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Bahar Şi̇mşek

focus on the audiovisual space of three feature-length narrative films made in Kurdish languages: first, Voice of My Father ( Dengê Bavê Min , Orhan Eskiköy & Zeynel Doğan, 2012), then Song of My Mother ( Klama Dayîka Min , Erol Mintaş, 2014), and finally, My Sweet Pepper Land (Hiner Saleem, 2013

Peter Kelly

discourse concerning the boundaries of the human and textual corpus. It is this discourse that will be the focus of this paper, which will show that by dislocating the voices within the House from the invisible personification of Fama , Ovid comments on the instability of the authorial voice as it enters

Kosuke Motoki, Toshiki Saito, Rui Nouchi, Ryuta Kawashima and Motoaki Sugiura

they are sweet (Velasco et al. , 2019) or light-colored (Sunaga et al. , 2016). These findings all indicate that congruent sensory information positively influences consumer preference. The human voice plays an important role in marketing communication, and the role of voice in communication

Kosuke Motoki, Toshiki Saito, Rui Nouchi, Ryuta Kawashima and Motoaki Sugiura

they are sweet (Velasco et al. , 2019) or light-colored (Sunaga et al. , 2016). These findings all indicate that congruent sensory information positively influences consumer preference. The human voice plays an important role in marketing communication, and the role of voice in communication

Pauline LeVen

nightmarish. 1 There is indeed something haunting in the end of the Ovidian passage, and especially in the line that inspired Beckett’s title, “only her voice and her bones remain” ( vox tantum atque ossa supersunt, Met . 3.398). Yet apart from Beckett, critics have in general neglected the final part of the

Maurizio Bettini

’, affirms the soothsayer Marcius concluding his prophecy about the Battle of Cannae. Even before the soothsayer has asserted his prophetic fari , Jupiter himself fatus est . 2 However, while there is a divine ‘agency’ behind the fari of the augur or priest, the secular voice of the res publica , that

Aorist voice patterns in the diachrony of Greek

The New Testament as a sample of Koine

Liana Tronci

1 Introduction This paper deals with the verbal category of voice in Koine Greek and focuses on the aorist. As Browning (1983) and Horrocks (2010) pointed out, the aorist underwent major changes in voice from Ancient to Modern Greek: “the endings of the aorist middle (-(σ

Bertus De Villiers

influence on Australia’s political life is however fragile. For many years Aboriginal People have attempted, without success, to enhance their political voice so that they could pursue self-determination as well as a form of co-formulation of the policies that affect them. The commonly used term ‘Aboriginal

Krystyna Adamska

There is a controversy in organizational and management literature whether silence is a simple opposition to voice. Originally voice in organization was defined as a pro-socially motivated act of unveiling information which is important for making improvements both in the productiveness and moral conduct. Streaming from the idea of voice, silence appears to be a display of reluctance to be wholeheartedly involved in organizational strategies and aims. The decision not to speak up in the face of perceived problems, misconduct and impropriety seems to be selfish and builds a barrier to change. The voice and silence is then arranged along one dimension with the change and status quo as two extremes. The change is good whereas status quo is unacceptable. As it is well known in the management literature successfully conducted change takes time and effort of those who are in power. It is a challenge because the process of change has to be negotiating in nature. That means opening the door for controversy, contradictory values, unwanted negative emotions and seemingly irreconcilable interests. The voice in such a process is welcomed even when hearing it demands patience, self-withdrawing and cognitive effort. The silence is respected without devaluating the reasons for which it is held. This ideal vision of change resembles the ideal talk, where partners are guided by cognitive curiosity and the need to understand the position of the other. Both sides benefit from the process. Negotiating character of change in organization assumes the employee to benefit from the collective effort to bring new solutions and define new practices. If the frame of ideal organizational change is not put on the silence and voice agenda then the question of silence and voice beneficiary remains unanswered.

Guo-Juin Hong

Instead of attempting to provide a survey of Taiwan documentary, this article focuses on a few critical moments in its long and uneven history and proposes a potentially productive site for understanding its formal manifestations of representational politics. By honing in on the uses of sounds and words, I show that the principle of a unitary voice—voice understood both as the utterances of sound and the politico-cultural meaning of such utterances—organizes the earlier periods of the colonial and authoritarian rules and shapes later iterations of and formal reactions to them. Be it voice-over narration or captions and inter-titles, this article provides a historiographical lens through which the politics of representation in Taiwan documentary may be rethought. Furthermore, this article takes documentary not merely as a genre of non-fiction filmmaking. Rather, it insists on documentary as a mode, and indeed modes, of representation that do not belong exclusively to the non-fiction. Notions of “documentability” are considered together with the corollary tendency to “fictionalize” in cinema, fiction and non-fiction. Taiwan, with its complex histories in general and the specific context within which the polyglossiac practices of New Taiwan Documentary have blossomed in recent decades in particular, is a productive site to investigate the questions of “sound” in cinematic form and “voice” in representational politics.