Don Valley festival champions

2020 ◽  
pp. 210-210
Author(s):  
David Walker
Keyword(s):  
Male Voice ◽  
David Walker

In Don Valley festival champions David Walker briefly continues the story of the male voice choir he is part of, and recounts their growing success.

The adjudicator

2020 ◽  
pp. 152-152
Author(s):  
David Walker
Keyword(s):  
Male Voice ◽  
David Walker

In The adjudicator David Walker briefly discusses his hobby singing in an all-male voice choir.

From Culturazing Nature to Naturalizing Culture: The Differing Function of Animal Imagery in Defining Bodies from Homer’s Odysseus to Margaret Atwood’s The Penelopiad

2016 ◽  
Vol 6 (2) ◽  
pp. 15
Author(s):  
Begüm Tuğlu
Keyword(s):  
Primary Sources ◽  
Western Society ◽  
Male Voice ◽  
Women Authors ◽  
Western Literature ◽  
Male Characters ◽  
Animal Imagery ◽  
Literary Heritage ◽  
Man And Nature ◽  
History Of

Feminist authors have long been trying to alter the patriarchal structure of the Western society through different aspects. One of these aspects, if not the strongest, is the struggle to overcome centuries long dominance of male authors who have created a masculine history, culture and literature. As recent works of women authors reveal, the strongest possibility of actually achieving an equalitarian society lies beneath the chance of rewriting the history of Western literature. Since the history of Western literature relies on dichotomies that are reminiscences of modernity, the solution to overcome the inequality between the two sexes seems to be to rewrite the primary sources that have influenced the cultural heritage of literature itself. The most dominant dichotomies that shape this literary heritage are represented through the bonds between the concepts of women/man and nature/culture. As one of the most influential epics that depict these dichotomies, Homer's Odysseus reveals how poetry strengthens the authority of the male voice. In order to define the ideal "man", Homer uses a wide scope of animal imagery while forming the identities of male characters. Margaret Atwood, on the other hand, is not contended with Homer's poem in that it never narrates the story from the side of women. As a revisionist mythmaker, Atwood takes the famous story of Odysseus, yet this time presents it from the perspective of Penelope, simultaneously playing on the animal imagery. Within this frame, I intend to explore in this paper how the animal imagery in Homer's most renowned Odysseus functions as a reinforcing tool in the creation of masculine identities and how Margaret Atwood's The Penelopiad defies this formation of identities with the aim of narrating the story from the unheard side, that of the women who are eminently present yet never heard.

Book Reviews

Transfers ◽  
2014 ◽  
Vol 4 (3) ◽  
pp. 131-149
Keyword(s):  
Sex Workers ◽  
Global City ◽  
Viet Nam ◽  
Community Culture ◽  
The Past ◽  
Transnational Mobility ◽  
Yellow Peril ◽  
David Walker ◽  
And Migration

Yogesh Sharma, ed., Coastal Histories: Society and Ecology in Pre-Modern India Debojyoti DasJason Lim, A Slow Ride into the Past: The Chinese Trishaw Industry in Singapore 1942–1983 Margaret MasonXiang Biao, Brenda S.A. Yeoh, and Mika Toyota, eds., Return: Nationalizing Transnational Mobility in Asia Gopalan BalachandranAjaya Kumar Sahoo and Johannes G. de Kruijf, eds., Indian Transnationalism Online: New Perspectives on Diaspora Anouck CarsignolKieu-Linh Caroline Valverde, Transnationalizing Viet Nam: Community, Culture, and Politics in the Diaspora Yuk Wah ChanChristine B.N. Chin, Cosmopolitan Sex Workers: Women and Migration in a Global City Lilly Yu and Kimberly Kay HoangDavid Walker and Agnieszka Sobocinska, eds., Australia's Asia: From Yellow Peril to Asian Century Daniel OakmanValeska Huber, Channelling Mobilities: Migration and Globalisation in the Suez Canal Region and Beyond, 1869–1914 Vincent LagendijkBieke Cattoor and Bruno De Meulder, Figures Infrastructures: An Atlas of Roads and Railways Maik HoemkeKlaus Benesch, ed., Culture and Mobility Rudi Volti

Crumbling into Dust

2017 ◽  
Author(s):  
John Levi Barnard
Keyword(s):  
Short Story ◽  
Literary History ◽  
Richard Wright ◽  
The Novel ◽  
Unfinished Business ◽  
Black Newspapers ◽  
American Literary History ◽  
Antebellum Period ◽  
David Walker ◽  
Historical Times

This chapter situates Chesnutt’s writing within a tradition of black classicism as political engagement and historical critique extending from the antebellum period to the twentieth century and beyond. Reading Chesnutt as a figure at the crossroads of multiple historical times and cultural forms, the chapter examines his manipulation of multiple mythic traditions into a cohesive and unsettling vision of history as unfinished business. In the novel The Marrow of Tradition and the late short story “The Marked Tree,” Chesnutt echoes a nineteenth-century tradition that included David Walker, Henry Highland Garnet, and writers and editors for antebellum black newspapers, while at the same time anticipating a later anti-imperial discourse generated by writers such as Richard Wright and Toni Morrison. Chesnutt provides a fulcrum for a collective African American literary history that has emerged as a prophetic counterpoint to the prevailing historical consciousness in America.

The Absurd Injunction to Not Belong and the Bidūn in Kuwait

2020 ◽  
Vol 52 (4) ◽  
pp. 726-732
Author(s):  
Claire Beaugrand
Keyword(s):  
Mobile Phone ◽  
Legal Status ◽  
Personal Data ◽  
Male Voice ◽  
Central System ◽  
Additional Remark ◽  
Special Mention ◽  
The Voice ◽  
Mobile Phone Camera

In a tweet posted on 29 March 2018, a bidūn activist—who was later jailed from July 2019 to January 2020 for peacefully protesting against the inhumane conditions under which the bidūn are living—shared a video. The brief video zooms in closely on an ID card, recognizable as one of those issued to the bidūn, or long-term residents of Kuwait who are in contention with the state regarding their legal status. More precisely, the mobile phone camera focuses on the back of the ID card, on one line with a special mention added by the Central System (al-jihāz al-markazī), the administration in charge of bidūn affairs. Other magnetic strip cards hide the personal data written above and below it. A male voice can be heard saying that he will read this additional remark, but before even doing so he bursts into laughter. The faceless voice goes on to read out the label in an unrestrained laugh: “ladayh qarīb … ladayh qarīna … dālla ʿalā al-jinsiyya al-ʿIrāqiyya” (he has a relative … who has presumptive evidence … suggesting an Iraqi nationality). The video shakes as the result of a contagious laugh that grows in intensity. In the Kuwaiti dialect, the voice continues commenting: “Uqsim bil-Allāh, gaʿadt sāʿa ufakkir shinū maʿanāt hal-ḥatchī” (I swear by God, it took me an hour to figure out the meaning of this nonsense), before reading the sentence again, stopping and guffawing, and asking if he should “repeat it a third time,” expressing amazement at its absurdity. The tweet, addressed to the head of the Central System (mentioned in the hashtag #faḍīḥat Sāliḥ al-Faḍāla, or #scandal Salih al-Fadala), reads: In lam tastaḥī fa-'ktub mā shaʾt (Don't bother, write what you want).

scholarly journals A Foundation of Serial Murder and Appreciation of the Male Voice: Historical and Feminist Considerations in The Handmaid's Tale

2020 ◽  
Vol 6 (3) ◽  
Author(s):  
Jasmine Redford
Keyword(s):  
Mass Media ◽  
American Literature ◽  
Violent Crime ◽  
Reagan Administration ◽  
Feminist Criticism ◽  
Male Voice ◽  
Fuel Cycles ◽  
History Of ◽  
Conservative Values ◽  
Social Document

Violent crime, and the impulse to temper it, fuel cycles of utopian and dystopian discourse in North American literature. Dystopian fiction operates as a social document that highlight the anxieties of the time in which authoring takes place, and in Margaret Atwood's The Handmaid's Tale, America's violent history/(his)story is legalized and gendered. The principal narrator, Offred, manages her perspective—the only thing she can claim personal ownership over—under the pressure of a strict monotheocracy. This paper examines Atwood's novel with a historical-critical lens and posits that groundwork for Gilead was seeded during a spike of lurid serial murders in the 1970s/1980s—a discourse established, perhaps hyperbolically, by the pre-digital press combined with the resurgence of conservative values during the Reagan administration; these conditions fertilized the neo-patriarchal legislation of the fictional Gilead—text born of context. Both historical and feminist criticism discover examples of gendered assault, contemporary to the time of the novel's authoring, bleeding into the nebulously timed present-day Gilead—for time, the narrator notes, has not been of enumerable value since the mid-1980s. The Handmaid's Tale repurposes the history of sexual violence and femicide; here, horror is systematically present within the Puritan womb which seeks to shield an infantilized population—women from the monsters in dark alleys to the proliferation of Ted Bundy and Edmund Kemper doppelgangers in mass media.

scholarly journals Antroposkenen ekosysteemi

2020 ◽  
Vol 33 (2) ◽  
pp. 25-41 ◽  
Author(s):  
Kristiina Koskinen
Keyword(s):  
Forest Ecosystem ◽  
Cultural Construction ◽  
Subjective Perception ◽  
Male Voice ◽  
Animal Activity

Tarkastelen artikkelissa pohjoisen metsäekosysteemin representaatiota Yleisradion Avaran luonnon esittämässä luontodokumentissa Villi Pohjola, osa 1/6: Suomi (Saksa 2011). Analyysini kautta piirtyy esiin eläinten toiminnan näyttämöksi muodostunut metsä, jonka pohjoisuus korostaa kaukaisen, koskemattoman ja rajattoman luonnon vaikutelmaa. Reflektoin tällaisen luontorepresentaation merkitystä villin luonnon kulttuurisesta konstruktiosta käydyn keskustelun avulla.Luontodokumenteille tyypillinen ajatus dokumentaarisuudesta toden tallenteena tiivistyy Villissä Pohjolassa pelkistettyyn tyyliin, jossa teknisesti rakennettuja kuvia tai kohtauksia ja vahvaa tarinankerrontaa on vältetty. Kertoja selostaa hajanaisen kollaasin metsän eläinten toiminnoista vuodenaikojen edetessä. Puheosioiden väleissä tunnelmoidaan musiikilla ja metsän visuaalista kauneutta korostavilla maisemakuvilla.Jos toden tallentamiseen kytkeytyvän läpinäkyvyyden vaikutelman ymmärtää tekijöiden valitsemana tyylinä, avautuu näkökulma kerronnan tarpeiden kautta muokkautuvaan luontoon. Erityisyyden, ihmeellisyyden, ikiaikaisuuden ja villiyden ominaisuudet eivät niinkään nouse metsän fyysisestä olemuksesta, vaan tarinan rakenteiden, visuaalisuuden ja televisiokerronnan asettamien vaatimusten ja mieltymysten mukaisesti. Vaikka näitäkin piirteitä suomalaisesta metsästä voi löytää, niiden tiivistymää Villin Pohjolan kerronnassa voidaan kuvailla eräänlaisena antroposkenen ekosysteeminä. Yhdistettynä villin luonnon kulttuuriseen konstruktioon toden tallentamiseen typistyvä dokumentaarisuus mahdollistaa uskottavan esityksen pohjoisesta luonnosta, joka ei ole poliittinen, riippuvuussuhteessa itseemme tai inhimillisten näkökulmien muokkaama valinta. Luontodokumentin todeksi vahvistama metsä muuttuu polaariseksi toiseudeksi, paikaksi ajan ja ihmisyyden ulkopuolella.Forest ecosystem as a stage: constructing wilderness with northernnessIn this article, I investigate the representation of a forest ecosystem in a nature documentary series episode Wild Scandinavia – Finland (Germany 2011). Through the analysis, the ecosystem appears as a stage for visually curious animals and their behavior. By emphasizing the northern location of the forest, the representation connects with the cultural construction of wilderness. The northern nature appears untouched, remote, and boundless. Typically for many wildlife films, the idea of capturing a neutral reality prevails in Wild Scandinavia – Finland. The audiovisual narrative is created with a style devoid of technically constructed images or scenes and by eschewing apparent storytelling. A loose collection of animal activity along the passing seasons is narrated by a male voice-over. In between the narrated parts, music and scenery highlight the visual beauty of the forest. If we understand the appearance of transparency as a style selected by the authors, a nature with features enhanced by audiovisual narration can be seen to unfold. Wild Scandinavia – Finland presents a forest characterised by rarity, perpetuity, and wildness. These are all traits that can be found in a Finnish forest, but the condensation suggests a nature modified by the needs of visuality and narration. Using the concept of antroposcene by Brett Mills, the article describes an ecosystem converted into a cinematic forest. Combined with the cultural construction of wilderness, the idea of capturing a neutral reality enables a plausible impression of northern nature free from politics, subjective perception, or dependency on ourselves.

scholarly journals Pendekatan Feminist Communication Theory pada Cybercommunity “Cerdas Nonton Televisi”

2018 ◽  
Vol 3 (2) ◽  
pp. 73
Author(s):  
Ellys Lestari Pambayun
Keyword(s):  
Communication Theory ◽  
Virtual Community ◽  
The Internet ◽  
Male Voice ◽  
Representation Of Women ◽  
Smart Watch ◽  
The Status ◽  
Communication Approach ◽  
Sense Of Justice ◽  
The Voice

Penelitian tentang Pendekatan Feminist Communication Theory pada Cybercommunity “Wacana Cerdas Menonton Televisi” di internet berasal dari pengamatan tentang fenomena aktivitas percakapan para perempuan di e-forum Cerdas Nonton Televisi di internet yang memuat kondisi pertelevisian Indonesia di mana di tuang ini ditemukan masalah bahwa internet dengan facebook nya telah membangun suatu hubungan dan wacana para anggotanya secara terbuka, lugas, dan kritis, tanpa melihat status, gender, ekonomi, sosial, agama, dan gaya hidup tentang krisis televisi tanah air yang masih memiliki banyak masalah, baik pada penyiar, produser maupun berita atau program-programnya. Teori yang digunakan adalah paradigma kritis dengan salah satu variannya yaitu feminist communication theory yang bertujuan untuk melihat representasi perempuan di ruang publik yang menyuarakan atau mengkomunikasikan semua aspirasi, rasa keadilan, dan keberadaan mereka. Tujuan penelitian adalah untuk menganalisis cybercommunity perempuan di e-forum ”Cerdas Nonton Televisi” yang menyuarakan atau mewacanakan permasalahan pertelevisian Indonesia. Secara metodologis, penelitian ini menggunakan metode netnografi untuk melihat aktivitas budaya komunitas maya perempuan dalam bentuk percakapan di internet. Hasil pengamatan ini memberikan deskripsi bahwa para perempuan dalam e-forum Cerdas Nonton Televisi (CNT) ini telah berupaya mengoptimalisasikan ruang CNT untuk berkomunikasi atau bersuara kritis bagi terciptanya reformasi pertelevisian untuk lebih prokhalayak dan mencerdaskan bangsa. Namun, suara kritis perempuan masih lebih sedikit dibanding suara laki-laki dalam berwacana dalam ruang CNT ini. Selain, itu suara perempuan yang muncul lebih banyak pada hanya mengikuti status laki-laki, dibanding membuat status sendiri. Pada sisi substansi kritisisme perempuan pun cenderung menyiratkan keprihatinan secara emosioanal dibanding pada pengupayaan ke arah tranformasi secara nyata. Research on Feminist Theory Communication Approach on Cybercommunity “Cerdas Nonton Televisi”(CNT) on the Internet comes from the observation of the phenomenon of conversations activity of women in the e-forum CNT which contains conditions on Indonesian TV in the room where it was found that the problem with the internet (facebook) it has built up a relationship and discourse of its members openly, straightforwardly, and critical, regardless of status, gender, economic, social, religious, and lifestyle on television crisis that the country still has many problems, both on the broadcaster, producer and news or programs. The theory used is critical paradigm with one of its variants, namely feminist communication theory which aims to look at the representation of women in public spaces are voiced or communicate all the aspirations, sense of justice, and their whereabouts. The research objective was to analyze cybercommunity women in e-forum “Smart Watch Television” are voiced or mewacanakan issues on Indonesian TV. Methodologically, this study using netnografi to see the virtual community cultural activity of women in the form of a conversation on the internet. These observations provide a description that the women of the e-forum Smart Watch Television (CNT) has sought to optimize this space to communicate or speak CNT critical for the creation of television for more prokhalayak reform and educate the nation. However, critical voices are still fewer female than a male voice in the discourse in this CNT space. In addition, the voice of women who appear more on just follow the status of men, rather than making their own status. On the substance of the criticism of women also tend to imply concern is emosional than at the insistence towards real transformation.

Sign in / Sign up

Export Citation Format

Share Document