexuality. A qualitative interpretative research design was applied to collect the data. This article argues that adults cannot help adolescents in their sexual emancipation – to be free – if they themselves are not free. If they were free, they would have been able and willing to engage with adolescents in every aspect, which includes their sexuality. Including adolescent girls as partners in transforming sexuality education is presented as a core principle for the sexual emancipation of both adolescent girls and adults. (shrink)

Auditory scene analysis is an elementary aspect of music perception, yet only little research has scrutinized auditory scene analysis under realistic musical conditions with diverse samples of listeners. This study probed the ability of younger normal-hearing listeners and older hearing-aid users in tracking individual musical voices or lines in JS Bach's The Art of the Fugue. Five-second excerpts with homogeneous or heterogenous instrumentation of 2–4 musical voices were presented from spatially separated loudspeakers and preceded by a short cue for signaling (...) the target voice. Listeners tracked the cued voice and detected whether an amplitude modulation was imposed on the cued voice or a distractor voice. Results indicated superior performance of young normal-hearing listeners compared to older hearing-aid users. Performance was generally better in conditions with fewer voices. For young normal-hearing listeners, there was interaction between the number of voices and the instrumentation: performance degraded less drastically with an increase in the number of voices for timbrally heterogeneous mixtures compared to homogeneous mixtures. Older hearing-aid users generally showed smaller effects of the number of voices and instrumentation, but no interaction between the two factors. Moreover, tracking performance of older hearing aid users did not differ when these participants did or did not wear hearing aids. These results shed light on the role of timbral differentiation in musical scene analysis and suggest reduced musical scene analysis abilities of older hearing-impaired listeners in a realistic musical scenario. (shrink)

While influential works since the 1970s have widely assumed that imitation is an innate skill in both human and non-human primate neonates, recent empirical studies and meta-analyses have challenged this view, indicating other forms of reward-based learning as relevant factors in the development of social behavior. The visual input translation into matching motor output that underlies imitation abilities instead seems to develop along with social interactions and sensorimotor experience during infancy and childhood. Recently, a new visual stream has been identified (...) in both human and non-human primate brains, updating the dual visual stream model. This third pathway is thought to be specialized for dynamics aspects of social perceptions such as eye-gaze, facial expression and crucially for audio-visual integration of speech. Here, we review empirical studies addressing an understudied but crucial aspect of speech and communication, namely the processing of visual orofacial cues and its integration with vocal auditory cues. Along this review, we offer new insights from our understanding of speech as the product of evolution and development of a rhythmic and multimodal organization of sensorimotor brain networks, supporting volitional motor control of the upper vocal tract and audio-visual voices-faces integration. (shrink)

The article is a cultural-philosophical response to Ivan Gerát’s Legendary Scenes and his art history interpretation of the function of Slovak hagiographic pictorial art of the Late Middle Ages. The thrust is on paintings of Christian ethical extremism, reflected in the principle of imitatio Christi. It led to the deaths of martyrs and saints in the name of the Faith. The preponderance of brutal scenes involving the tortured human body in this period art is examined in detail and it is (...) suggested that these portrayals are disincentives that put off the mass culture beholder. The contextualist art history method employed in Gerát’s book is gradually explored, along with its potential to transform the uninterested postmodern beholder into an intelligent beholder and art tourist. Attention is paid to the educational and national branding aspects of Legendary Scenes. (shrink)

The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns (2, 5 and 6), which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns (1,3 and 4), which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis inH. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is (...) that it seems to prevent further insight into an important aspect of Callimachus' poetic technique. I think that there is in fact a subtle play with various aspects of diegesis and mimesis which pervades the whole collection of hymns and gives it a certain unity, because it draws attention to the way in which narratives or descriptions are presented in the hymns. Although the emphasis on mimesis or diegesis may vary, none of the hymns can be regarded as diegetic in all its aspects and there is a great deal of fluctuation between, the two modes of presentation both within the collection and within the individual hymns. (shrink)

The article deals with the analysis of the experience of calling in the existential and phenomenological aspects. The phenomenon of call revealed in the experience of sensing and understanding of human being towards the world and as an event of a personal existence. The study proves that calling responds to the human need of going over the limits of own self towards the co-existence with people, serving the life-work and the ideals. The author analyses the problem of existential and religious (...) truth. The research discovers the meaning of voices and silence in the phenomenal field of calling. Analyzed the difference between the vocal and visual experience, between the feeling and seeing, the necessity of organization of a sound being in human self-consciousness. The meaning of silence is explicated as an internal space of human experience. Silence is researched as an existential phenomenon, as a special mood making possible for a personality to experience the fullness of being. Silence is revealed as an existential dimension of the origin of language, of the voice of conscience and as a reality of the experience of responsibility of a personality. Therefore, in silence takes place sensing of oneself and occurs the revelation of a call for a person. (shrink)

Our study contributes to the ongoing debate about women’s rights and religious feminism. The context for analysis of women’s experiences is the “Women of the Wall” who have been struggling for the past 30 years for their right to practice their spiritual rituals (praying at the Western Wall) in a hegemonic and masculine arena. We suggest that the “Women of the Wall” and their battle for spiritual equality threaten the hegemonic masculinity. Moreover, this feminist battle expands the feminist revolution and (...) the fights for women’s equality to the religious arena which is dominated by the hegemonic masculinity. The implementation of the Listening Guide, a feminist methodology, assists us in uncovering various voices, representing different aspects of the experiences of the “Women of the Wall” in a conflict zone. These narratives reveal juxtapositions of feelings of competence, determination and vulnerability and shed light on the women’s struggle for gender equality in a hegemonic masculine domain. (shrink)

This paper reports on research undertaken into the processes through which student teachers begin to formulate an identity as a professional teacher. Using Fuller's investigations into the attitudes of trainee teachers towards their courses (1969) as a baseline, a discussion is established on the place of the student voice in contemporary initial teacher training programmes. In order to further investigate the potential importance of affording student teachers the opportunity to reflect on and express their thinking and feeling as they (...) embark on their chosen career path, the concerns of a group of student drama teachers were recorded and interpreted. The vehicle for this exercise involved writing and subsequently performing reflective monologues. These were analysed by using The Listening Guide as composed by Gilligan et al (2003). This paper illustrates how the methodology revealed distinct yet generally harmonious voices at work in the group in the first few weeks of their training year. Subsequent analysis suggests a model for the initial formation of a teaching identity built on aspects of self role and character. Recognising the relative values and relationships between these factors for student teachers may, it is argued, provide greater security for them while affording their tutors insights which could help them to re-shape initial teacher training programmes. (shrink)

Emerging New Voices in Critical Animal Studies: Vegan Studies for Total Liberation, co-edited by Nathan Poirier, Anthony J. Nocella II, and Annie Bernatchez of the Institute for Critical Animal Studies, is a brilliant radical engaging intersectional book promoting total liberation from new fresh critical animal studies voices throughout the world. This captivating critical animal studies collection, influenced by historical and ongoing radical movements such as green anarchism, Black liberation, prison abolition, feminism, Queer liberation, disability rights, and decolonization, is one of (...) the most powerful texts in the last decade within the animal liberation movement. We must begin to listen to new and young scholars for social justice to evolve in order to end speciesism and all forms of oppression. Read, share, reflect and act on this interdisciplinary collection of scholar-activists from sociology, anthropology, criminology, economics, philosophy, cultural studies, eco-theology, environmental studies, and education that will transform the global movement for radical social justice and propel total liberation forward. (shrink)

In the paper Gernot Böhme considers the spatial aspects of the perception of sound, especially the human voice, which he sees not as a verbal bearer of meaning but the expression of “the speaker’s atmospheric presence.” The voice lends the communication space emotional colour and the atmospheres it creates envelop the communication partners by way of resonance. The author sets the signatures concept propounded by the Renaissance philosopher Jacob Böhme against semiotic theories: understanding music is not interpretation but (...) resonance. Gernot Böhme also focuses on contemporary experimental music, where musical instruments are not treated as tools for the production of musical sounds but bodies “provoked” to generate specific sounds in the acoustic space. (shrink)

The purpose of this article is to identify the parameters of cyclization, as well as techniques for updating the ancient form and technique of polyphonic writing by modern musical means in a cappella choral music. The subject of the study is the choral creativity of Sergei Ekimov. The object of the research is the study of the architectonics of the cyclic form and the consideration of polyphonic techniques in thirteen five-voice madrigals "From the Rubayat of Omar Khayyam" by S. (...) Ekimov. The musical language of the St. Petersburg master is saturated with semantic concentration, differs in the expression of the utterance. The appeal to ancient polyphonic genres, forms and techniques of writing in S. Ekimov's choral cycles is characterized by an individual approach to solving creative ideas. S. Ekimov embodies the images of Omar Khayyam's poetry in music and forms his own author's concept of the entire cycle. Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of musical composition are revealed: the architectonics of the cycle, genre specificity and musical. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. The main conclusion of the research is the paradigm of artistic connections of the Western European polyphonic tradition with the achievements of Russian musical culture through the prism of modern techniques of compositional writing (sonorica, aleatorica). The attention is focused on the need to study the problems associated with the architectonics of modern choral polyphonic a cappella cycles, due to the general artistic and historical potential and the significance of Russian choral music. The novelty of the research lies in the fact that for the first time the polyphonic cycle of choral creativity a cappella by a modern Russian composer is analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of Sergei Ekimov's essay "From the Rubayat of Omar Khayyam", which has not previously been the object of special research, and its introduction into modern scientific usage. (shrink)

This book deals with themes concerning religious education and the spirituality of children. Throughout the seventeen chapters, the book stimulates a scholarly discussion about children and theology. The book makes clear that classical Christian theology can benefit from taking seriously children's voices and reflections about children. The volume demonstrates how nuanced and interdisciplinary reflections can be relevant for Christian and social practices of adults with children and how these practices can influence theology. This volume asks the following questions: - Why (...) is it important that we hear the 'voices of children' and what does this mean for how we treat children and relate to them? - What do the 'voices of children' express? How do children experience society and, in particular, religion, and what do they have to say about it? - What do the 'voices of children' mean for theology, ethics and religious education? In what way can our theology change when we see reality from the perspective of children? This book consists of five parts. In the first part the reader receives an overview of the current challenges concerning children and spirituality. The two chapters of this part offer an introduction to contemporary thinking about children, theology and spirituality and the place of 'children's voices' within this scope. The second part refers to biblical sources for contemporary theological reflection on children. The third part contains pedagogical and ethical reflections on children, as well as a view from practical theology about children in the world and the responsibility of churches. This third part looks mainly at children in relation to society, both in the past and in the present. The fourth part focuses on children living in the family, which is seen as a domestic church. The fifth part takes up the theme of children's spirituality again, showing children's own spiritual reflection and ways of theologizing with children in church and family contexts, by communication, literature and all forms of religious education and/or catechesis. (shrink)

Language and speech depend on a relatively well defined neural circuitry, located predominantly in the left hemisphere. In this article, I discuss the origin of the speech circuit in early humans, as an expansion of an auditory-vocal articulatory network that took place after the last common ancestor with the chimpanzee. I will attempt to converge this perspective with aspects of the Mirror System Hypothesis, particularly those related to the emergence of a meaningful grammar in human communication. Basically, the strengthening of (...) auditory-vocal connectivity via the arcuate fasciculus and related tracts generated an expansion of working memory capacity for vocalizations, that was key for learning complex utterances. This process was concomitant with the development of a robust interface with visual working memory, both in the dorsal and ventral streams of auditory and visual processing. This enabled the bidirectional translation of sequential codes into hierarchical visual representations, through the development of a multimodal interface between both systems. (shrink)

Introduction This book is not a systematic commentary on the canonicaJ topoi of "Nietzsche's philosophy." Since my emphasis is on those parts or aspects of ...

The paper addresses an understudied but highly relevant group of people within corporate organizations and society in general—the marginalized—as well as their narration, and criticism, of personal lived experiences of marginalization in business. They are conventionally perceived to lack traditional forms of power such as public influence, formal authority, education, money, and political positions; however, they still possess the resources to impact their situations, their circumstances, and the structures that determine their situations. Business ethics researchers seldom consider marginalized people’s voices (...) and experiences as resources to understand their lives, as demonstrated through a review of 7500 articles published in the Journal of Business Ethics and Business Ethics Quarterly (2000–2019). Only 78 studies included aspects of marginalized groups. 69 of those studies discussed the topic of marginalized groups of people, but without integrating their explicit voices into the text. Only 9 of the 78 articles featured marginalized people’s explicit voices about their marginalization experiences incorporated into the text as a source for exploration. None of the identified studies discussed the potential for theorizing based on such voices. This paper contributes to business ethics theory by developing four theoretical possibilities vis-à-vis the critical voices of marginalized people’s experiences in business: (a) marginalized theory on critical agency and freedom of speech; (b) the gatekeeping role of academia; (c) primary sources; and (d) a participative perspective. Discussing the theoretical potential of quoting the above voices can enrich business ethics research in terms of the theoretical understanding of marginalized groups in business. (shrink)

In reference to the paradoxical classification of art in Kafka’s Josefine story, religious aspects of the artist’s performances and their effect on the audience are scrutinized. The leading question is to what extent it evokes an allusion to the primal scene of divine revelation, following Stéphane Mosès’ commentary in his readings of the Bible. Josefine’s singing with a “nothing of a voice”, reduced to “the slightest of nullities”, the zero-point of signification, nevertheless affects an experience of presence and community (...) that touches the listeners’ entire being. From the perspective of the artist, her song recitals are manifestations of supreme art of which she claims a soteriological significance in respect of her audience who belongs in Kafka’s portrayal obviously to the Jewish people. Around such a tension between maximal restraint of an utterance (the voice onset of the aleph of the word anokhi/i) and all-encompassing meaning (the name of God and all Commandments whose acceptance is constitutive for the Jewish people) circle the theological exegeses of the Sinai-scene (esp. Ex. 20,1) in the tradition of Rashi and Maimonides, in modernity e.g. of Gershom Scholem in dispute with Walter Benjamin on Kafka. It will be shown that the depicted paradoxes of Josefine’s art performances unfold the mentioned tension as an original literary reflection on revelation and language under the conditions of modernity. (shrink)

Television commercials are often thought of as bothersome multimedia artefacts that by their very existence spoil our viewing pleasure at regular intervals. Not only that, but they seem to have the habit of ordering us around. This aspect of TV ads has often been commented on by experts and laypersons alike. Therefore, we decided to tackle this issue and look at the prototypical expression of directives, that is, imperatives in voice-overs in television commercials. To this end we have carried (...) out an empirical analysis of imperatives in voice-overs in the MATVA corpus which contains transcriptions of nearly 800 voice-overs in British TV ads recorded on six days during 2009, 2010 and 2011. We provide an exhaustive quantitative and qualitative profile of imperatives in contemporary TV advertising. This includes information on the distribution of imperatives, the most common verbs in imperative clauses, and their discourse function. We are also able to show conclusively that the directive force of imperatives in TV ads is more akin to advice or recommendation than commands, and explain from a discourse-pragmatic perspective why this is so. (shrink)

This paper is concerned with the relationship between philosophy and rhetoric. It argues that philosophical claims are bound to language, and yet philosophy’sclaim to objective clarity is meaningless if language is radically perspectival. The paper attempts to show the limitations and possibilities that Platonic dialectics and Derridean deconstruction share in their respective approaches to the analysis of language and the relationship between speech and writing. The paper concludes that language is ambiguous, neither reducible to the relativism of sophistry nor to (...) the essentialism of metaphysics. Against Derrida, the paper argues that without structure, voice is not language; it renders only inarticulate sounds. Yet in speaking, this structural aspect gets taken for granted and passed over. Only when language is established in writing is the possibility of voice first recognized. (shrink)

We draw from ego depletion and leader–member exchange theories to provide nuanced insight into why abusive supervision is indirectly associated with supervisor-directed destructive voice. A multi-wave, multi-source field study demonstrates evidence that abusive supervision has a positive conditional indirect effect on supervisor-directed destructive voice through subordinates’ relational ego depletion with their supervisors that is stronger for higher LMX differentiation contexts than lower LMX differentiation contexts. We make novel theoretical, empirical, and practical contributions by providing a parsimonious explanation for (...) why relational aspects of supervisory treatment drain subordinates’ capacities for controlling their volitional actions during interactions with their supervisors and how this relationship impacts subordinates’ supervisor-directed destructive voice. Overall, our study extends the application of ego depletion and LMX theories to the examination of abusive supervision and destructive voice in order to meaningfully inform researchers’ attempts to build cohesive streams of research in these areas and practitioners’ attempts to promote ethical workplace environments. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Sacrifice of the Letter to the Voice of TestimonyGiorgio Agamben’s Fulfillment of MetaphysicsJeffrey S. Librett (bio)By denying us the limit of the Limitless, the death of God leads to an experience in which nothing may again announce the exteriority of being, and consequently to an experience which is interior and sovereign. But such an experience, for which the death of God is an explosive reality, discloses (...) as its own secret and clarification, its intrinsic finitude, the limitless reign of the Limit, and the emptiness of those excesses in which it spends itself and where it is found wanting.—Michel Foucault, “Preface to Transgression”Can there be a discourse that, without being a metalanguage or sinking into the unsayable, says language itself and exposes its limits?—Giorgio Agamben, “The Idea of Language”I shall not rest until every German sees that it is a shameful thing to be a lawyer.—Adolf Hitler, speech before theReichstag, April 26, 1942From his early works on, Giorgio Agamben has opposed the thought of no contemporary philosopher more consistently and programmatically than that of Jacques Derrida, whose questioning of phonocentric metaphysics Agamben has tried to replace by a characterization of metaphysics as (what I am calling here) graphocentric. To go back behind the replacement of the voice by the letter is for Agamben to recover the event of language itself, the taking-place of language as Being.1 In his conceptualization of the project for such a recovery, as we shall see, Agamben’s commitment to Heidegger’s fundamental ontology is overdetermined by his investment in the Christian God as logos.This philosophical program in Agamben’s early essays guides his later work on the homo sacer-sovereign relation but also distorts and disturbs the later work in three principal ways. First, it prompts him to propose an exclusively juridicopolitical understanding of the sacredness of the homo sacer, effectively scapegoating the juridical sphere for a more broadly theopolitical problem, while placing the specifically Christian background [End Page 11] of his antinomianism in a misleadingly secular, rational, and universalist light. Symptomatically, in order to accomplish this juridicopolitical reduction Agamben must reject Bataille’s analysis of sacrifice—along with the entire modern anthropological reading of the sacred—out of hand. For this rejection protects his discourse against any sustained confrontation with the importance of the sacrificial dimension for both what he calls the homo sacer and his own approach to law in his theorization of the homo sacer..Second, Agamben’s philosophical program impoverishes the account he provides of the Nazi death camps as an extreme example of the sovereign-homo sacer relation by making it impossible for him to appreciate the importance of Christian antinomianism in the formation of National Socialist ideology. For Agamben’s philosophical orientation requires or presupposes that he ignore or underestimate, first of all, the sacrificially anti-Semitic dimension of Christian antinomianism—the tendency of such antinomianism to make Judaism responsible for the ontological desert into which representation exiles us all. Further, as a consequence of his continuing commitment to this tradition, Agamben cannot see how important the tradition remains, even if in a displaced form, for Nazi anti-Semitism. I argue that Agamben’s animus against the letter blinds him to the Christian and sacrificial dimensions of the Holocaust—he ignores the former and explicitly, emphatically denies the latter dimension—because this animus represents his own commitment to the Christian antinomianism that, in its racialized National Socialist form, attempts to rid itself of the letter by sacrificing not only Judaism but the (biologically, racially construed) Jews. Because his radically antinomian program would become unsettled by his recognition of its important overlap with the ideological bases of National Socialism, Agamben cannot ultimately acknowledge the Christian and sacrificial aspects of the Holocaust.Finally, in Remnants of Auschwitz—his main reading (outside of Homo Sacer) of the significance of the Nazi death camps—Agamben positions “testimony” as the exemplary instance of the speaking of speech, the taking-place of language. The result of the destruction of European Jewry becomes here the revelation of poetic speech as a manifestation of the absolute. Unwittingly, Agamben ends up participating in... (shrink)

Emotive speech is a social act in which a speaker displays emotional signals with a specific intention; in the case of third-party complaints, this intention is to elicit empathy in the listener. The present study assessed how the emotivity of complaints was perceived in various conditions. Participants listened to short statements describing painful or neutral situations, spoken with a complaining or neutral prosody, and evaluated how complaining the speaker sounded. In addition to manipulating features of the message, social-affiliative factors which (...) could influence complaint perception were varied by adopting a cross-cultural design: participants were either Québécois (French Canadian) or French and listened to utterances expressed by both cultural groups. The presence of a complaining tone of voice had the largest effect on participant evaluations, while the nature of statements had a significant, but smaller influence. Marginal effects of culture on explicit evaluation of complaints were found. A multiple mediation analysis suggested that mean fundamental frequency was the main prosodic signal that participants relied on to detect complaints, though most of the prosody effect could not be linearly explained by acoustic parameters. These results highlight a tacit agreement between speaker and listener: what characterizes a complaint is how it is said (i.e., the tone of voice), more than what it is about or who produces it. More generally, the study emphasizes the central importance of prosody in expressive speech acts such as complaints, which are designed to strengthen social bonds and supportive responses in interactive behavior. This intentional and interpersonal aspect in the communication of emotions needs to be further considered in research on affect and communication. (shrink)

ArgumentMuch recent research has established the importance of visualization in modern science. This essay treats, instead, of the continued importance of the aural and oral: the professorial voice. The professor remains important for science since so many scientists still instantiate this persona and, as is here argued, a “voice” constitutes an essential feature of it. The form of the essay reflects its contents. From the Middle Ages until well into the modern era, the archetypal professorial genre was the (...) disputation, an oral event recast in written form. Apropos of the traditional disputation, this essay begins with a disquisition more or less to the point. It concerns Nietzsche’s first major publication, which violated norms for the proper professorial voice, thus accelerated the destruction of his academic career. The essay then presents six theses on the professorial voice. The theses treat relevant aspects of the professorial voice from the Sophists onward. It is argued, in Weberian terms, that the professorial voice or persona embodies elements of charismatic and traditional authority which coexist with and condition the rational authority or “objectivity” of science. (shrink)