The Voices of Aged Buraku Women

2020 ◽  
pp. 225-264
Author(s):  
Machiko Ishikawa
Keyword(s):  
Women's Voices ◽  
Enchi Fumiko ◽  
Alternative Representation ◽  
Woman Author ◽  
Younger Generation ◽  
The Voice

This chapter discusses Nakagami's representation of old women or oba from Kumano. To articulate the significance of the oba in Nakagami's narratives, it first investigates Nakagami's reading of the work of well-known woman author Enchi Fumiko to provide insights into his view of the tradition of the “old woman” (omina/ōna) as a storyteller of monogatari. Based on this discussion, the chapter examines Nakagami's depiction in Sen'nen no yuraku (1982) of the aged roji woman, Oryū no oba, as a Burakumin omina. Furthermore, it discusses how Nakagami presents Oryū no oba's silenced voice. Oryū no oba has a special status that derives from her role as omina who passes down monogatari to the younger generation in the community. In contrast, the chapter considers Yuki and Moyo, two aged outcaste women who feature in the Akiyuki trilogy, as oba who can never assume the voice of community storyteller. Thus, this chapter investigates how Nakagami depicts the (im)possibility of these sexed women's voices speaking to or being heard by the community while also demonstrating how the writer presents an alternative representation of their voiceless voices.

The Voice in the Schoolroom

2019 ◽  
pp. 76-129
Author(s):  
Jennifer Richards
Keyword(s):  
Sixteenth Century ◽  
School Education ◽  
Desiderius Erasmus ◽  
Grammar School ◽  
Relationship With God ◽  
Women's Voices ◽  
Textual Evidence ◽  
The Voice

This chapter explores the centrality of voice to a Latinate, grammar-school education in the sixteenth century. It focuses on the part of rhetoric that has long been missed out of our histories of Renaissance rhetoric and reading: pronuntiatio (delivery). It considers the types of textual evidence we might use to recover training in vocal modulation. It explores the importance of pairing elocutio with pronuntiatio, focusing especially on Omer Talon’s Rhetorica; and it considers how attention to the performance of sentences from collections might help us to ‘listen’ to the historical schoolroom. It asks what happened to women’s voices when they were impersonated in the male-only schoolroom, and whether ‘real’ women were ever trained in pronuntiatio. Finally, it considers why Desiderius Erasmus chose the voice of a woman, Folly, to defend the importance of delivery to establish a relationship with God.

The Voice in Women

2021 ◽  
Vol 54 (1) ◽  
pp. 105-115
Author(s):  
Barbara Borts
Keyword(s):  
Female Body ◽  
Orthodox Jewish ◽  
Women's Voices ◽  
Physical Presence ◽  
The Voice ◽  
Secular Life

Most Jews have heard about Kol Isha, the proscription against women raising their voices in song. But discussions about the voice of a woman were broader than whether or not she could sing and in what context, and in whose presence. The discomfort men had about women, not just singing but also speaking, has never been simply an issue of a voice, but rather of a voice embodied in a particular body, a female body, whose physical presence has traditionally presented a problem for Jewish men. These days, this is not solely an uncomfortable problem within the Orthodox Jewish world, but also within the progressive Jewish world, where women’s voices and women’s presence are still challenging and discomfiting to people. Nor does it remain solely a source of Jewish anxiety; women and their voices affect women in all aspects of secular life as well.

The Artist's Credo: the Political Philosophy of Wole Soyinka

1981 ◽  
Vol 19 (3) ◽  
pp. 477-498 ◽  
Author(s):  
Robert W. July
Keyword(s):  
Political Philosophy ◽  
The Political ◽  
Wole Soyinka ◽  
African Society ◽  
Younger Generation ◽  
The Voice

‘The artist has always functioned in African society’, he said, ‘the record of mores and experiences of his society and … the voice of vision in his own time. It is time’, he concluded, ‘for [the artist] to respond to this essence of himself.’ The words appeared in mid-1967; their author Wole Soyinka, already celebrated as a leading poet and dramatist, representing the younger generation of writers among Africa's newly independent nations.

scholarly journals Biology, socialization, and identity: Accounting for the voices of female-to-male transsexuals

2010 ◽  
Vol 1 ◽  
pp. 5
Author(s):  
Lal Zimman
Keyword(s):  
Ongoing Study ◽  
Women's Voices ◽  
English Speaking ◽  
The Relationship ◽  
The Voice ◽  
Male To Female ◽  
Biological Differences

Although dissimilarities between men’s and women’s voices are often attributed to biological differences between the sexes, a great deal of research shows that many of the phonetic indices of speaker gender are socially learned. A number of questions remain, however, surrounding the exact process through which speakers acquire these features. In this paper I present findings from an ongoing study of the voices of English-speaking female-to-male transsexuals. Although the voices of male-to-female transsexuals have been studied fairly extensively, work on female-to-male speakers is virtually nil. However, these speakers’ voices present an ideal testing grounds for understanding the relationship between biology, socialization, and identity in the development of phonetic styles associated with women and men. My findings, which reveal that female-to-male transsexuals’ voices are in most ways comparable to other men’s, demonstrate that identity, along with biology and socialization, makes a crucial contribution in shaping the gendered characteristics of the voice.

Epilogue

2020 ◽  
pp. 181-190
Author(s):  
David Kennerley
Keyword(s):  
Technical Skill ◽  
National Consciousness ◽  
Women's Voices ◽  
National Anthem ◽  
Crystal Palace ◽  
Opening Ceremony ◽  
The Voice ◽  
Media Event

The book concludes with an account of Clara Novello’s performance at the opening of the Crystal Palace at its new site at Sydenham in June 1854. A major media event, the opening ceremony climaxed with Novello singing the national anthem to great acclaim both from the listening crowds and from the national press, who praised the power, technical skill, and emotionally expressive force of her rendition. This moment, when the voice of the British female artist seemed so central to the national consciousness, forms a point from which to review the book’s major themes. Ultimately it concludes that, although there were powerful forces at work seeking to constrict women’s voices, in this period and far beyond, Novello’s performance signals the emergence by mid-century of a new, more empowering way of voicing femininity that began, gradually, to contest the most fundamental assumptions of modern patriarchy.

scholarly journals The Female Singing Voice

2011 ◽  
Author(s):  
Shirley Guerreiro
Keyword(s):  
Menstrual Cycle ◽  
Female Voice ◽  
Median Score ◽  
Singing Voice ◽  
Women's Voices ◽  
Menstrual Cycles ◽  
Visual Comparison ◽  
Physiological Symptoms ◽  
Voice Students ◽  
The Voice

<p>A study of perceived changes that may occur to the voice within the menstrual cycle The study examines factors that may affect women's voices and examines if there is a change occurring in the female singing voice during the premenstrual phase of the menstrual cycle. Journals and questionnaires of premenstrual vocal and physiological symptoms of seven female voice students were used during two menstrual cycles. Vocal Teacher journals were also used to see if relationships could be found. The median score for various variables were calculated to produce graphs for visual comparison looking for relationships between days of the menstrual cycle, physiological symptoms, and vocal symptoms. The results of this study showed that there was no change to the female singing voice within the menstrual cycle.</p>

Damsels Who Distress

2020 ◽  
Vol 35 (2) ◽  
pp. 63-93
Author(s):  
Liam Mitchell
Keyword(s):  
Video Games ◽  
Sexual Difference ◽  
Popular Fiction ◽  
Female Voice ◽  
The Political ◽  
Female Characters ◽  
Women's Voices ◽  
Female Figures ◽  
The Voice

Female figures routinely appear in popular fiction as ostensibly critical correctives to masculinity who can inadvertently retrench problematic divisions between “Woman” and “Man.” In video games, these figures are often aural rather than visual; whether they are off-screen narrators, nonplayer characters, framing devices, or divinities, players regularly hear voices without seeing their source. While many games leave voices off-screen for reasons of technical and economic constraint, developers may restrict voices in this manner for other reasons as well—or at least with other consequences. The voice is a particularly potent site for the production of sexual difference, and the restriction of the female voice to relatively narrow protocols can result in the reduction of female characters to mere agential functions. This article offers brief critical readings of the acousmatic female voice in five recent games—BioShock (2007), Gone Home (2013), The Stanley Parable (2013), The Talos Principle (2014), and Firewatch (2016)—that illustrate the complicated connections between gender, games, technology, and the political. It then turns to the work of Super-giant Games, a small developer responsible for four critical and popular successes. Rather than reducing women’s voices to agential player functions, Supergiant’s first two games, Bastion (2011) and Transistor (2014), pose these voices as an affirmation of the characters’ agency. Moreover, because of the distressing character of this affirmation for certain players, Supergiant at first represses these characters’ speech. Although they are rendered voiceless, they are anything but powerless.

“Glittering like the wind”

2017 ◽  
Author(s):  
Gyllian Phillips
Keyword(s):  
Women Writers ◽  
Physical Properties ◽  
Gertrude Stein ◽  
Poetic Language ◽  
Women's Voices ◽  
Aesthetic Practice ◽  
The Face ◽  
Language And Ideology ◽  
The Voice ◽  
The Invisible

This chapter examines Edith Sitwell’s relationship with other women writers of her time and the idea of “women’s writing.” Although often considered to be anti-feminist, Sitwell strove to articulate what she called a “female poetry” in the face of dismissal by male critics. This chapter argues that her intertextual dialogues with Algernon Swinburne, Gertrude Stein, and H.D. help to build an aesthetic practice outside the rigid masculinity of traditional modernism. From all three poets, Sitwell gleans both methodology, focused on the physicality of poetic language, and ideology, focused on representations of women’s voices. From Swinburne comes the romantic and doomed Sappho, from Stein the invisible wife “Sacred Emily,” and from H.D. the voice of lost-but-found Eurydice. However, in her intertextual responses to each of these, Sitwell also revises the work of the earlier writers. In Swinburne, Stein, and H.D. the poem represents the voice of the woman as lost. However, in Sitwell’s poetry, the very physical properties of words, rhyme, meter, assonance, and so on reinforce the idea that the voicing of the poem is always present.

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