Yes, I Told Her in the Middle of ...

Maska ◽  
2016 ◽  
Vol 31 (177) ◽  
pp. 58-67
Author(s):  
Ixiar Rozas
Keyword(s):  
The Body ◽  
Transformative Power ◽  
Written Form ◽  
Materiality Of Language ◽  
The Relationship ◽  
The Voice

Drawing on fragments from the performance Plastika (2013), this article explores the relationship between text and voice, between a text and its voices. The voice that it deals with is both textual and oral, even though it reaches us in written form or as grafts, and it allows us to listen to more than just the materiality of language, the sonority of the words, and the grain of the voice, In this textual voice, which can be both poetic and performative, we can hear the uniqueness of a voice that exceeds meaning, escapes the body, and begins interating with other singular bodies, drives and disruptions of the transformative power of the voice and of language.

scholarly journals Curating the Fieldwork Playlist

2019 ◽  
Vol 43 (2) ◽  
pp. 58-66
Author(s):  
Kieran Fenby-Hulse
Keyword(s):  
Digital Technologies ◽  
The Body ◽  
Research Practice ◽  
History Of ◽  
The Mind ◽  
The Relationship ◽  
The Voice

In this essay, I consider the music that has been chosen as part of the previous essays in this collection. I attempt to understand what this assemblage of musical tracks, this anthropology playlist, might tell us about fieldwork as a research practice. The chapter examines this history of the digital playlist before going on to analyse the varied musical contributions from curatorial, musicological, and anthropological perspetives. I argue that the playlist asks us to reflect on the field of anthropology and to consider the role of the voice, the body, the mind with anthropology, as well as the role digital technologies, ethics, and the relationship between indviduals and the community.

What Was the Voice?

2019 ◽  
pp. 2-17
Author(s):  
Nancy H. Shane Butler
Keyword(s):  
Ancient Philosophy ◽  
Classical Antiquity ◽  
Vocal Performance ◽  
Western Thought ◽  
Written Form ◽  
Relationship Of ◽  
The Relationship ◽  
The Voice

This chapter considers what classical antiquity understood the voice to be, as well as how that understanding has influenced subsequent Western thought. The chapter begins with discussion of song, a term that antiquity applied to written poetry as well as to song proper. It then turns to more general questions about how the Greeks and Romans theorized the relationship of the voice to language. After explaining some of the principal terms for “voice” in both Greek and Latin, the author reviews the vocal theories of various schools of ancient philosophy. He then considers the role of the voice in oratory and the special problems generated by the growing circulation of speeches in written form. He turns finally to a celebrated if perhaps apocryphal vocal performance by a pantomime in Rome in order to consider the tension between the particular voice of an individual and the more generic vocality of antiquity itself

The Pantomimic Voice

2021 ◽  
Vol 9 (2) ◽  
pp. 320-340
Author(s):  
Amy A. Koenig
Keyword(s):  
The Body ◽  
Singing Voice ◽  
Vocal Mimicry ◽  
Lyric Tradition ◽  
The Relationship ◽  
The Voice ◽  
Voice Relationship

Abstract Ovid’s Metamorphoses, as scholars have demonstrated, can be read in dialogue with Roman pantomime dance, and the tale of Echo and Narcissus is one of its most ‘pantomimic’ episodes. While others have focused on the figure of Narcissus in this vein, I turn instead to Echo, whose vocal mimicry can be seen as a mirror of the pantomime’s art, and whose juxtaposition with Narcissus seems emblematic of the body-voice relationship in pantomime. Echo’s desire for Narcissus engages with an existing lyric tradition of depicting the relationship between singing voice and dancing body in erotic terms. In such situations, the desire is fulfilled if the performers are both singing and dancing, uniting body and voice in performance. The thwarted union of Echo and Narcissus, however, embodies instead the dynamics of pantomime: the subordination or absence of the voice in favor of the body, and the connection created between dancer and audience.

scholarly journals ‘My Tongue Gets t-t-t-’: Words, Sense, and Vocal Presence in Van Morrison'sIt's Too Late to Stop Now

2016 ◽  
Vol 13 (1) ◽  
pp. 53-76
Author(s):  
RICHARD ELLIOTT
Keyword(s):  
The Body ◽  
Poetic Voice ◽  
Post Hoc ◽  
The Relationship ◽  
The Voice

AbstractVan Morrison's live version of his song ‘Cyprus Avenue’ on the 1974 albumIt's Too Late to Stop Nowprovides an example of the authority of the singer's voice and of how it leads and demands submission from musicians, songs, and audience. Morrison's voice constantly suggests that it is reflecting important experience and can be understood both as an attempt to capture something and as a post-hoc witnessing or testimony. Through the example of Morrison's work, and ofIt's Too Late to Stop Nowin particular, this article explores the location of the voice in terms of the body and of particular places and histories. It then proceeds to a reflection on the relationship between the performing voice as producer of sound, noise, and music and the poetic voice that provides the words and visions upon which the performing voice goes to work. It concludes by focusing on a moment within ‘Cyprus Avenue’ where Morrison performs the act of being tongue-tied, discussing this as an example of ‘aesthetic stutter’. Throughout, attention is also paid to how other voices (particularly those of rock critics) connect to Morrison's voice by attempting to describe it, re-perform it, or explain it.

scholarly journals Le sommeil d’un mannequin: exploring material memory through film

2021 ◽  
Author(s):  
Laura Del Giacco
Keyword(s):  
Material Culture ◽  
Sigmund Freud ◽  
The Body ◽  
Experimental Film ◽  
Transformative Power ◽  
Cultural Objects ◽  
Human Essence ◽  
Practice Based Research ◽  
The Relationship

Le Sommeil d’un mannequin is a practice-based research project that examines the relationship between the female body and the body of the mannequin through creative methods of plaster body casting and experimental film. The film, Le Sommeil d’un mannequin, conveys the psychic experience of memory found in the unconsciousness state. Through the use of experimental filmmaking, this project speaks to the transformative power of memories and the interpretation of memory that is implied in the psychoanalytic writings of Sigmund Freud. Subsequently, this project bares importance to the study of material culture because it takes into account the human essence present in the fabrication and production of cultural objects. Applying Jules Prown’s method of object analysis uncovered the role of the mannequin to be more than just a cultural display of feminine identity.

The Disintegration of Sense and Bodies in Pain

2020 ◽  
pp. 113-128
Author(s):  
Madelyn Detloff ◽  
Gaile Pohlhaus
Keyword(s):  
World War I ◽  
Virginia Woolf ◽  
Social Practice ◽  
Ordinary Language ◽  
The Body ◽  
Stanley Cavell ◽  
The World ◽  
The Relationship ◽  
The Voice ◽  
Attention To Pain

In this essay, Detloff and Pohlhaus examine Virginia Woolf and Ludwig Wittgenstein’s writings on the precarious nature of sense and certainty as a counterpoint to Elaine Scarry’s analysis of the rhetoric of war in The Body in Pain: The Making and Unmaking of the World. In her introduction, Scarry cites Virginia Woolf’s “On Being Ill” to exemplify a crucial premise of her argument about pain’s propensity to “bring[] about, even within the radius of several feet, this absolute split between one’s sense of one’s own reality and the reality of other persons” (4). “Whatever pain achieves,” Scarry argues, “it achieves in part through its unsharability, and it ensures this unsharability through its resistance to language” (4). Through a more extensive analysis of “On Being Ill” than Scarry affords, along with a reading of Woolf’s later essay, “Craftsmanship,” Detloff and Pohlhaus illuminate a distinction between Woolf’s position and a central premise of Scarry’s theory –the presumed unsharability and near inexpressibility of pain. The essay argues that Woolf was not necessarily describing a fundamental incapacity of language to express pain, but rather a social practice of failing to attend to pain and therefore failing to develop the lexical tools to express the pain adequately. If this is the diagnosis, what is called for is a shift in attention (a shift in aspect perception, to follow Wittgenstein) from the inexpressibility of pain to our collective lack of attention to pain. Wittgenstein, himself a veteran of World War I who saw plenty of “bodies in pain” at the front, proposes a different view of the relationship between pain and knowing from Scarry. Following Stanley Cavell, Detloff and Pohlhaus understand the relation between the voice of the ordinary language philosopher and the skeptic in Wittgenstein’s Investigations to be neither dismissive, nor matter of fact. As Cavell notes, the ordinary language philosopher must take the skeptic seriously if she expects herself to be taken seriously and “In all cases [the] problem is to discover the specific plight of mind and circumstances within which a human being gives voice to [their] condition” (240). For this reason, Detloff and Pohlhaus approach the differences between Scarry, Woolf, and Wittgenstein not with the aim of proving one right over the other, but rather in order to find insight in the tension between them as a means to attend to and acknowledge others’ pain.

My-body-for-others or my-body-for-itself? Reflections on my encounter with the art of striptease and the way it has transformed the relationship I have with my body

2020 ◽  
Vol 5 (1) ◽  
pp. 7-21
Author(s):  
Gabriella Ricciardi Otty Ricciardi Otty
Keyword(s):  
Visual Culture ◽  
The Body ◽  
Transformative Power ◽  
Bodily Expression ◽  
The World ◽  
Self Discovery ◽  
Bodily State ◽  
The Relationship ◽  
The Way

My body-for-others or my body-for-itself? This is the question explored in this article. It is centred on my experience as a performer, student, and observer of the art of striptease and how my engagement with this art has facilitated for me a process of transition from the body-for-others—a bodily state characterised by a profound sense of scrutiny, loss, invisibility, and isolation—to the-body-for-itself, which, by contrast, is enriched by self-discovery and self-celebration and moves freely and sensually towards the world and others. The article discusses the process through which, in the context of our tenaciously restrictive visual culture, striptease can lead to a deeper intimacy between the performer and his or her body and to a greater capacity for bodily expression and fulfilment. It considers the role that loss and lust play in this process, as well as the healing and transformative power of eros. This article employs a combination of memoir and scholarly analysis. Diary entries, memories, and reflections are used to evoke the essence of this experience and to offer the reader a phenomenological grasp of striptease. Existential ideas, particularly those of Sartre and Merleau-Ponty, provide a framework to articulate and conceptualise its potentially transforming power while also capturing the complexities and ambiguities of my engagement with this art.

scholarly journals Le sommeil d’un mannequin: exploring material memory through film

2021 ◽  
Author(s):  
Laura Del Giacco
Keyword(s):  
Material Culture ◽  
Sigmund Freud ◽  
The Body ◽  
Experimental Film ◽  
Transformative Power ◽  
Cultural Objects ◽  
Human Essence ◽  
Practice Based Research ◽  
The Relationship

Le Sommeil d’un mannequin is a practice-based research project that examines the relationship between the female body and the body of the mannequin through creative methods of plaster body casting and experimental film. The film, Le Sommeil d’un mannequin, conveys the psychic experience of memory found in the unconsciousness state. Through the use of experimental filmmaking, this project speaks to the transformative power of memories and the interpretation of memory that is implied in the psychoanalytic writings of Sigmund Freud. Subsequently, this project bares importance to the study of material culture because it takes into account the human essence present in the fabrication and production of cultural objects. Applying Jules Prown’s method of object analysis uncovered the role of the mannequin to be more than just a cultural display of feminine identity.

‘‘I Think I’m Gonna Throw up...’’

2018 ◽  
Author(s):  
Joy Elizabeth Hayes ◽  
Dana Gravesen
Keyword(s):  
20Th Century ◽  
The Body ◽  
Women's Bodies ◽  
Late 20Th Century ◽  
Cultural Content ◽  
The Relationship ◽  
The Voice ◽  
Grotesque Body

<p>Focusing on the period 1999–2003, this study examines the cultural content of the <em>Howard Stern Show</em> in order to develop a theory of shock radio. We argue that while Stern’s sexist and anti-feminist agenda framed his treatment of women’s bodies, his broader obsession with bodily excess reflected the particular cultural moment of the late 20th century and the long-term problem of embodiment via the radio medium. We draw on Linda William’s concept of body genres, M. M. Bakhtin’s grotesque body, and recent radio scholarship in order to conceptualize the relationship among the voice, the body, and the medium in shock radio.</p>

scholarly journals Speaking and Listening in Racial Relations

2021 ◽  
Vol 31 (1) ◽  
pp. 9-21
Author(s):  
Maria Cristina Francisco
Keyword(s):  
Black Body ◽  
The Body ◽  
Racial Relations ◽  
Racial Issues ◽  
The Face ◽  
Racist Ideology ◽  
The Mind ◽  
Relationship Of ◽  
The Relationship ◽  
The Voice

Racial issues are increasingly visible in current times and it is essential to speak and listen to the body in relationships, in the face of the suffering caused by racism. Racism causes suffering and can kill. There are many ways to kill and die. The breath and throat are affected by choking or muting the voice, the vehicle of expression and autonomy of thought. Racism is in the air and all bodily senses recognize it. It enters the throat and chokes. It touches the skin and freezes. Racist ideology enters and roots the body and the mind. It registers internal memories that will communicate in gestures and attitudes in the white body and in the black body. In society, the white body will present itself as a place of privilege. Listening attentively to the analyst in race relations involves listening to oneself, being involved in the context, and recognizing the relationship of these socially marked bodies that solidify inequality. Listening is the art of caring, as it leads to transformations toward the rescue of free movements of the breath, the body and the mind.

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