The Wisdom of Desire in the Song of Songs

2018 ◽  
pp. 260-275
Author(s):  
Carey Walsh
Keyword(s):  
Sexual Arousal ◽  
Song Of Songs ◽  
Aesthetic Appreciation ◽  
Embodied Experience ◽  
Male And Female ◽  
Female Voices ◽  
Human Desire

The Song of Songs offers a unique discussion of the experience of sexual longing through dialogues of an unnamed woman and man. The chapter focuses on the use of dialogic structure to frame three prominent discourses of desire: aesthetic appreciation, affective description, and subjective expressions of sexual arousal. These varied discourses affirm a polyphonic view on human desire from the embodied experience of the male and female voices of the Song. With its use of dialogue, the Song is characteristic of the Writings in offering a diversity of perspectives. The chapter further probes the canonical contribution of the Song’s testimony to human longing, sex, joy, and biodiversity.

Male and Female Voices: Selective Exposure to Sexism Reduction Efforts

2009 ◽  
Author(s):  
Sarah J. Smith ◽  
Jessica L. McManus ◽  
Danielle C. Zanotti ◽  
Donald A. Saucier
Keyword(s):  
Selective Exposure ◽  
Male And Female ◽  
Female Voices

Notes on How to Read the Song of Songs

2020 ◽  
Author(s):  
Я. Эйделькинд
Keyword(s):  
Old Testament ◽  
Gender Stereotypes ◽  
Cultural Context ◽  
Lyric Poetry ◽  
Song Of Songs ◽  
Widespread Belief ◽  
Female Voices ◽  
Speaking Voice

Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъективным интерпретациям. Последние вполне законны, пока не претендуют на то, чтобы быть единственно верными. Три контекста помогают понять Песнь песней: древний культурный контекст, более узкий контекст Ветхого Завета и контекст лирической традиции от древности до наших дней. This article is an attempt to formulate some principles of reading the Songs of Songs that would take into account its genre and poetic features. Being a collection of lyric poetry, the Song of Songs works primarily with sound and has no plot. An important role in its composition plays the principle of diversity and contrast. A serious tone gives place to a humorous one, and vice versa. Female voices alternate with male ones; gender stereotypes in some cases retain their power, but in others are subverted. Sexual physiology, contrary to a widespread belief, is not in the foreground — much more important are emotions. This fact belies both “spiritual” and “carnal” readings. The Song of Songs involves an identification of the reader with the lyrical speaking voice and provokes subjective interpretations. These are legitimate as long as they do not pretend to be the only true ones. Three contexts help to understand Song of Songs: ancient cultural context, a narrower Old Testament context and the context of the lyrical tradition from antiquity to the present day.

Male and female voices activate distinct regions in the male brain

NeuroImage ◽  
2005 ◽  
Vol 27 (3) ◽  
pp. 572-578 ◽  
Author(s):  
Dilraj S. Sokhi ◽  
Michael D. Hunter ◽  
Iain D. Wilkinson ◽  
Peter W.R. Woodruff
Keyword(s):  
Male And Female ◽  
Female Voices

Operant Preferences for Male and Female Voices by Profoundly Retarded Males

1975 ◽  
Vol 36 (3) ◽  
pp. 891-894 ◽  
Author(s):  
Tad Uno ◽  
Alan L. Seitel ◽  
Charles C. Cleland
Keyword(s):  
Visual Stimuli ◽  
Mentally Retarded ◽  
Female Voice ◽  
Male And Female ◽  
Female Voices

Previous studies of preferences of the profoundly mentally retarded have indicated that complex visual stimuli are more effective in eliciting responses than are auditory or simple stimuli. Male and female voices were used to determine preference for voice. Profoundly retarded adults (mean Social Quotient of 11.7) were first exposed to a situation where button pressing resulted in either a 250- or a 2000-Hz tone and then to a situation in which a male and female voice was associated with each button. Statistically significant differential preference was not exhibited to either type of stimulus although the female voice did appear more effective.

scholarly journals Recognition and discrimination of unfamiliar male and female voices

2017 ◽  
Vol 3 (1) ◽  
pp. 52-60
Author(s):  
Antonio L Manzanero ◽  
Susana Barón
Keyword(s):  
Working Memory ◽  
Instrumental Music ◽  
Previous Experiment ◽  
Recognition Task ◽  
Stimulus Presentation ◽  
False Alarms ◽  
Men And Women ◽  
Male And Female ◽  
Female Voices ◽  
The Voice

The aim of this study was examined the ability to identify voices of unfamiliar people. In experiment 1, participants performed tried to recognize the voice of unfamiliar man or woman. Results showed that subjects generally matched 83.11% when the target voice was present and made 56.45% false alarms when it was not. Discrimination was different from chance and subjects used liberal response criteria. In experiment 2, men and women tried to identify the same voices of men and women as in previous experiment. Between stimulus presentation and the recognition task, subjects listened instrumental music for 2.38 minutes, with the aim of making it harder that the voice remain active in working memory. Results showed that ability of men and women to identify an unfamiliar voice was null, in both cases with liberal response criterion. Men matched 12.06%, with 65.51% false alarms, and women 25.80% and 56.45% respectively. There was no differences in the ability to identify male and female voices, although women tend to choose more than men, even when no target voice was present.

scholarly journals Experiments on the elasticity of the vocal cords

1973 ◽  
Vol 20 (1) ◽  
Author(s):  
P. H. Damsté ◽  
G. H. Wieneke
Keyword(s):  
Vocal Cord ◽  
Young’S Modulus ◽  
Young's Modulus ◽  
Vocal Folds ◽  
Vocal Cords ◽  
Male And Female ◽  
Vocal Pitch ◽  
Female Voices ◽  
The Difference ◽  
Limited Accuracy

Regulation of vocal pitch occurs by changes in the length and tension of the vocal folds. Because the Young's modulus of the vocal cord ligament could be a factor which determines the difference between male and female voices, this was made an object of research. No differences could be shown. Some of the problems and the limited accuracy of these experiments are reviewed.

Dialogical Strategies, Volgarizzamento, and Ciceronian Ethos in Antonio Brucioli's Dialogi Della Morale Filosofia

2009 ◽  
Vol 30 (2) ◽  
pp. 39-66
Author(s):  
Reinier Leushuis
Keyword(s):  
Intellectual History ◽  
Moral Philosophy ◽  
Natural Philosophy ◽  
Rhetorical Analysis ◽  
Rhetorical Strategies ◽  
Male And Female ◽  
Cultural Elite ◽  
Female Voices ◽  
The Creation

In 1526, Antonio Brucioli (1487-1566) published a series of thirty dialogues that form a typical humanist compendium of moral and political wisdom in the vernacular. Scholars have considered these dialogues mainly from the perspective of Brucioli’s humanist and political allegiances, in particular with exiled Florentine humanists whose discussions in the Orti Oricellari the dialogues echo. However, textual reworkings in subsequent editions (1538 and 1544, in which this group constitutes the first volume, entitled Della morale filosofia, of a series that includes other volumes of dialogues on natural philosophy) warrant a reconsideration that complements intellectual history with literary and rhetorical analysis. This article revalorizes Brucioli’s Dialogi della morale filosofia by arguing that their literary and rhetorical strategies, such as the use of ancient dialogue models, the shifting choice and staging of interlocutors, the creation of Ciceronian ethos and decorum, and the mimetic aspects of the interaction of male and female voices not only evince a conscious application of early Cinquecento dialogue poetics, but also establish the author’s volgarizzamento of a compendium of classical and humanist wisdom as a uniquely Italian project aimed at an emulation and appropriation of moral philosophy by dialogical speaking at the level of a national cultural elite.

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