Jean is a medical student who’s about to start her final residency rotation in gynecology. But she’d much rather practice surgery than listen to simpering women moan about their problems all day. Plus, this department is headed by the notorious Dr. Karma, renowned throughout the hospital for his stubborn mindset and unorthodox practices. However, in her first week, Jean begins to realize that Dr. Karma’s reputation isn’t fully accurate, and, perhaps, the complexities of women’s stories are worth listening to and respecting. A modern classic of a revolution in women’s medical care, adapted from the bestselling novel by Martin Winckler.
The study takes the received view among scholars that women in the Middle Ages were faced with sustained misogyny and that their voices were seldom heard in public and subjects it to a critical analysis. The ten chapters deal with various aspects of the question, and the voices of a variety of authors - both female and male - are heard. The study opens with an enquiry into violence against women, including in texts by male writers (Hartmann von Aue, Gottfried von Straßburg, Wolfram von Eschenbach) which indeed describe instances of violence, but adopt an extremely critical stance towards them. It then proceeds to show how women were able to develop an independent identity in various genres and could present themselves as authorities in the public eye. Mystic texts by Hildegard of Bingen, Marie de France and Margery Kempe, the medieval conduct poem known as Die Winsbeckin, the Devout Books of Sisters composed in convents in South-West Germany, but also quasi-historical documents such as the memoirs of Helene Kottaner or Anna Weckerin's cookery book, demonstrate that far more women were in the public gaze than had hitherto been assumed and that they possessed the self-confidence to establish their positions with their intellectual and their literary achievements.
Why are so many women still not properly listened to? Why do they sometimes feel that they're less interesting than they are? Why do they often rush when they speak? Why do some women feel the pressure to sound like little girls? From one of the world's leading experts on the voice comes this call to arms for women to reclaim their voices. Using elements of experience and practice from her prolific career, Patsy Rodenburg examines these questions, and many more, to decipher what lies at the heart of female empowerment. From the age of four, Rodenburg knew that she found communication difficult. Her struggle with her own voice set her on the journey that led her to discover her vocation. She has spent her life re-finding and re-empowering voices, particularly the lost voices of women. Watching her highly intelligent working-class mother and grandmother ignored and often silenced gave her the insight to investigate why that was and how to help women overcome this centuries-old issue. With warmth and humour, Rodenburg interrogates Shakespeare's texts and his presentation of female characters; develops the notion of rhetoric in relation to the female voice; and applies concepts explored in her previous books, including The Three Circles of Energy. And, perhaps most crucially, through arguing that power and voice are directly linked to breath, Rodenburg makes the case that Western society's oppression of women has diminished their natural ability to breathe. Exploring the female voice through practical exercises and stories from the front line, as well as profoundly personal and formative experiences from her own life, Rodenburg defines the art of accessing the voice within and reclaiming the woman's right to speak.
All you ever wanted to know about the female voice but you never dared to ask by the leading world expert, Dr. Jean Abitbol! Enriched with numerous fascinating anecdotes, this exciting book covers the journey of the female voice and its development and impact on others from motherhood to old age. And the journey is full of surprises with answers to fascinating questions. Does voice have a sex? Is that voice sexual or hormonal? Is it genetic or epigenetic? Why do female voices change less at puberty than men’s voices? How does a woman’s voice change during her menstrual cycle? Is the female biological clock still a mystery? How and why is the voice the target of the sexual hormones? What kind of treatments are we using today-from contraceptive pills, hormonal replacement therapy to alternative medicine-that affect the voice and how do they affect it? Is a woman’s voice damaged after the hormonal “earthquake” that takes place when she is in her fifties? Could we avoid or prevent the aging voice in women? What are the specific pathologies affecting the female vocal folds? What are the links between diet, hygiene, and exercise, and how do they affect the female voice? Like a ship on the waves of the sea of life, the female voice, a life-space-time continuum, travels through the winds of emotion and hormonal changes brought about by aging. Dr. Jean Abitbol guides the reader through these changes, mapping the female voice’s journey through life. With his guidance, you will come to see and to understand the emotion, the power, the seduction, the force, and the charm of the female voice and how they converge to make up the female persona.
This is the little book that started a revolution, making women's voices heard, in their own right and with their own integrity, for virtually the first time in social scientific theorizing about women. Its impact was immediate and continues to this day, in the academic world and beyond. Translated into sixteen languages, with more than 700,000 copies sold around the world, In a Different Voice has inspired new research, new educational initiatives, and political debate—and helped many women and men to see themselves and each other in a different light.Carol Gilligan believes that psychology has persistently and systematically misunderstood women—their motives, their moral commitments, the course of their psychological growth, and their special view of what is important in life. Here she sets out to correct psychology's misperceptions and refocus its view of female personality. The result is truly a tour de force, which may well reshape much of what psychology now has to say about female experience.
A Woman's Voice examines the themes reflected in the stories of women in the Bible and relates these motifs directly to the lives of women today. Marcella Bakur Weiner and Blema Feinstein celebrate the ideas and lessons found in traditional Jewish sources and explain their relevance for contemporary women.
A Woman’s Voice: A Little Book of Poems is a look inside the mind of a woman. The poems within are all about those thoughts that I – and you – hold dear but never ever tell another living breathing soul. 'The Breeze Through the Lilac Trees,' sings a sweet song of the South as seen through the eyes of an innocent young girl. But in the poem, 'Aunt Jemima,' she is older and acquainted with the harsh realities of race. 'Sybrina,' recounts the ordeal of a woman suffering an unimaginable loss. 'Yellow Dresses,' celebrates youth and beauty while, 'I am Becoming a Budgie' tells of a woman dealing with growing older and loosing that much celebrated beauty. A Woman’s Voice: A Little Book Of Poems is a little book but it’s a powerful book.
At the end of his second year in Leipzig, J.S. Bach composed nine sacred cantatas to texts by Leipzig poet Mariane von Ziegler (1695-1760). Despite the fact that these cantatas are Bach's only compositions to texts by a female poet, the works have been largely ignored in the Bach literature. Ziegler was Germany's first female poet laureate, and the book highlights her significance in early eighteenth-century Germany and her commitment to advancing women's rights of self-expression. Peters enriches and enlivens the account with extracts from Ziegler's four published volumes of poetry and prose, and analyses her approach to cantata text composition by arguing that her distinctive conception of the cantata as a genre encouraged Bach's creative musical realizations. In considering Bach's settings of Ziegler's texts, Peters argues that Bach was here pursuing a number of compositional procedures not common in his other sacred cantatas, including experimentation with the order of movements within a cantata, with formal considerations in arias and recitatives, and with the use of instruments, as well as innovative approaches to Vox Christi texts and to texts dealing with speech and silence. A Woman's Voice in Baroque Music is the first book to deal in depth with issues of women in music in relation to Bach, and one of the few comprehensive studies of a specific repertory of Bach's sacred cantatas. It therefore provides a significant new perspective on both Ziegler as poet and cantata librettist and Bach as cantata composer.
In August of 1920, women's suffrage in America came down to the vote in Tennessee. If the Tennessee legislature approved the 19th amendment it would be ratified, giving all American women the right to vote. The historic moment came down to a single vote and the voter who tipped the scale toward equality did so because of a powerful letter his mother, Febb Burn, had written him urging him to "Vote for suffrage and don't forget to be a good boy." The Voice That Won the Vote is the story of Febb, her son Harry, and the letter than gave all American women a voice.
