The Voice of Boxing: A Brief History of American Broadcasting Ringside

2019 ◽  
pp. 296-306
Author(s):  
Colleen Aycock
Keyword(s):  
History Of ◽  
The Voice

scholarly journals The translation and transmission of ‘diatribal’ verbs in the textual traditions of the Zlatostruj collection

2021 ◽  
Author(s):  
Simeon Dekker
Keyword(s):  
Middle Ages ◽  
Form Equation ◽  
Verb Forms ◽  
Textual History ◽  
History Of ◽  
Textual Traditions ◽  
The Voice ◽  
Over Time ◽  
The Middle Ages

AbstractThe ‘diatribe’ is a dialogical mode of exposition, originating in Hellenistic Greek, where the author dramatically performs different voices in a polemical-didactic discourse. The voice of a fictitious opponent is often disambiguated by means of parenthetical verba dicendi, especially φησί(ν). Although diatribal texts were widely translated into Slavic in the Middle Ages, the textual history of the Zlatostruj collection of Chrysostomic homilies especially suits an investigation not only of how Greek ‘diatribal’ verbs were translated, but also how the Slavic verbs were transmitted or developed in different textual traditions. Over time, Slavic redactional activity led to a homogenization of verb forms. The initial variety of the original translation was partly eliminated, and the verb forms "Equation missing" and "Equation missing" became more firmly established as prototypical diatribal formulae. Especially the (increased) use of the 2sg form "Equation missing" has theoretical consequences for the text’s dialogical structure. Thus, an important dialogical component of the diatribe was reinforced in the Zlatostruj’s textual history on Slavic soil.

FROM TESTIMONY TO HETEROGLOSSIA: THE VOICE(S) OF LAMENT IN WE ARE THE PERSIANS!

2021 ◽  
Vol 1 (46) ◽  
pp. 151-182
Author(s):  
Marios Chatziprokopiou ◽  
Keyword(s):  
Asylum Seekers ◽  
Real Life ◽  
Main Body ◽  
Original Play ◽  
Documentary Theatre ◽  
History Of ◽  
Audiovisual Archives ◽  
Displaced People ◽  
The Voice ◽  
Ancient Drama

We are the Persians! was a contemporary adaptation of Aeschy-lus’s The Persians presented in June 2015 at the Athens and Epidaurus Festival. Performed by displaced people from Afghanistan, Pakistan and Bangladesh, and directed by Yolanda Markopoulou, the piece grew out of the Station Athens group’s five-year theatre workshops. Extracts from the original play were intertwined with performative material brought to the project by the participants: from real-life testimonies to vocal improvisations, poems, and songs in different languages. High-lighting the historical thematic of the play, this adaptation was presented as a documentary theatre piece, and the participants as ‘modern-day heralds’ who provided on stage ‘shocking accounts’ concerning ‘contem-porary wars’ (programme notes, 2015). After briefly revisiting the main body of literature on the voice of lament in ancient drama and in Aeschylus’s The Persians in particular, but also after discussing the recent stage history of the play in Greece, I conduct a close reading of this adaptation. Based on semi-directed interviews and audiovisual archives from both the rehearsals and the final show,I argue that the participants’ performance cannot be limited to their auto-biographical testimonies, which identify their status as refugees and/or asylum seekers. By intertwining Aeschylus with their own voices and languages, they reappropriate and reinvent the voice(s) of lament in ancient drama. In this sense, I suggest that We are the Persians! can be read as a hybrid performance of heteroglossia, which disrupts and potentially transforms dominant ways of receiving ancient drama on the modern Greek stage.

scholarly journals Transpersonal Psychology And The Self-Field: An Overview Of The Works Of Jungian Analyst Erich Neumann

2018 ◽  
Vol 11 (11) ◽  
pp. 57
Author(s):  
Steven Herrman
Keyword(s):  
Transpersonal Psychology ◽  
Depth Psychology ◽  
The Self ◽  
Collective Unconscious ◽  
Structural Diagram ◽  
Tel Aviv ◽  
The World ◽  
History Of ◽  
Human Psyche ◽  
The Voice

In this essay the author gives a concise overview of the use of the word transpersonal in the life and writings of the Israeli Jungian analyst, Erich Neumann, who was born in Berlin Germany in 1905 and lived from 1934 until his untimely death, in 1960, in Tel Aviv. The paper provides readers with an overview of the correspondence that took place between Neumann and Jung from 1934-1959 and traces the way in which the word transpersonal was used in their mutual efforts to map out the terrain of the human psyche. What is made clear in the paper is that while Jung remained within the epistemological limits of empirical psychology in his theory of the collective unconscious, Neumann attempted to extend Jung’s epistemology into metaphysical territory, and in so doing he charted out a structural diagram of the psyche that extends beyond the archetypal field, to what he called the Self-field. The Self-field, Neumann argued, is a necessary postulate to include it in any complete inventory of depth-psychology that attempts to reach a new Weltanschauung. His attempts to extend Jung’s hypothesis of the Self into transpersonal territory began in his 1948 Eranos lecture in Ascona, Switzerland, “Mystical Man”. His calling from the Self led Neumann to venture forth a postulate of what he called a “New Ethic” for the field of depth-psychology as a whole. A distinction is made between the personal and archetypal shadow and evil, and the “Voice” Neumann refers to as part of the Transpersonal Self. The essay concludes saying it is tragic Neumann died at so young an age of 55, before he could formulate further how his Ethic related to his metaphysic. Neumann was the first Jungian analyst to present the world with a truly transpersonal theory of the Self that the author sees as essential reading for any transpersonal pedagogue who attempts to place Jungians in the history of the Integral movement. KEYWORDS Mystical man, numinous, Godhead, transpersonal, field-knowledge, Voice, Self-field, Wholeness, New Ethic, archetypal shadow, evil.

The Voice on the Page

2019 ◽  
pp. 37-75
Author(s):  
Jennifer Richards
Keyword(s):  
Sixteenth Century ◽  
History Of Reading ◽  
Vocal Cues ◽  
Left Behind ◽  
Printed Books ◽  
History Of ◽  
English Spelling ◽  
The Voice ◽  
Page Book

The history of reading has privileged particular kinds of evidence: the marks that readers left behind in books (annotation), and the layout of a printed page/book (paratext). This chapter explores whether other marks—not just layout but also punctuation and spelling—can be understood as vocal cues for oral readers. It does this by examining the contents and layout of Edmund Coote’s schoolbook used to teach boys and girls to read English (aloud). It argues that the eye and tongue were brought into alignment in the printed books of the sixteenth century, and gives this claim a context: debates on English spelling and punctuation. It makes a case for seeing ‘marks’ as prompts that need to be interpreted creatively rather than strictly followed, exploring Matthew Parker’s advice on reading psalms.

7. Madness

2019 ◽  
pp. 66-76
Author(s):  
Gary Gutting
Keyword(s):  
Human Community ◽  
History Of ◽  
Moral Condemnation ◽  
The Voice ◽  
Moral Fault

Foucault felt outrage towards a perception of madness that admits no meaningful alternatives to standards of normality, one which rejects any beliefs or behaviours that deviate from these standards. ‘Madness’ examines Foucault’s ideas about insanity and how madness has come to be perceived by culture. Madness, stated Foucault, suffers from both a conceptual exclusion and a physical exclusion and this reflects a moral condemnation. His History of Madness sustains this argument. The moral fault occurs because madness corresponds to a radical choice to reject humanity and the human community in favour of animality. Despite the voice of madness being silenced, Foucault was particularly fascinated by the idea that probing the limits of reason will reveal truths.

scholarly journals Who are the “servants” (Psalm 69:36c-37b)? A contribution to the history of the literature of the Old Testament

2003 ◽  
Vol 59 (3) ◽  
Author(s):  
Alphonso Groenewald
Keyword(s):  
Old Testament ◽  
Active Role ◽  
Special Group ◽  
Book Of Isaiah ◽  
Singular Form ◽  
Ancient Israel ◽  
Literary Heritage ◽  
History Of ◽  
The Voice ◽  
Shed Light

Psalm 69:37a refers to the "servants" in the composite "the offspring of his servants". This composite takes up a concept which already ap-peared as a self-indication of the supplicant of this Psalm, namely in its singular form "servant" (69:18a). The article aims to identify these "servants" (69:37a) who articulated themselves in the voice of the other "person" in Psalm 69. It is postulated that the connections which exist between the servants in Isaiah and the servants in the Psalter are far too distinct to simply regard them as a mere matter of coincidence. The article focuses on the book of Isaiah, as conclusions drawn from Isaiah can shed light on the identity of the "servants" in Psalm 69. Secondly, the focus shifts to the term "servants" in the Psalter, and specifically in book I and II. It shows that the term "servants" not only denotes the pious, but indicates a special group of people who played an active role in shaping the literary heritage of ancient Israel in post-exilic times.

““Das verlassene Määgdlein””: Grief Partaken

2009 ◽  
Vol 33 (2) ◽  
pp. 173-192
Author(s):  
Karen M. Bottge
Keyword(s):  
Nineteenth Century ◽  
Sustained Attention ◽  
Musical Settings ◽  
Musical History ◽  
History Of ◽  
The Creation ◽  
The Voice ◽  
Insight Into

Abstract Perhaps the most influential abandoned woman to surface in the musical history of the nineteenth century was that conceived by Biedermeier poet Eduard Möörike. Since its initial publication in 1832, his ““Das verlassene Määgdlein”” has engaged the sustained attention of composers, performers, and even music analysts and critics. Not only did his Määgdlein prompt the creation of numerous nineteenth-century volkstüümliche varianten throughout Germany and Austria, but she also inspired 130 musical settings dating between 1832 and 1985. Yet, although Möörike is just one of many figures within a long tradition of male poets writing on female abandonment, there seems to be something to this particular poem, that is, to Möörike's Määgdlein, that has compelled composers to retell her tale again and again in song. My discussion begins by first revisiting the poem's original novelistic context, Maler Nolten: Novelle in zwei Theilen (1832). Thereafter I follow Möörike's Määgdlein from her poetic beginnings to two of her best-known musical reappearances: Robert Schumann's ““Das verlassne Määgdelein”” (op. 64, no. 2) of 1847 and the work it inspired forty years later, Hugo Wolf's 1888 ““Das verlassene Määgdlein”” (also op. 64, no. 2), perhaps the most renowned setting of them all. Through the juxtaposition of these two settings we may not only uncover their potential textual and musical interconnections, but also gain insight into the tacit cultural understandings and ideologies surrounding those who take up the voice of the abandoned.

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