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.
This book aims to show the many resources at our disposal for grappling with the Holocaust as the darkest occurrence of the twentieth century. These wide-ranging studies on philosophy, history, and literature address the way the Holocaust had led to the reconceptualization of the humanities. The scholarly approaches of Pierre Klossowski, Georges Bataille, and Maurice Blanchot are examined critically, and the volume explores such poignant topics as violence, evil, and monuments.
Alterity is not a mere synonym of difference; what it signifies is otherness, a distinction or separation that can entail similarity as well as difference. The articles collected here explore ways to define, situate and negotiate alterity in a manner that does not do away with the other through negation or neutralization but that instead engages alterity as a reconfiguring of identities that keeps them open to change, to a becoming without horizon. Alterity and its situated negotiations with identity are configured through the body, through the psyche and through translational politics. From critical readings of angels, specters, grotesque bodies, online avatars,
Sex and the City, pornography in French literature, Australian billboard art, Pina Bausch, Adrian Piper, Kashmiri poetry, contemporary German fiction, Jacques Brault and Northern-Irish poetry, there emerges a vision of identities as multi-faceted constructions that are continually being transformed by the various alterities with which they intersect and which they must actively engage in order to function effectively in the social, political, and aesthetic realm.
How Dada is to break its cultural accommodation and containment today necessitates thinking the historical instances through revised application of critical and theoretical models. The volume
Dada Culture: Critical Texts on the Avant-Garde moves precisely by this motive, bringing together writings which insist upon the continuity of the early twentieth-century moment now at the start of the twenty-first. Engaging the complex and contradictory nature of Dada strategies, instanced in the linguistic gaming and performativity of the movement’s initial formation, and subsequently isolating the specific from the general with essays focusing on Ball, Tzara, Serner, Hausmann, Dix, Heartfield, Schwitters, Baader, Cravan and the exemplary Duchamp, the political philosophy of the avant-garde is brought to bear upon our own contemporary struggle through critical theory to comprehend the cultural usefulness, relevance, validity and effective (or otherwise) oppositionality of Dada’s infamous anti-stance.
The volume is presented in sections that progressively point towards the expanding complexity of the contemporary engagement with Dada, as what is often exhaustive historical data is forced to rethink, realign and reconfigure itself in response to the analytical rigour and exercise of later twentieth-century animal anarchic thought, the testing and cultural placement of thoughts upon the virtual, and the eventual implications for the once blissfully unproblematic idea of expression. From the opening, provocative proposition that historically Dada may have been
the falsest of all false paths, the volume rounds to dispute such condemnation as demarcation continues not only of Dada’s embeddedness in western culture, but more precisely of
the location of Dada culture.
Ten critical essays – by Cornelius Partsch, John Wall, T. J. Demos, Anna Schaffner, Martin I. Gaughan, Curt Germundson, Stephen C. Foster, Dafydd Jones, Joel Freeman and David Cunningham – are supplemented by the critical bibliography prepared by Timothy Shipe, which documents the past decade of Dada scholarship, and in so doing provides a valuable resource for all those engaged in Dada studies today.
enact such a sovereignty, that is, not by other individuals, ideologies, or even the divine. But even in the form of contract as Thomas Hobbes suggested, ignoring the voice of others in the name of sovereignty runs against nature; the possibility of and justification for sovereignty can only be
-ethnic family ties. 3 Looking for Voices of Reason: the Background to the Kumasi Process In February 1994 a massive mobilization of the military, organised into a special Emergency Task Force and coordinating with local police, helped to stabilise the situation to the extent that more organised aid became
assumptions about society and politics.” 3 In effect, the emergence of these blogospheres in the first decade of the twenty-first century represents the coming-out of digitalized subaltern voices that use antagonistic humour, such as sarcasm, to enact nonviolent resistance. Sarcasm creates an incongruence
“Dele is – was – the founding editor of Newswatch Magazine , and the loudest voice against continued military rule in the country” (199). This brief portrait of Dele Giwa shows him as an activist journalist whose ideological vision of state-building is contrary to that of the ruling military oligarchy
Monstrum , 11. 42 Douglas Chismar, “Emapathy and Sympathy: The Important Difference,” in Journal of Value Inquiry 22(1988): 261-2. 43 Bataille, Guilty , 46. 44 Brook et al., Death by a Thousand Cuts , 240-241. Not only does Bataille’s self-identification with the victim make the authors voice their