Lady in the Lake, Choral Voices, and Narrative Agency

2021 ◽  
Vol 15 (1) ◽  
pp. 37-69
Author(s):  
DONALD GREIG
Keyword(s):  
Human Agency ◽  
Musical Instrument ◽  
A Cappella ◽  
First Person ◽  
Narrative Strategy ◽  
Notable Feature ◽  
Narrative Agency ◽  
The Voice

A notable feature of the use of choral voices in cinema is the attenuation of language; singers hum, vocalise, and sing in invented or dead languages. Such an approach applies across genres and sees choruses used in two related ways: as evocations of human and inhuman collectives, and as celebrants of spectacle and narrative resolution. I argue that this approach is dictated by the particular implication of human agency that the voice, as opposed to the musical instrument, promotes. I sketch the ontological properties of choral voices in cinema and analyse Lady in the Lake (Robert Montgomery, 1947). As well as being a singular experiment in first-person camera, the film is significant for its a cappella score, the only one of its kind in classical cinema, motivated, I argue, by the film’s distinct narrative strategy.

The professional voice

2010 ◽  
Vol 125 (2) ◽  
pp. 111-116 ◽  
Author(s):  
M S Benninger
Keyword(s):  
Voice Disorders ◽  
Musical Instrument ◽  
Care Team ◽  
Human Communication ◽  
Voice Production ◽  
Anatomy And Physiology ◽  
Human Voice ◽  
The Voice ◽  
Professional Voice ◽  
And Training

AbstractThe human voice is not only the key to human communication but also serves as the primary musical instrument. Many professions rely on the voice, but the most noticeable and visible are singers. Care of the performing voice requires a thorough understanding of the interaction between the anatomy and physiology of voice production, along with an awareness of the interrelationships between vocalisation, acoustic science and non-vocal components of performance. This review gives an overview of the care and prevention of professional voice disorders by describing the unique and integrated anatomy and physiology of singing, the roles of development and training, and the importance of the voice care team.

Reconstructing American Law: The Politics of Narrative and Eudora Welty's Empathic Vision

1992 ◽  
Vol 26 (1) ◽  
pp. 23-39
Author(s):  
Eve Kornfeld
Keyword(s):  
Civil Rights ◽  
Short Story ◽  
First Person ◽  
Home Town ◽  
American Law ◽  
Story Writer ◽  
The 1960S ◽  
The Mind ◽  
The Voice

In the 1960s, in my home town of Jackson, the civil rights leader Medgar Evers was murdered one night in darkness, and I wrote a story that same night about the murderer (his identity then unknown) called ‘Where Is the Voice Coming From?’ But all that absorbed me, though it started as outrage, was the necessity I felt for entering into the mind and inside the skin of a character who could hardly have been more alien or repugnant to me. Trying for my utmost, I wrote it in the first person. I was wholly vaunting the prerogative of the short-story writer. It is always vaunting, of course, to imagine yourself inside another person, but it is what a story writer does in every piece of work; it is his first step, and his last too, I suppose.

scholarly journals NTER-SYMBOL IN HO ANH THAI'S NOVELS

2021 ◽  
Vol 11 (1) ◽  
pp. 172-178
Author(s):  
Thi Huong Le
Keyword(s):  
Narrative Strategy ◽  
Knowledge Framework ◽  
Great Writer ◽  
The Voice

Intersymbol is one of the terms related to literary semiotics. At present, the theory of semiotics/cultural semiotics has become popular and is used as a knowledge framework for reference, decoding artistic text. Ho Anh Thai is considered a great writer with dozens of novels. Each of Ho Anh Thai's works has impact and repetition of aesthetic symbols. Ho Anh Thai's novels are rich in generalization, thanks to the system of intersymbols. The voice inside the texts are expressed in the interactions and collisions between legends, archetypes, and symbols. The association of aesthetic symbol series is in the narrative strategy of the writer.

The singing lesson. Phenomenology of the non-verbal dynamics appearing in studying the Instrument-voix

2008 ◽  
Vol 12 (1_suppl) ◽  
pp. 111-128 ◽  
Author(s):  
Alessia Rita Vitale
Keyword(s):  
Detailed Analysis ◽  
Teaching And Learning ◽  
Musical Instrument ◽  
Systematic Investigation ◽  
Musical Instruments ◽  
Point Of View ◽  
Dynamic Processes ◽  
Human Sciences ◽  
Verbal Language ◽  
The Voice

The novelty of this approach lies in studying singing from the point of view the multifunctionality and polyvalence of the voice in all the typically plural dimensions that contribute to making it a unique instrument, the only instrument embodied/ incarnated in its interpreter, both material and transcendent. An “object” both external and internal, both the most intersubjective and the most personal — to the point of requiring “someone other than oneself” to help one take one's distance from it to study it — the voice has the faculty of bringing together simultaneously the polar opposites of Being. With a methodology at the crossroads of the human sciences, this study forms part of a broader systematic investigation I engaged in concerning the detailed analysis of the singing lesson and the comparison of its specific psycho-dynamic processes with those involved in the learning of other musical instruments. I deal with the role and influence that non-verbal/non-vocal languages assume in the teaching and learning about the voice in its singing dimension when it is used with the value of a musical instrument. This is what I refer to as the “instrument-voix”. The notion of gesture is of pivotal importance in non-verbal language, and this notion is twofold in nature: it involves the problematic of Time, which (itself) necessarily involves that of Memories. Dealt with here will be the influence of nonverbal languages upon mnesic activities.

The voice of the king in ‘King Edgar's Establishment of Monasteries’

2012 ◽  
Vol 41 ◽  
pp. 145-204 ◽  
Author(s):  
David Pratt
Keyword(s):  
Old English ◽  
Final Section ◽  
Religious Life ◽  
English Text ◽  
First Person ◽  
Ecclesiastical History ◽  
Royal Ideology ◽  
Female Audience ◽  
The Voice

AbstractThe Old English text by Æthelwold, bishop of Winchester, known as ‘King Edgar's Establishment of Monasteries’ (EEM) is here viewed as an expression of royal ideology. The article argues that the final section of EEM, in the first person, should be interpreted as words attributed to Edgar himself. This re-reading strengthens the case for dating EEM to the period 966 x c. 970, and for suspecting a female audience. It is argued that EEM accompanied an early, feminized version of Æthelwold's translation of the Rule of St Benedict. This model of religious life related to the responsibility of Edgar's queen, Ælfthryth, for female houses, and reflected her alliance with Æthelwold. EEM offered a distinctive view of English ecclesiastical history subtly tailored to these purposes. The final section of EEM presented a sophisticated defence of female monastic endowment. Ælfthryth's role provides an important context for understanding the politics and representation of Æthelred's kingship in the 990s.

“The Voice of Your Wife”: Why an Ancient Interpreter Chose to Voice Eve with a Testament

2021 ◽  
pp. 1-36
Author(s):  
Cynthia R. Chapman
Keyword(s):  
First Person ◽  
Adam And Eve ◽  
The Voice ◽  
The Devil

Abstract Eve’s Testament (Greek Life of Adam and Eve 15–30) contains an expansive first-person retelling of the Eden narrative in which an elder Eve remembers her younger self calling to Adam “with a loud voice” and saying, “listen to me!” She then admits that when she opened her mouth, “the Devil was speaking,” and she was able to quickly persuade her husband to eat of the forbidden fruit. The unparalleled decision of an ancient author to voice the primordial woman with a testament builds exegetically on a textual problem in Gen 3:17 where YHWH Elohim punishes the man for “listening to the voice of his wife” when the woman never spoke to the man in Gen 2–3. Eve’s Testament provides the missing voice of Adam’s wife, and through it, we learn how the devil used her voice to get Adam “cast out of Paradise.”

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