Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This volume reminds readers that dedicated teachers at colleges and universities are passing on the heritage of liberal education as well as constructing its future. All readers will benefit from the insights of this volume the historical, ethical, literary and philosophical perspectives provided by core text liberal arts education.

Rhetoric --- Memory --- Elocution

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Acting. --- Histrionics --- Stage --- Elocution --- Theater

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

The book addresses the problem of the subject from the figure of ventriloquism. In a general sense, an attempt is made to think of the history of Western man from the tension of two discursive voices or poles (the muthos and the logos ) and the subject (the man) as the effect or result of that tension. The central hypothesis is that in the face of the hegemonic tradition of “logocentrism”, which tries to reduce the plurality of meaning to a single voice (the logos ) and to constitute history as a history of that only meaning, it is possible to detect a second voice ( the muthos ), heterogeneous and so to speak peripheral, which subverts, at each historical moment, the strategies of the logosdominant. This second voice also finds its paradigmatic place in the figure of the ventriloquist. The text proposes, from this perspective, to make a reconstruction of this curious figure, to show that the human, that is, the different images or conceptions that man has formed of himself throughout history are, in truth, the product or the effect of the tension between these two voices or phonetic principles. This tension between the muthos and the logos , in each historical epoch, is embodied in certain paradigmatic figures: the fortune teller and the prophet; the witch and the inquisitor; the possessed and the exorcist; the magnetic sleepwalker and the doctor; the schizophrenic and the psychiatrist, etc. As well as the voice of the logosit finds its place of origin in the mouth, likewise the muthos finds its place, according to the etymology of the term "ventriloquism", in the womb. The human, consequently, is nothing but the rest or, better still, the residue or the sequel of the joints and disarticulations that historically occur between the mouth and the belly, between the logos and the muthos .

Ventriloquism. --- Amusements --- Elocution --- Voice --- Ventriloquia --- Sujeto

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

First performed at the midpoint of the twentieth century, John Cage's 4'33", a composition conceived of without a single musical note, is among the most celebrated and ballyhooed cultural gestures in the history of modern music. A meditation on the act of listening and the nature of performance, Cage's controversial piece became the iconic statement of the meaning of silence in art and is a landmark work of American music.In this book, Kyle Gann, one of the nation's leading music critics, explains 4'33" as a unique moment in American culture and musical composition. Finding resemblances and resonances of 4'33" in artworks as wide-ranging as the paintings of the Hudson River School and the music of John Lennon and Yoko Ono, he provides much-needed cultural context for this fundamentally challenging and often misunderstood piece. Gann also explores Cage's craft, describing in illuminating detail the musical, philosophical, and even environmental influences that informed this groundbreaking piece of music. Having performed 4'33" himself and as a composer in his own right, Gann offers the reader both an expert's analysis and a highly personal interpretation of Cage's most divisive work.

Acting. --- Histrionics --- Stage --- Elocution --- Theater --- Cage, John.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This guide is aimed at singers & singing teachers interested in French song repertoire. In a clear & concise way, using examples from well-known song settings, it sets out the basics of French versification, showing how an understanding of verse techniques can enhance the interpretation of the French 'm�elodie'.

French language --- Singing --- Musical declamation --- Diction --- Elocution --- Versification. --- Diction.