Overheard Voices examines poetic address and in particular apostrophe (the address of absent or inanimate others) in the work of four post-World War II American poets, with a focus on loss, desire, figuration, audience, and subjectivity. By approaching these crucial issues from an unexpected angle--through a study of the seldom-examined lyric "you"--Overheard Voices offers new insight into both contemporary lyric and the lyric genre more generally. The book offers detailed readings of Sylvia Plath, James Merrill, Louise Glück, and Frank Bidart.
(Applause Books). A series of 13 written workshops covering: conflict and character: the dominant image: Tennessee Williams and Arthur Miller; Overheard voices: Ibsen and Shakespeare; The solo performance piece: listening for stories; Terror and vulnerability: Ionesco; The point of absurdity: creating without possessing: Pinter and Beckett; and much more.
In the eighteen stories found in this collection, readers will have the opportunity to explore a host of issues. Their journey will fall under the guidance of a writer who has clearly given much energy to thoughts on powerful issues such as overpopulation, depletion of natural resources, the role of religion in society, and the nature of God. But Jack Randall walks this path without missing the flowers along the way. Wading into the mire of profundity has not eliminated his power to touch the reader with heartfelt stories of loss, redemption, and triumph. In the end, the reader will take away from these stories an insight into larger issues facing our world today, insight brought from a slightly tilted point of viewtilted not to obscurity, but rather to such that a new view becomes available, and one which the reader will not fail to enjoy.
Vocal Projections: Voices in Documentary examines a previously neglected topic in the field of documentary studies: the political, aesthetic, and affective functions that voices assume. On topics ranging from the celebrity voice over to ventriloquism, from rockumentary screams to feminist vocal politics, these essays demonstrate myriad ways in which voices make documentary meaning beyond their expository, evidentiary and authenticating functions. The international range of contributors offers an innovative approach to the issues relating to voices in documentary. While taking account of the existing paradigm in documentary studies pioneered by Bill Nichols, in which voice is equated with political rhetoric and subjective representation, the contributors move into new territory, addressing current and emerging research in voice, sound, music and posthumanist studies.
On 31 December 1918, hours from the first New Year of peace, hundreds of Royal Naval Reservists from the Isle of Lewis poured off successive trains onto the quayside at Kyle of Lochalsh. A chaotic Admiralty had made no adequate arrangements for their safe journey home. Corners were cut, an elderly and recently requisitioned steam-yacht was sent from Stornoway, and that evening HMY Iolaire sailed from Kyle of Lochalsh, grossly overloaded and with life-belts for less than a third of all on board. The Iolaire never made it. At two in the morning, in pitch-black and stormy conditions, she piled onto rocks only yards from the harbour entrance and just half a mile from Stornoway pier, where thronged friends and relatives eagerly awaited the return of their heroes. 205 men drowned, 188 of them natives of Lewis and Harris - men who had come through all the alarms and dangers of the First World War only to die on their own doorstep, at the mouth of a harbour many could themselves have navigated with ease, on a day precious to Highlanders for family, celebration and togetherness. The loss of the Iolaire remains the worst peacetime British disaster at sea since the sinking of the Titanic. Yet, beyond the Western Isles, few have ever heard of what is not only one of the cruellest events in our history but an extraordinary maritime mystery - a tale not only of bureaucrats in a hurry, unfathomable Naval incompetence and abiding, official contempt for the lives of Highlanders, but of individual heroism, astonishing escapes, heart-rending anecdote and the resilience and faith of a remarkable people. In the first English account and on the ninetieth anniversary of the 'dark ship', John MacLeod tells the story of the Iolaire, the astonishing commitment of the people of Lewis to the war against the Kaiser, its sickening end, and the way of life the disaster effectively destroyed - a tipping-point, he argues, in the overthrow of an old human economy and which deprived the Isle of Lewis of an entire generation.
In Earth and Mind : Dreaming, Writing, Being Michael Bishop examines the very recent work of nine major contemporary French and Francophone writers : Yves Bonnefoy, Jacqueline Risset, Salah Stétié, Vénus Khoury-Ghata, Tahar Ben Jelloun, André Velter, Marie-Claire Bancquart, Jean-Claude Pinson and Jacques Dupin. The issue of writing’s complex relation to the experience of the earth is of central pertinence, involving questions of dreaming, voice, figurativity, emotion, desire, revolt, metaphysics, meaning, poiein and being. Discussion entails close reading of works as well as broad contextualisation and a sensitivity to interrelevancies from writer to writer. Bishop’s book is intended as a companion to his 2014 Dystopie et poïein, agnose et reconnaissance. Seize études sur la poésie française et francophone contemporaine.
Scholars consider sound and its concepts, taking as their premise the idea that popular culture can be analyzed in an innovative way through sound. The wide-ranging texts in this book take as their premise the idea that sound is a subject through which popular culture can be analyzed in an innovative way. From an infant's gurgles over a baby monitor to the roar of the crowd in a stadium to the sub-bass frequencies produced by sound systems in the disco era, sound—not necessarily aestheticized as music—is inextricably part of the many domains of popular culture. Expanding the view taken by many scholars of cultural studies, the contributors consider cultural practices concerning sound not merely as semiotic or signifying processes but as material, physical, perceptual, and sensory processes that integrate a multitude of cultural traditions and forms of knowledge. The chapters discuss conceptual issues as well as terminologies and research methods; analyze historical and contemporary case studies of listening in various sound cultures; and consider the ways contemporary practices of sound generation are applied in the diverse fields in which sounds are produced, mastered, distorted, processed, or enhanced. The chapters are not only about sound; they offer a study through sound—echoes from the past, resonances of the present, and the contradictions and discontinuities that suggest the future. Contributors Karin Bijsterveld, Susanne Binas-Preisendörfer, Carolyn Birdsall, Jochen Bonz, Michael Bull, Thomas Burkhalter, Mark J. Butler, Diedrich Diederichsen, Veit Erlmann, Franco Fabbri, Golo Föllmer, Marta García Quiñones, Mark Grimshaw, Rolf Großmann, Maria Hanáček, Thomas Hecken, Anahid Kassabian, Carla J. Maier, Andrea Mihm, Bodo Mrozek, Carlo Nardi, Jens Gerrit Papenburg, Thomas Schopp, Holger Schulze, Toby Seay, Jacob Smith, Paul Théberge, Peter Wicke, Simon Zagorski-Thomas
