Obscenity and the Voice

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Social Cohesion ◽  
Folk Song ◽  
Social Health ◽  
Music Hall ◽  
The Voice

This chapter argues that an oral mode of textual circulation, which T. S. Eliot discovered both in obscene, comic, bawdy folk song and in music hall performance, provided him with a vision of social cohesion that contrasts with the fragmentation that is otherwise central to his work. The ability of these genres to figure an otherwise lost social cohesion, however, reflects the fact that they are spaces where men bonded and created a sense of homosocial community. Eliot’s published comments on obscenity confirm his valuation of the comic or humorous obscene as a mode and index of social health; but the instances where Eliot discovers this cohesion are predicated on the exclusion of women.

scholarly journals A Comparison of Social Health Components Among the Farmers in the Villages of Saffron and Other Plants in South Khorasan Province

2021 ◽  
Vol 11 (5) ◽  
pp. 341-350
Author(s):  
Gholamali Moradi ◽  
◽  
Asghar Mohammadi ◽  
Ismaeel Jahanbakhsh ◽  
◽  
...  
Keyword(s):  
Social Cohesion ◽  
Well Being ◽  
Social Health ◽  
Social Solidarity ◽  
Statistical Population ◽  
Significance Level ◽  
The Social ◽  
Significant Difference ◽  
Multistage Sampling ◽  
South Khorasan

Background: Social health is defined as the individual’s ability to effectively and efficiently play social roles without hurting other people. It is the examination of an individual’s activities and status in society. Saffron cultivation, given its special properties, such as teamwork, cooperation, and social correlation, plays a major role in social health. Thus, the current study was done to compare the social health components among the farmers in saffron villages and the others in South Khorasan Province. Methods: The current study was applied and comparative. The statistical population included the farmers in saffron villages and the others in South Khorasan Province in 2018. The sample consisted of 550 farmers (275 producing saffron and 275 producing other plants) based on the Cochran formula who were selected through multistage sampling. The tool used to collect the data was Keyes’s standard Social Well-being Questionnaire (2004), consisting of 28 questions. After collecting the questionnaires, the data were analyzed using SPSS v. 23 and an independent t-test at a significance level of P<0.05. Results: There was a significant difference between the villagers planting saffron and other plants regarding their social health levels (P<0.000). The obtained t-value for social health, as a dependent variable, was 15.47. The obtained t-value for all the aspects of social health was higher than the acceptable t-value (P<0.05). Conclusion: The results showed that saffron villages had higher social solidarity, compared to other plants. Because cooperation and collaboration are necessary for different stages of saffron production, social cohesion is naturally reinforced

scholarly journals Social Connectedness, Meals on Wheels Services and Healthcare Utilization Among High-Need Older Adults

2021 ◽  
Vol 5 (Supplement_1) ◽  
pp. 961-961
Author(s):  
Jennifer Chubinski ◽  
Sarah Walsh ◽  
France Weaver
Keyword(s):  
Older Adults ◽  
Nursing Home ◽  
Healthcare Utilization ◽  
Social Cohesion ◽  
Panel Study ◽  
Nursing Home Residents ◽  
Social Health ◽  
Multivariate Techniques ◽  
Meals On Wheels ◽  
Increased Risk

Abstract Homebound vulnerable adults 65+ are at an increased risk for social isolation and loneliness. The adverse consequences of loneliness are profound – including increased health care utilization, burden of dementia, chronic diseases, and mortality. Meals on Wheels (MOW) is a familiar source of nutritional support for homebound individuals who wish to stay in their homes and has additional important benefits. A growing body of evidence demonstrates that MOW provides mental and social health benefits beyond nutrition, but less is known about the interplay between MOW, social cohesion, and health services use. This project will address this gap in the literature using data from the 2013-2020 National Health and Aging Trends Study (NHATS), a nationally-representative panel study of 65+ Medicare enrollees. Using matching and longitudinal multivariate techniques, the risks of hospitalization and permanent nursing home entry are compared between MOW users and non-users. Our longitudinal dataset includes 11,266 observations. Of those, 12.8% rely on MOW or other food assistance (N= 1,488) and 16.6% experience low social cohesion (N= 1,936). Some 6.6% of participants are nursing home residents (N= 748) and the 39.1% report an overnight hospital stay in the prior year (N= 4,560). MOW is a comparatively low-cost intervention to help homebound older adults retain their independence and limit costlier healthcare utilization. This work extends our understanding of MOW services beyond simple nutrition benefits to its potential impact on social health.

Marie Lloyd (1870–1922) and Biographical Constructions of the Nineteenth-Century Female Superstar

2020 ◽  
Vol 44 (2) ◽  
pp. 119-130
Author(s):  
Paul Watt
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Late Nineteenth Century ◽  
Varied Range ◽  
Late Nineteenth ◽  
Music Hall ◽  
The Voice ◽  
Alternative Reading

Marie Lloyd (1870–1922) was a vocal superstar of the late nineteenth century. With tens of thousands of ardent followers in Britain and America—and an income that eclipsed even what Adele Patti and Nellie Melba earned—Lloyd was a vocal sensation. Biographers of the prima donna, the female vocal celebrity, are often quick to turn their subjects into heroines through the conferment of appellations such as “The Swedish Nightingale” (for Jenny Lind), “The Queen of Song” (Adelina Patti), and “The Voice of Australia,” in the case of Nellie Melba. Marie Lloyd was also bestowed a heroic title, but in an entirely different milieu: “Queen of the Music Hall.” This article probes the varied reasons—and ambiguities—of this appellation in biographical constructions of Lloyd, especially in relation to the dexterity of her voice that was arguably more varied in its scope than most of her operatic peers. Lloyd's biographers provide disembodied narratives of her career and achievements, since they have virtually nothing to say about the extraordinary range and versatility of her voice. With the aid of historic recordings it is possible to finally make an estimate of Lloyd's technique, and the results are surprising: she was no mere music-hall singer. Lloyd's voice and acting encompassed techniques ranging from eighteenth-century melodrama to nineteenth-century diseuse, allowing for an alternative reading of Lloyd's reputation as Queen of the Music Hall and the varied range of singing found in this institution.

The Prehistoric Society, Prehistory and Society

1985 ◽  
Vol 51 (1) ◽  
pp. 15-29 ◽  
Author(s):  
Robert Chapman
Keyword(s):  
East Anglia ◽  
Telephone Conversation ◽  
History Of ◽  
Music Hall ◽  
The Voice ◽  
Woman's Voice

Towards the beginning of her novel Excellent Women Barbara Pym recounts a telephone conversation of more than passing relevance to our meeting today.I dialled the number fearfully and heard it ring. ‘Hello, hello, who is that?’ a querulous elderly woman's voice answered. I was completely taken aback, but before I could speak the voice went on, ‘If it's Miss Jessop I can only hope you are ringing up to apologize’. I stammered out an explanation. I was not Miss Jessop. Was Mr Everard Bone there? ‘My son is at a meeting of the Prehistoric Society’, said the voice. ‘Oh, I see. I'm so sorry to have bothered you’, I said. ‘People are always bothering me — I never wanted to have the telephone put in at all’.After a further apology I hung up the receiver shaken and mystified but at the same time relieved. Everard Bone was at a meeting of the Prehistoric Society. It sounded like a joke. (1952, 29–30)Mr President, Ladies and Gentlemen, if this is a typical reaction to the Prehistoric Society, then on 23 February we become a fifty-year-old joke! If we allow for the history of the Prehistoric Society of East Anglia, then we reach well and truly back into the days of the Music Hall joke.

scholarly journals “The Best Laid Plans of Marx and Men”

Ethnologies ◽  
2009 ◽  
Vol 30 (2) ◽  
pp. 73-91
Author(s):  
Michael B. MacDonald
Keyword(s):  
Social Cohesion ◽  
Folk Music ◽  
Folk Song ◽  
Performance Space ◽  
The Social ◽  
Democratic System ◽  
Leon Trotsky ◽  
The Creation ◽  
Artistic Director

Mitch Podolak said, “Pete Seeger and Leon Trotsky lead to everything in my life, especially the Winnipeg Folk Festival.” This article discusses the creation of the Winnipeg Folk Festival (WFF) in 1974 as Podolak’s first attempt to fuse his ten years of Trotskyist political training with his love for folk music. His intention was to create a Canadian folk festival which would embody the politically resistant nature of the Trotskyist international movement for the purpose of challenging the Canadian liberal capitalist democratic system on a cultural front. Heavily influenced by the American Communist Party’s use of folk music, Podolak believed that the folk song and its performance were socially important. This importance, he believed, stemmed from the social cohesion that could be created within a festival performance space. This space, when thoughtfully organized, could have the ability to create meaning. The relationships between the artistic director, the folk singer, the folk song and the festival audience become intertwined to dialectically create the meaning of the song and the space simultaneously defining folk music

The making of the Tyneside concert hall

Popular Music ◽  
1981 ◽  
Vol 1 ◽  
pp. 27-56 ◽  
Author(s):  
Dave Harker
Keyword(s):  
Folk Song ◽  
Industrial Workers ◽  
Concert Hall ◽  
North East ◽  
The North ◽  
Music Hall

If the North East is typical of other English regions, then the following propositions will have to be severely modified or given up: that there was a distinct ‘break’ between pre-industrial and industrial workers’ culture; that concert hall was a London phenomenon; that it originated mainly from petit-bourgeois ‘free-and-eases’; and that it reached its peak in Edwardian England, as music hall. Further, I will contend that ‘leisure’ and ‘work’ cannot rationally be separated in the study of workers’ culture, that social historians and students of culture need each other and that the concept of ‘folk song’ does more harm than good.

David Swing: The voice of music hall∗

1948 ◽  
Vol 15 (1) ◽  
pp. 44-60
Author(s):  
Harry M. Williams
Keyword(s):  
Music Hall ◽  
The Voice

DON KAY (b. 1934)Four Bird Songs from Shaw Neilson (2005)

2021 ◽  
pp. 120-122
Author(s):  
Jane Manning
Keyword(s):  
Natural World ◽  
Folk Song ◽  
Bird Songs ◽  
Close Affinity ◽  
Standard Notation ◽  
The Voice ◽  
Vaughan Williams

This chapter describes Tasmanian composer Dan Kay’s Four Bird Songs from Shaw Neilson (2005). The texts for this pleasing, fluent cycle are by the farmworker-poet Shaw Neilson, and reflect his close affinity with the natural world, especially the life of waterbirds. Kay’s palpable empathy with these unsophisticated but burningly sincere poems draws music of clarity and refinement. The frequent modal melodies and minor harmonies cannot help but call to mind Vaughan Williams and the English folk-song tradition, but Kay manages to inject an individual flavour by means of chromatic shifts and varied rhythms, especially in the last two, slightly longer, songs. A light young baritone with a safe high register would be ideal here. The piano writing is clear and uncluttered, with simple, repeated figurations, and there is no need to force the voice. Standard notation is used throughout.

The Voice of an Incestuous Sister

2020 ◽  
pp. 179-224
Author(s):  
Machiko Ishikawa
Keyword(s):  
Folk Song ◽  
Incest Taboo ◽  
Double Suicide ◽  
The Voice ◽  
Male Homosociality ◽  
Considerable Discussion

This chapter investigates the voice of the sister, Satoko, who has an incestuous relationship with Akiyuki. There is considerable discussion in both Japanese and English scholarship of Akiyuki's breaking the incest taboo with his half-sister as a substitute for patricide. Although a number of these commentaries reference Satoko, little attention has been given to her vulnerability or her response to the incest. Thus, this chapter profiles Satoko's subjectivity by considering her as a sister whose sexuality is exploited as a strategic weapon in Akiyuki's bitter conflict with his father. This conflict is shown as the son's attempt to bond with the father. Drawing on a study of male “homosociality,” this chapter discusses Satoko's subalternity as an object of dispute in her father and half-brother's homosocial bond. A key element of the chapter is the analysis of Nakagami's interpretation and, in turn, a reinterpretation of “Kyōdai shinjū” (“A brother–sister double suicide”), a folk song featured in the Akiyuki trilogy that implies the playing out of a mythic family tragedy in Kasuga.

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