DAVID BRUCE (b. 1970)That Time With You (2013)

2021 ◽  
pp. 20-23
Author(s):  
Jane Manning
Keyword(s):  
The Other ◽  
Middle Range ◽  
American Heritage ◽  
The Voice ◽  
Breath Control

This chapter addresses US-born British composer David Bruce’s That Time With You (2013). This impressive cycle retains clear stylistic traces of Bruce’s American heritage. His basic idiom is tonal and strongly grounded, and also contains modal elements. It demands a well-schooled singer with a wide expressive range, stamina, and good breath control. The singer must also be calm and unflappable, so as not to be fazed by the relentlessly fast, irregular rhythmic patterns in the first and third songs. The vocal writing in general is warm, earthy, and womanly. The composer sensibly keeps within the voice’s richest and most rewarding middle range, avoiding extremes. This means that words can be heard easily, and a palette of sensual colours explored. Ultimately, the specially commissioned poems evoke an intuitive response. Bruce sees the cycle as belonging to the tradition of ‘sorrowful songs’ and, of course, the blues. In the first and third settings (‘The Sunset Lawn’ and ‘Black Dress’), the singer is the voice of Death, but in the other two (“That Time with You’ and ‘Bring me Again’), the outpouring of regret is more personal, yet somehow strangely distanced.

Indonesian Literature’s Position in World Literature

TEKNOSASTIK ◽  
2018 ◽  
Vol 14 (2) ◽  
pp. 1
Author(s):  
Dina Amelia
Keyword(s):  
World Literature ◽  
The Other ◽  
National Literature ◽  
Western World ◽  
The World ◽  
The One ◽  
The Voice

There are two most inevitable issues on national literature, in this case Indonesian literature. First is the translation and the second is the standard of world literature. Can one speak for the other as a representative? Why is this representation matter? Does translation embody the voice of the represented? Without translation Indonesian literature cannot gain its recognition in world literature, yet, translation conveys the voice of other. In the case of production, publication, or distribution of Indonesian Literature to the world, translation works can be very beneficial. The position of Indonesian literature is as a part of world literature. The concept that the Western world should be the one who represent the subaltern can be overcome as long as the subaltern performs as the active speaker. If the subaltern remains silent then it means it allows the “representation” by the Western.

Wacana Kolonial dalam Novel Max Havelaar: Sebuah Kajian Poskolonial

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 411
Author(s):  
Abu Bakar Ramadhan Muhamad
Keyword(s):  
Point Of View ◽  
The Other ◽  
The Novel ◽  
Colonial Discourse ◽  
The Impact ◽  
The Voice

AbstrakHegemoni kolonialisme dalam budaya poskolonial merupakan alasan penelitian inikemudian mengkaji wacana kolonial dalam novel Max Havellar (MH) khususnya dampakditimbulkannya. Dampak dimaksud adalah posisi keberpihakan pemikiran tersirat darikarya tersebut. Hasil pembahasan menunjukkan, secara temporal maupun permanen MHmenyuarakan ketidakadilan dalam kondisi-kondisi kolonial menyangkut penindasan sangpenjajah terhadap terjajah. Hanya saja, upaya mengatasnamakan atau mewakili suarakaum terjajah terbukti mengimplikasikan ciri ideologis statis kerangka kolonialisme(orientalisme); yakni cara pandang Eropasentris, di mana “Barat” sebagai self adalah superior,dan “Timur” sebagai other adalah inferior. Dalam konteks poskolonialisme, MH dengan sifatkritisnya yang berupaya “menyuarakan” nasib pribumi terjajah, justru menampilkan stigmapenguatan kolonialitas itu sendiri secara hegemonik. Artinya, “menyuarakan” nasib pribumidimaknai sebagai keberpihankan kolonial yang kontradiktif, di mana stigma penguatankolonialitas justru lebih terasa, ujung-ujungnya melanggengkan hegemoni kolonial. Tidakmembela yang terjajah, tetapi memperhalus cara kerja mesin kolonial.AbstractThe hegemony of colonialism in the culture of postcolonial society is the reason this studythen examines the colonial discourse in the novel Max Havellar (MH) in particular the impactit brings. The impact in question is the implied position of thought in the work. The resultsof the discussion show that, temporarily or permanently, MH voiced injustice in the colonialconditions regarding the oppression of the colonist against the colonized. However, the effort toname or represent the voice of the colonized has proven to imply a static ideological characterin the framework of colonialism (orientalism); ie Eropacentric point of view, in which “West” asself is superior, and “East” as the other is the inferior. In the context of postcolonialism, MH withits critical nature that seeks to “voice” the fate of the colonized natives, actually presents thestigma of strengthening coloniality itself hegemonicly. That is, “voicing” the fate of the pribumiis interpreted as a contradictory colonial flare, where the stigma of strengthening colonialityis more pronounced, which ultimately perpetuates the hegemony of colonialism. No longerdefending the colonized, but refining the workings of the colonial machinery.

The Proximity of Other Skins

2019 ◽  
Author(s):  
Celine Parreñas Shimizu
Keyword(s):  
United States ◽  
South Korea ◽  
The United States ◽  
The Philippines ◽  
The Other ◽  
The West ◽  
Pain And Suffering ◽  
The Spectator ◽  
Existing Frames ◽  
The Voice

Transnational films representing intimacy and inequality disrupt and disgust Western spectators. When wounded bodies within poverty entangle with healthy wealthy bodies in sex, romance and care, fear and hatred combine with desire and fetishism. Works from the Philippines, South Korea, and independents from the United States and France may not be made for the West and may not make use of Hollywood traditions. Rather, they demand recognition for the knowledge they produce beyond our existing frames. They challenge us to go beyond passive consumption, or introspection of ourselves as spectators, for they represent new ways of world-making we cannot unsee, unhear, or unfeel. The spectator is redirected to go beyond the rapture of consuming the other to the rupture that arises from witnessing pain and suffering. Self-displacement is what proximity to intimate inequality in cinema ultimately compels and demands so as to establish an ethical way of relating to others. In undoing the spectator, the voice of the transnational filmmaker emerges. Not only do we need to listen to filmmakers from outside Hollywood who unflinchingly engage the inexpressibility of difference, we need to make room for critics and theorists who prioritize the subjectivities of others. When the demographics of filmmakers and film scholars are not as diverse as its spectators, films narrow our worldviews. To recognize our culpability in the denigration of others unleashes the power of cinema. The unbearability of stories we don’t want to watch and don’t want to feel must be borne.

Racing Indian Language, Languaging an Indian Race

2020 ◽  
pp. 367-397
Author(s):  
Barbra A. Meek
Keyword(s):  
Native American ◽  
The Other ◽  
Indian Languages ◽  
Indian Language ◽  
Popular Narrative ◽  
American Heritage ◽  
The One ◽  
Indian Blood

This chapter is an exploration of how race and language become entangled in representations and ideas about what it means to be seen and recognized as Native American. Most conceptions of Indianness derive from scholarly European-derived representations and evaluations and from popular narrative media, the one often bootstrapping the other. In tandem, these public manifestations perpetuate the racialization of Indian languages and of Indianness, most ubiquitously in and through a discourse of “blood.” Several ideologies configure the racial logic that determines Indianness: purism (percentage of “Indian blood”), visibility (racialized—and cultural—manifestations of “blood”), continuity (maintenance of a pre-contact “bloodline”), and primitivism (expression of indigenous “blood” in and through language). I argue that this “ideological assemblage” (Kroskrity 2018) undergirds the processes of “racing Indian language(s)” and “languaging an Indian race” (H. Samy Alim 2016) that has resulted in propagating conflicts over and denials of Native American heritage.

scholarly journals IV. On certain Analogies observed by the Greeks in the Use of their Letters; and particularly of the Letter ΣΙΓΜΑ

1790 ◽  
Vol 2 (2) ◽  
pp. 111-153
Author(s):  
Andrew Dalzel
Keyword(s):  
The Other ◽  
Philosophical Investigation ◽  
The Voice

The power of pronouncing articulate sounds is one of the most obvious marks which distinguish man from the other animals. No philosophical investigation is necessary for pointing it out, and therefore it has not escaped the notice of the poets, the most ancient of all authors. In the works of Homer and Hesiod, we often meet with the expression μέϱοπες ἄνθϱωποι, men having an articulate voice; the word μέϱοψ being evidently compounded of μείϱω, to divide, and ὄψ, the voice.

Indian and Russian Tolstoy: one among strangers and a stranger among one’s

2021 ◽  
pp. 27-35
Author(s):  
Svetlana M. Klimova ◽  
Keyword(s):  
The Other ◽  
The Political ◽  
Political Sphere ◽  
Indian Thought ◽  
Russian State ◽  
Lev Tolstoy ◽  
The One ◽  
The Voice ◽  
The Church ◽  
Peculiar Phenomenon

The article examines the phenomenon of the late Lev Tolstoy in the context of his religious position. The author analyzes the reactions to his teaching in Russian state and official Orthodox circles, on the one hand, and Indian thought, on the other. Two sociocultural images of L.N. Tolstoy: us and them that arose in the context of understanding the position of the Russian Church and the authorities and Indian public and religious figures (including Mahatma Gandhi, who was under his influence). A peculiar phenomenon of intellectually usL.N. Tolstoy among culturally them (Indian) correspondents and intellectually them Tolstoy among culturally us (representatives of the official government and the Church of Russia) transpires. The originality of this situation is that these im­ages of Lev Tolstoy arise practically at the same period. The author compares these images, based on the method of defamiliarisation (V. Shklovsky), which allows to visually demonstrate the religious component of Tolstoy’s criticism of the political sphere of life and, at the same time, to understand the psychological reasons for its rejection in Russian official circles. With the methodological help of defamiliarisation the author tries to show that the opinion of Tolstoy (as the writer) becomes at the same time the voice of conscience for many of his con­temporaries. The method of defamiliarisation allowed the author to show how Leo Tolstoy’s inner law of nonviolence influenced the concept of non­violent resistance in the teachings of Gandhi.

Excès du témoignage, déhiscence du témoin. Søren Kierkegaard, Emmanuel Lévinas, Jean-Louis Chrétien

2021 ◽  
Vol 21 ◽  
pp. 129-151
Author(s):  
Rodolphe Olcèse ◽  
Keyword(s):  
Emmanuel Levinas ◽  
Soren Kierkegaard ◽  
The Other ◽  
Subjective Truth ◽  
Important Extension ◽  
The Voice

This text articulates the concept of subjective truth developed by Søren Kierkegaard in Concluding Unscientific Postscript to Philosophical Fragments, in connection to a conception of testimony which both exceeds and reveals the possibilities of thinking and acting of the witness. This imbalance between the testimony and the witness finds an important extension in the distinction between the Saying and the Said made by Emmanuel Lévinas in Otherwise than Being, or Beyond Essence. This distinction opens up an understanding of thought as affectivity and allows witnessing to be viewed in the light of responsibility to the other. By being part of this philosophical heritage, Jean-Louis Chrétien shows how the testimony of the infinite is also phenomenalized in the experience of a chant that discovers its own modalities in this excess of beauty on the voice that tries to say it.

Voices of Spectators and Audience Power

Pólemos ◽  
2015 ◽  
Vol 9 (2) ◽  
Author(s):  
Christian Biet
Keyword(s):  
Social Relationship ◽  
The Other ◽  
Long Period ◽  
The Social ◽  
The Common ◽  
Dramatic Action ◽  
The Law ◽  
The Voice ◽  
The Way

AbstractTheatre and law are not so different. Generally, researchers work on the art of theatre, the rhetoric of the actors, or the dramaturgy built from law cases or from the questions that the law does not completely resolve. Trials, tragedies, even comedies are close: everybody can see the interpenetration of them on stage and in the courts. We know that, and we know that the dramas are made with/from/of law, we know that the art the actors are developing is not so far from the art of the lawyers, and conversely. In this paper, I would like to have a look at the action of the audience, at the session itself and at the way the spectators are here to evaluate and judge not only the dramatic action, not only the art of the actors, not only the text of the author, but also the other spectators, and themselves too. In particular, I will focus on the “common judgment” of the audience and on its judicial, aesthetic and social relationship. The spectators have been undisciplined, noisy, unruled, during such a long period that theatre still retains some prints of this behaviour, even if nowadays, the social and aesthetic rule is to be silent. But uncertainty, inattention, distraction, contradiction, heterogeneity are the notions which characterise the session, and the judgments of the spectators still depend on them. So, what was and what is the voice of the audience? And with what sort of voice do spectators give their judgments?

scholarly journals Gdy Europa choruje, Rosja nie jest lekarstwem

2020 ◽  
Vol 72 (4) ◽  
pp. 41-57
Author(s):  
Marek Menkiszak
Keyword(s):  
The Other ◽  
The European Union ◽  
European Policy ◽  
Fake News ◽  
Alternative Approach ◽  
The Face ◽  
The One ◽  
New Situation ◽  
The Voice ◽  
Ambiguous Position

In the face of a new serious crisis in Europe caused by the coronavirus pandemic, Russia has taken an ambiguous position. On the one hand, it was spreading fake news and, on the other hand, it was providing Italy with symbolic support. Russia’s immediate goal was to persuade the European Union (EU) to reduce or lift sanctions. The new situation provides a new argument to those participants of the European debate who are in favour of normalisation and even reset of relations with Russia. Among them, the voice of France is particularly clear since its President Emanuel Macron has taken up the initiative to build the ‘architecture of trust and security’ with Russia. These proposals, which are now quite vague, are based on questionable  assumptions and deepen divisions in Europe and the crisis in transatlantic relations. By rising Moscow’s hopes for some form of (geo)political bargain, they in fact encourage Russia to continue its aggressive policy towards its European neighbours. An alternative approach based on several principles is needed in the debate on EU policy towards Russia: developing all five Mogherini’s points; maintaining sanctions against Russia until the reasons for their introduction cease to exist; symmetry of commitments and benefits related to limited cooperation with Russia; inviolability of key interests, security and sovereignty of EU and NATO member and partner states; and balancing the dialogue with the Russian authorities by supporting Russian civil society. Europe can survive without Russia but Russia cannot survive without Europe, which is why European policy needs consistency and strategic patience.

Sign in / Sign up

Export Citation Format

Share Document