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

In: Middle East Journal of Culture and Communication

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

In: Mnemosyne

1 Introduction This chapter frames a series of contributions that originated from a plenary session at the 2017 Fall Symposium of the Comparative and International Education Society convened at George Mason University. Titled Decolonizing Methodology by Invoking Local Voices , the session engaged

In: Interrogating and Innovating Comparative and International Education Research

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

In: Multisensory Research

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

In: Auditory Contributions to Food Perception and Consumer Behaviour

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

In: Greek and Roman Musical Studies

’, 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

In: Greek and Roman Musical Studies